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UMS Concert Program, Wednesday Oct. 27 To Nov. 07: University Musical Society: 1999-2000 Fall - Wednesday Oct. 27 To Nov. 07 --

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Wednesday Oct. 27 To Nov. 07 --  image
Day
27
Month
October
Year
1999
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Rights Held By
University Musical Society
OCR Text

Season: 1999-2000 Fall
University Of Michigan, Ann Arbor

UMS
Society
999 FALL SEASON
University Musical Society of the University of Michigan. Ann Arbor
University Musical Society
1999 FALL SEASON
of the University of Michigan, Ann Arbor 1
MSE
On the Cover
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Deconstructed Berlin Wall (QrtWBob KitaJ
Back Cover
Frederica von Stade
King Arthur detail (uortoraf
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Necme jSrvi
Ludwjg van Beethoven
Bill Frisell
The Volga Vouty from
The Harlem Nutcracker
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UMS
Leadership
I
LETTER FROM THE PRESIDENT
Thanks very much for attending this UMS performance and for supporting the performing arts in our community. UMS' 1999-2000 season is one of our best ever, and I hope I'll see you at some other performances. A complete listing of the season begins on page 29.
To be able to bring performances like this one to Ann Arbor takes a lot of people work?ing together as a team. I'm privileged to work with an outstanding Board of Directors, Senate, Advisory Committee, and staff, all of whose names are listed on pages 14-15.
It is the staff who works day in and day out to assure that you are able to see the world's best performing artists. I firmly believe that UMS has the finest staff of any performing arts presenting organization in the country. The programming staff works with artists and artists' managers to design a diverse, exciting, and high-quality season, which this year features over ninety performances. The production staff looks after the wellbeing of our artists and makes the performances look sharp and run smoothly. The education and audience development team, working with over fifty community partners, designs and manages more than 175 events to enhance the audiences' understanding and apprecia?tion of our artists and their work. People
learn about our programs through many different media thanks to the efforts of our marketing staff, which last season led UMS to an all-time record in ticket sales. Our box office staff has a well-deserved reputation of providing outstanding personalized service. The internal operation of UMS--finances, human resources, space, planning, etc.--are the purview of our skilled administrative team. And then there's the development team that each year raises 41 of our income, which is necessary to meet costs not covered by ticket sales. In the 1998-99 season, this figure was $2.3 million.
Speaking of development, this year UMS celebrates the tenth anniversary of Catherine Arcure's service as Director of Development. In these ten years, Cathy's department has always exceeded its annual fundraising goal and has nearly tripled the number of donors to UMS. Our overall financial health has
improved dramatically in the past decade, and Cathy's fundraising successes with indi?viduals as well as foundations, corporations, and government agencies have been key to this turnaround. Cathy has also been instru?mental in developing the Advisory Committee into an outstanding volunteer organization that raises over $200,000 a year for UMS through the Ford Honors Program, Season Opening Party, an annual auction, and other special projects. Then there is Cathy's personal commitment to serve each and every member of UMS.
Among Cathy's proudest achievements is BRAVO!, the 224-page cookbook which UMS unveiled on September 17. More than 100 volunteers, under the leadership of Mary Ann Daane and Anne Glendon, worked on this publication for over two years. What better way for Cathy to combine two of her loves, cooking and UMS, than to create a vehicle for people everywhere to enjoy the legends, lore, and recipes from 120 years of UMS -and for UMS to have a source of revenue for many years to come. For more information on BRAVO!, please see p. 37.
Thank you, Cathy, for your outstanding contribution to UMS and to our community.
I'd like to know your thoughts about this performance. I'd also like to learn from you about anything we can do at UMS to make your concertgoing experience the best possi?ble. If we don't see each other in the lobby, please call my office at 734.647.1174, drop me a note, or send me an e-mail message at kenfisch@umich.edu.
Sincerely,
Kenneth C. Fischer, President
LETTER FROM THE CHAIR
It is with great pride that we acknowl?edge and extend our gratitude to the major business contributors to our 19992000 season listed on the follow?ing pages. We are proud to have been chosen by them, for their investment in the University Musical Society is clear evidence
not only of their wish to accomplish good things for our community and region, but also to be asso?ciated with excellence. It is a measure of their belief in UMS that many of these companies have had a
long history of association with us and have expanded and diversified their support in very meaningful ways.
Increasingly, our annual fundraising requirements are met by the private sector: very special individuals, organizations and companies that so generously help bring the magic to UMS performances and educational programs throughout southeastern Michigan. We know that all of our supporters must make difficult choices from among the many worthwhile causes that deserve their support. We at UMS are grateful for the opportunities that these gifts make possible, enhancing the quality of life in our area.
Sincerely,
@@@@Beverley Geltner
Chair, UMS Board of Directors
CORPORATE LEADERS FOUNDATIONS
Richard L. Huber Chairman and CEO, Aetna, Inc. "On behalf of Aetna and Aetna Retirement Services, we are proud to sup?port the arts in southeastern Michigan, especially through our affiliation with The Harlem Nutcracker. We are delighted to be involved with the University Musical Society and their pro?grams, which help bring the arts to so many families and young people."
Don MacMillan President, Alcan Global Automotive Products "For 120 years, the University Musical Society has engaged and enriched our com?munity with the very best in performing arts and educational programs. Alcan salutes your quality and creativity, and your devotion to our youth."
Douglass R. Fox President, Ann Arbor Acura "We at Ann Arbor Acura are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
Jeanne Merlanti President, Arbor TemporariesArbor TechnicalPersonnel System, Inc. "As a member of the Ann Arbor business community, I'm thrilled to know that by sup?porting UMS, I am helping per?petuate the tradition of bringing outstanding musical talent to the community and also provid?ing education and enrichment for our young people."
William Broucek President and CEO, Bank of Ann Arbor "As Ann Arbor's community bank, we are glad and honored to be a supporter of the cultural enrichment that the University Musical Society brings to our community."
Jorge A. Solis Senior Vice President, BankOne, Michigan "BankOne, Michigan is honored to share in the University Musical Society's proud tradition of musical excellence and artistic diversity."
Habte Dadi Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to sup?port an organization that pro?vides such an important service to Ann Arbor."
Carl A. Brauer, Jr. Owner, Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically support the University Musical Society in bringing great music to our community."
David G. Loesel President, T.M.L Ventures, Inc. "Cafe Marie's sup?port of the University Musical Society Youth Program is an honor and a privilege. Together we will enrich and empower our community's youth to carry for?ward into future generations this fine tradition of artistic talents."
Clayton Wilhite Managing Partner, CFI Group, Inc. "Can you imagine a more power?ful demonstration of Ann Arbor's quality of life than the University Musical Society We at CFI can't, and that's why we're so delighted to be a concert sponsor. We salute UMS for its accomplishments and for what it has contributed to the pride in our community."
Kathleen G. Charla Founder CEO, Charla Breton Associates, Publishers Representatives "Music is a wondrous gift that nurtures the soul. Charla Breton Associates is pleased and honored to support the University Musical Society and its great offering of gifts to the community."
Howdy S. Holmes
President and CEO, Chelsea Milling Company "'Jiffy' Mix appreciates the opportunity to support the University Musical Society. We applaud their commitment to providing nationally recog?nized educational opportunities to children in our community and to providing diverse arts programming."
Eugene Miller Chairman and Chief Executive Officer, Comerica Incorporated "Bravo to the University Musical Society! Their contributions are vital to the arts community. Comerica applauds their tradi?tion of excellence, and their commitment to the presentation of arts and promotion of arts education."
Joseph J. Yarabek Office Managing Partner, Deloitte & Touche "Deloitte & Touche is pleased to support the University Musical Society. Their continued commitment to promoting the arts in our community is out?standing. Thank you for enrich?ing our lives!"
S. Martin Taylor Sr. Vice President-Corporate & Public Affairs and President-Detroit Edison Foundation "The Detroit Edison Foundation is proud to sponsor the University Musical Society because we share a mis?sion of enhancing Southeastern Michigan's reputation as a great place to live and work. To this end, UMS brings the joy of the performing arts into the lives of community residents, provides an important part of Ann Arbor's uplifting cultural identity and offers our young people tremen?dous educational opportunities."
Larry Denton Global Vice President, Dow Automotive "At Dow Automotive, we believe it is through the universal lan?guage of art and music that we are able to transcend cultural and national barriers to reach a deeper understanding of one another. We applaud the University Musical Society for its long-standing support of the arts that enriches all our lives."
Edward Surovell President, Edward Surovell Realtors "It is an honor for Edward Surovell Realtors to be able to support an institu?tion as distinguished as the University Musical Society. For over a century it has been a national leader in arts presenta?tion, and we encourage others to contribute to UMS' future."
Leo Legatski President, Elastizell Corporation of America "A significant characteristic of the University Musical Society is its ability to adapt its menu to changing artistic requirements. UMS involves the community with new concepts of education, workshops, and performances."
Peter Banks President, ERIM International "At ERIM International, we are honored to support the University Musical Society's commitment to providing edu?cational and enrichment oppor?tunities for thousands of young people throughout southeastern Michigan. The impact of these experiences will last a lifetime."
William Clay Ford, Jr.
Chairman, Ford Motor Company "At Ford, we believe the arts speak a universal language. We're proud of our long-standing association with the University Musical Society, its concerts, and the educational programs that enrich our community."
Scott Ferguson Regional Director, Hudson's "Hudson's is committed to supporting arts and cultural organizations because we can't imagine a world without the arts. We are delighted to be part?ners with the University Musical Society for the 1999-2000 season as they present programs to enrich, educate and energize our diverse community."
Gregg A. DeMar Vice President, Customer Segment Marketing, Personal Systems Group, IBM Corporation "IBM salutes the University Musical Society for their valu?able service to our community in support of students, children and families, and for enhancing their exposure to the arts."
William S. Hann
President, KeyBank "Music is Key to keeping our society vibrant, and Key is proud to support the cultural institution rated number one by Key Private Bank clients."
Richard A. Manoogian Chairman and CEO, Masco Corporation "We at Masco applaud the University Musical Society's contribution to diversity in arts programming and your efforts to enhance the quality of life in our community."
Ronald Weiser Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud to support the University Musical Society and the cultural contribution it makes to the community." r
Michael E. Korybalski
President, Mechanical Dynamics "Beverly Sills, one of our truly great performers, once said that 'art is the signature of civiliza?tion.' We believe that to be true, and Mechanical Dynamics is proud to assist the University Musical Society in making its mark -with a flourish."
Erik H. Serr Principal Miller, Canfield, Paddock and Stone, P.L.C. "Miller, Canfield, Paddock and Stone is particularly pleased to support the University Musical Society and the won?derful cultural events it brings to our community."
Charles Hall Partner, Multilogue "Music is one way the heart sings. The University Musical Society helps our hearts enjoy and participate in song. Thank you."
Phillip R. Duryea Community President, National City Bank "National City Bank is pleased to continue our historical sup?port of the University Musical Society, which plays such an important role in the richness of our community."
Larry McPherson President and COO, NSK Corporation "NSK Corporation is grateful for the opportunity to contribute to the University Musical Society. While we've only been in the Ann Arbor area for the past 85 years, and UMS has been here for 120, we can still appreciate the history they have with the city -and we are glad to be part of that history."
Joe E. O'Neal President, O'Neal Construction "A commitment to quality is the main reason we are a proud supporter of the University Musical Society's efforts to bring the finest artists and special events to our community."
John Psarouthakis, Ph.D.
Chairman and Chief Executive Officer, Paideia
"Our community is enriched by the University Musical Society. We warmly support the cultural events it brings to our area."
Peter B. Coor, Ph.D. President, Parke-Davis Pharmaceutical Research & Development; Corporate Vice President, Warner-Lambert Company "The University Musical Society is a cornerstone upon which the Ann Arbor community is based: Excellence, Diversity and Quality. Parke-Davis is proud to support the University Musical Society for our community and our Parke-Davis colleagues."
Michael Staebler Managing Partner, Pepper, Hamilton & Scheetz "Pepper, Hamilton and Scheetz congratulates the University Musical Society for providing quality performances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
Joseph Sesi President, Sesi Lincoln Mercury "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury team is delight?ed to sponsor such a fine organ?ization."
Thomas B. McMullen
President, Thomas B. McMullen Co., Inc. "I used to feel that a U-M Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational entertainment."
Me MULLEN
THOMAS B
Dr. James R. Irwin Chairman and CEO, The Irwin Group of Companies. President, Wolverine Temporaries, Inc. "Wolverine Temporaries began its support of the University Musical Society in 1984, believing that a commitment to such high quality is good for all con?cerned. We extend our best wishes to UMS as it continues to culturally enrich the people of our community."
We also extend our gratitude to several other anonymous companies.
FOUNDATION UNDERWRITERS GOVERNMENT AGENCIES
David. E. Engelbert Hiram A. Dorfman
Co-chairmen, Benard L. Maas Foundation "The Benard L. Maas Foundation is proud to support the University Musical Society in honor of its beloved founder: Benard L. Maas February 4, 1896 May 13, 1984."
We at UMS gratefully acknowledge the support of the following foundations and government agencies:
Ann Arbor Area Community
Foundation Arts Midwest
Benard L. Maas Foundation Chamber Music America The Ford Foundation The Heartland Fund KMD Foundation Knight Foundation Lila Wallace-Reader's Digest
Fund Michigan Council for Arts
and Cultural Affairs National Endowment for
the Arts
UNIVERSITY MUSICAL SOCIETY
of the University of Michigan
UMS BOARD OF DIRECTORS
Beverley B. Geltner,
Chair Letitia J. Byrd,
Vice-Chair Elizabeth Yhouse,
Secretary David Featherman,
Treasurer
Gail Davis Barnes Lee C. Bollinger Janice Stevens Botsford Paul C. Boylan Barbara Everitt Bryant Kathleen G. Charla Robert F. DiRomualdo Alice Davis Irani Stuart A. Isaac
Gloria James Kerry F. Bruce Kulp Leo A. Legatski Earl Lewis Lester P. Monts Alberto Nacif Len Niehoff Joe E. O'Neal Randall Pittman
Rossi Ray-Taylor Prudence L. Rosenthal Maya Savarino Herbert Sloan Timothy P. Slottow Peter Sparling James L. Telfer Susan B. Ullrich Marina v.N. Whitman
UMS SENATE
(former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Richard S. Berger Maurice S. Binkow Carl A. Brauer Allen P. Britton Leon S. Cohan Ion Cosovich Douglas Crary Ronald M. Cresswell John D'Arms James J. Duderstadt
Robben W. Fleming David J. Flowers Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Howard Holmes Kay Hunt Thomas E. Kauper David B. Kennedy Richard L. Kennedy Thomas C. Kinnear
Patrick B. Long Judythe H. Maugh Paul W. McCracken Rebecca McGowan Alan G. Merten John D. Paul Wilbur K. Pierpont John Psarouthakis Gail W. Rector John W. Reed Richard H. Rogel Ann Schriber
Daniel H. Schurz Harold T. Shapiro George I. Shirley John O. Simpson Carol Shalita Smokier Lois U. Stegeman Edward D. Surovell Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker Iva M. Wilson
UMS STAFI
Administration Finance
Kenneth C. Fischer,
President Elizabeth E. Jahn,
Assistant to the
President John B. Kennard, Jr.,
Director of
Administration John Peckham,
Information Systems
Manager
Box Office
Michael L. Gowing,
Manager
Sally A. Cushing, Staff Ronald J. Reid, Assistant
Manager and Group
Sales
Choral Union
Thomas Sheets,
Conductor Edith Leavis Bookstein,
Co-Manager Kathleen Operhall,
Co-Manager Donald Bryant,
Conductor Emeritus
Development
Catherine S. Arcure,
Director Susan D. Halloran,
Assistant Director--
Corporate Support Lisa Michiko Murray,
Advisory Liaison Alison Pereida,
Development Assistant J. Thad Schork, Direct
Mail, Gift Processor Anne Griffin Sloan,
Assistant Director--
Individual Giving L. Gwen Tessier,
Administative Assistant
EducationAudience Development
Ben Johnson, Director Kate Remen, Manager Susan Ratcliffe, Coordinator
MarketingPublic Relations
Sara Billmann, Director Sara A. Miller, Marketing
and Promotion Manager Aubrey Alter, Marketing
and Advertising
Coordinator
Production
Gus Malmgren, Director Emily Avers, Production
and Artist Services
Manager Jennifer Palmer, Front
of House Coordinator Brett Finley, Stage
Manager Eric R. Bassey, Stage
Manager
Bruce Oshaben,
Assistant Head Usher Paul Jomantas, Assistant
Head Usher
Program m i ng
Michael J. Kondziolka,
Director Mark Jacobson,
Coordinator
Work-Study
Nadine Balbeisi Rebekah Camm Mark Craig Mariela Flambury David Her Carrie Kahl Un Jung Kim Rebekah Nye Beverly Schneider Amy Tubman
Interns
Bree Doody Brooke McDaniel
President Emeritus
Gail W. Rector
ADVISORY COMMITTEE
Debbie Herbert, Chair
Dody Viola, Co-Chair
Lisa Murray, Staff Liaison
Martha Ause
Letitia J. Byrd
Betty Byrne
Phil Cole
Mary Ann Daane
Lori Director
Betty Edman
H. Michael Endres
Don Faber
Penny Fischer
Sara Frank
M.ii .mii.i Graves
Linda Greene
Nina E. Hauser
Mercy Kasle
Steve Kasle
Maxine Larrouy
Beth Lavoie
Esther Martin
Jeanne Merlanti
Candice Mitchell
Robert Morris
John Mulcrone
Nancy Niehoff
Karen Koykka O'Neal
Marysia Ostafln
Mary Pittman
leva Rasmussen
Sue Schroeder
Meg Kennedy Shaw
Loretta Skewes
Cynny Spencer
Susan B. Ullrich
Bryan Ungard
Suzette Ungard
Kathleen Treciak Van Dam
UMS TEACHER ADVISORY COMMITTEE
Fran Ampey Gail Davis Barnes Alana Barter Elaine Bennett Lynda Berg Yvette Blackburn Barbara Boyce Letitia Byrd Nancy Cooper Naomi Corera Gail Dybdahl Keisha Ferguson Doreen Fryling Carolyn 11,mum Vickey Holley Foster Amy Goodman Taylor Jacobsen Callie Jefferson Lola (ones Deborah Katz Deb Kirkland
Rosalie Koenig David A. Leach Rebecca Logie Dan Long Laura Machida Ed Manning Glen Matis Barbara Meadows Kim Mobley Eunice Moore Rossi Ray-Taylor Gayle Richardson KatyRyan Karen Schulte Helen Siedel loan Singer Sue Sinta Sandy Trosien Sally Vandeven Barbara Hertz Wallgren Jeanne Weinch
Services
GENERAL INFORMATION
Barrier-Free Entrances
For persons with disabilities, all auditoria have barrier-free entrances. Wheelchair loca?tions are available on the main floor. Ushers are available for assistance.
Listening Systems
For hearing impaired persons, the Power Center, Mendelssohn Theatre, and Rackham Auditorium are equipped with infrared listen?ing systems. Headphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, and Mendelssohn Theatre please call University Productions at 734.763.5213. For items lost at St. Francis of Assisi Catholic Church and the Michigan Theater, please call the UMS Box Office at 734.764.2538.
Parking
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before
the performance begins. Parking is compli?mentary for UMS members at the Principal level and above. Reserved parking is available for UMS members at the Leader level and above.
UMS offers valet parking service for all performances in the Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before each performance. There is a fee for this service. UMS members at the Leader level and above are invited to use this service at no charge.
Refreshments
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Smoking Areas
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
UMSMember Information Kiosk
A wealth of information about UMS events is available at the information kiosk in the lobby of each venue.
Returns
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the UMS Box Office. Refunds are not available; however, you will be given a receipt for an income tax deduc?tion. Please note that ticket returns do not count toward UMS membership.
GROUP TICKETS
Many thanks to all of the groups who have joined UMS for an event in past seasons, and welcome to all of our new friends who will be with us in the coming year. The group sales program has grown dramatically in recent years. This success is a direct result of the wonderful leaders who organize their friends, families, congrega?tions, students, and co-workers and bring them to our events.
Last season over 10,000 people came to UMS events as part of a group, and they saved more than $51,000 on some of the most popular events around! Many groups who booked their tickets early found them?selves in the enviable position of having the only available tickets to sold out events including Wynton Marsalis and the Lincoln Center Jazz Orchestra, the Afro-Cuban All Stars, The Capitol Steps, Trinity Irish Dance Company, Kodo, and Alvin Ailey American Dance Theater.
This season UMS is offering a wide variet) of events to please every taste, many at a frac?tion of the regular price. Imagine yourself surrounded by ten or more of your closest friends as they thank you for getting great seats to the hottest shows in town. It's as easy as picking up the phone and calling UMS Group Sales at 734.763.3100.
GIFT CERTIFICATES
ooking for that perfect meaningful gift .that speaks volumes about your taste
Tired of giving flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than ninety events throughout our season, wrapped and delivered with your personal message, the UMS Gift Certificate is ideal for weddings,
birthdays, Hanukkah, Christmas, Mother's and Father's Days, or even as a housewarm-ing present when new friends move to town.
Make your gift stand out from the rest. Call the UMS Box Office at 734.764.2538, or stop by Burton Tower.
THE UMS CARD
UMS and the following businesses thank you for your generous support by pro?viding you with discounted products and services through the UMS Card, a privilege for subscribers and donors of at least $100. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe Ann Arbor Acura Ann Arbor Arts
Center
Back Alley Gourmet Blue Nile Restaurant Bodywise Therapeutic
Massage Cafe Marie Chelsea Flower Shop Dough Boys Bakery Fine Flowers Gandy Dancer Great Harvest Jacques John Leidy Shop
John's Pack & Ship Kerrytown Bistro King's Keyboard
House Le Dog
Michigan Car Services Paesano's Restaurant Regrets Only Ritz Camera One
Hour Photo SKR Blues & jazz SKR Classical SKR Pop & Rock Shaman Drum
Bookshop Zingerman's
The UMS card also entitles you to 10 off your ticket purchases at other Michigan Presenter venues. Individual event restrictions may apply. Call the UMS Box Office for more information at 734.764.2538.
mmmm WWW.UMb.UKU
UMS enters a new interactive com?munication era with the launch of the new and improved www.ums.org!
Why should you log onto www.ums.org
Tickets Forget about waiting in long ticket lines--order tickets to UMS performances online with our secure order form.
Cyber$avers Special weekly discounts appearing every Tuesday only available by ordering over the Web!
Information Wondering about UMS' history, event logistics, or volunteer opportunities Find all this and more.
Program Notes and Artist Bios Your online source for performance programs and artist information.
Sound Clips & Photos Listen to recordings from UMS performers online before the concert. Check out photos from favorite UMS concerts!
BRAVO! Cookbook Order your UMS hardcover coffee-table cookbook featuring more than 250 recipes from UMS artists, alumni and friends, as well as historic photos from the UMS Archives.
Education Events Up-to-date information detailing educational opportunities surrounding each
UMS performance. ? Choral Union
Audition informa?tion and perform?ance schedules for the UMS Choral Union.
Annals
UMS HISTORY
The goal of the University Musical Society (UMS) is to engage, educate, and serve Michigan audiences by bringing to our community an ongoing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 120 years, strong leadership, coupled with a devoted community, has placed UMS in a league of internationally-recognized perform?ing arts presenters. Indeed, Musical America selected UMS as one of the five most influen?tial arts presenters in the United States in 1999. Today, the UMS seasonal program is a reflection of a thoughtful respect for its rich and varied history, balanced by a commitment to dynamic and creative visions of where the performing arts will take us in the upcoming millennium. Every day UMS seeks to cultivate, nurture and stimulate public interest and participation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first performance of Handel's Messiah was in December of 1879, and this glorious oratorio has since been performed by the UMS Choral Union annually.
As a great number of Choral Union mem?bers also belonged to the University, the University Musical Society was established in December 1880. UMS included the Choral Union and University Orchestra, and throughout the year presented a series of concerts featuring local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best traditional and contemporary work from the full spectrum of the performing arts -internationally renowned recitalists and
Musical America selected UMS as one of the five most influ?ential arts presenters in the United States in 1999.
orchestras, dance and chamber ensembles, jazz and world music performers, perform?ance artists, opera and theatre. Through educational endeavors, commissioning of new works, youth programs, artist residencies and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction and innovation. UMS now hosts over ninety performances and more than 175 educational events each season. UMS has flourished with the support of a generous community that gathers to enjoy world-class events in Hill and Rackham Auditoria, the
Power Center for the Performing Arts, the Michigan Theater, St. Francis of Assisi Catholic Church, the Lydia Mendelssohn Theatre, and the Detroit Opera House.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many Univer?sity units, UMS is a separate not-for-profit organization, which supports itself through ticket sales, corporate and individual contri?butions, foundation and government grants, and endowment income.
UMS CHORAL UNION
Throughout its 120-year history, the UMS Choral Union has performed with many of the world's distinguished orchestras and conductors.
Based in Ann Arbor under the aegis of the University Musical Society, the 150-voice Choral Union is especially well known for its definitive performances of large-scale works for chorus and orchestra. Six years ago, the Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra. Among other works, the chorus has joined the DSO in Orchestra Hall and at Meadow Brook for subscription performances of Beethoven's Symphony No. 9, Orff 's Carmina Burana, Ravel's Daphnis et Chloe and Brahms' Ein deutsches Requiem, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd. In 1995, the Choral Union began an artistic association with the Toledo Symphony, inaugurating the partner?ship with a performance of Britten's War Requiem, and continuing with performances of the Berlioz Requiem, Elgar's The Dream of Gerontius and Verdi's Requiem. During the 1996-97 season, the Choral Union again expanded its scope to include performances with the Grand Rapids Symphony, joining
with them in a rare presentation of Mahler's Symphony No. 8 (Symphony of a Thousand).
In the past two seasons, the Choral Union has given acclaimed concert presentations of Gershwin's Porgy and Bess with the Birmingham-Bloomfield Symphony Orchestra and musical-theatre favorites with Erich Kunzel and the DSO at Meadow Brook. A 72-voice chorus drawn from the larger choir has performed Durufle's Requiem, the Langlais Messe Solenelle, the Mozart Requiem and other works, and the Choral Union Chamber Chorale recently presented "Creativity in Later Life," a program of late works by nine composers of all historical periods, at the University of Michigan Museum of Art.
During the 1998-99 season, the Choral Union performed in three major subscription series at Orchestra Hall with the Detroit Symphony Orchestra, including performances of Brahms' Ein deutsches Requiem and Rachmaninoff's The Bells, both conducted by Neeme Jarvi, and Kodaly's Psalmus Hungarians, conducted by the legendary Gennady Rozhdestvensky. Other programs included Handel's Messiah with the Ann Arbor Symphony Orchestra, and Carmina Burana with the Toledo Symphony.
During the current season, the Choral Union will again appear in three series with the Detroit Symphony Orchestra: the first two, conducted by Neeme Jarvi, include per?formances of Shostakovitch's Symphony No. 13 (Babi Yar) followed by Beethoven's Symphony No. 9 paired with Stravinsky's Symphony of Psalms. The last of these three series will fea?ture performances of John Adams' Harmonium, conducted by the composer. The women of the chorus will also perform Mahler's Symphony No. 3 with the Ann Arbor Symphony, and sixty singers will join the Gabrieli Consort & Players for an Advent program based on the music of Praetorius. A highlight of the season will be a performance on Palm Sunday afternoon, April 16,2000, of J. S. Bach's
monumental St. Matthew Passion with the Ann Arbor Symphony in Hill Auditorium, conducted by Thomas Sheets.
Participation in the Choral Union remains open to all by audition. Representing a mix?ture of townspeople, students and faculty, members of the Choral Union share one common passion--a love of the choral art. For more information about the UMS Choral Union, call 734.763.8997 or e-mail edeb@umich.edu.
AUDITORIA & BURTON MEMORIAL TOWER
Hill Auditorium
Standing tall and proud in the heart of the University of Michigan campus, Hill Auditorium is associated with the best performing artists the world has to offer. Inaugurated at the 20th Annual Ann Arbor May Festival in 1913, the 4,163-seat Hill Auditorium has served as a showplace for a variety of important debuts and long rela?tionships throughout the past eighty-six years. With acoustics that highlight everything from the softest notes of vocal recitalists to the grandeur of the finest orchestras, Hill Auditorium is known and loved throughout the world.
Former U-M regent Arthur Hill bequeathed $200,000 to the University for the construction of an auditorium for lectures, concerts and other university events. Then-UMS President Charles Sink raised an additional $150,000, and the concert hall opened in 1913 with the Chicago Symphony Orchestra performing Beethoven's Symphony No. 5. The auditorium seated 4,597 when it first opened; subsequent renovations, which increased the size of the stage to accommodate both an orchestra and a large chorus (1948) and improved wheel?chair seating (1995), decreased the seating capacity to its current 4,163.
Hill Auditorium is slated for renovation in the coming years. Developed by Albert Kahn and Associates (architects of the original concert hall) and leading theatre and acousti?cal consultants, the renovation plans include an elevator, expanded bathroom facilities, air conditioning, and other improvements.
Rackham Auditorium
Sixty years ago, chamber music concerts in Ann Arbor were a relative rarity, pre?sented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, and Newberry Hall, the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of human history and human thought, died in 1933, his will established the Horace H. Rackham and Mary A. Rackham Fund, which subsequently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School, which houses the 1,129-seat Rackham Auditorium, but also to establish a $4-million endowment to further the devel?opment of graduate studies. Even more remarkable than the size of the gift, which is still considered one of the most ambitious ever given to higher-level education, is the fact that neither of the Rackhams ever attended the University of Michigan.
Power Center for the Performing Arts
The Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities was mentioned "a new theatre." The Powers were immediately interest?ed, realizing that state and federal government were unlikely to provide financial support for the construction of a new theatre.
The Power Center opened in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote). No seat in the 1,390-seat Power Center is more than seventy-two feet from the stage. The lobby of the Power Center features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
Michigan Theater
The historic Michigan Theater opened January 5, 1928 at the peak of the vaude?villemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost approxi?mately $600,000 when it was first built. The gracious facade and beautiful interior housed not only the theater, but nine stores, offices on the second floor and bowling alleys running the length of the basement. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country. Restoration of the balcony, outer lobby and facade will be completed by 2003.
In the fall of 1999, the Michigan Theater will open the doors of a new 200-seat screen?ing room addition, as well as additional rest-room facilities, which have been built onto the existing 1928 structure.
St. Francis of Assisi Catholic Church
In 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later, ground was broken to build a permanent church building, and on March 19,1969 John Cardinal Dearden dedicated the new St. Francis of Assisi Church. Father James McDougal was appointed pastor in 1997.
St. Francis of Assisi Catholic Church has grown from 248 families when it first started in 1950 to more than 2,800 today. The present church seats 900 people and has ample free parking. In 1994 St. Francis purchased a splendid three manual "mechanical action" organ with thirty-four stops and forty-five ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through ded?ication, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment
and contemplation of sacred a cappella choral music and early music ensembles.
Lydia Mendelssohn Theatre
In 1926, construction was being discussed for the Women's League, the female coun?terpart to the all-male Michigan Union. Gordon Mendelssohn of Detroit seized the opportunity to support the inclusion of a theatre in the plans and building of the Woman's League, and donated $50,000 in 1926 to establish the Lydia Mendelssohn Theatre, stipulating that the theatre would
always bear his mother's name. UMS recently began presenting artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat the?atre for the 100th May Festival's Cabaret Ball. Now, with a new programmatic initiative to pres?ent song in recital, the superlative Mendelssohn Theatre has become a recent venue addition to UMS' roster and the home of the Song Recital series.
Detroit Opera House
The Detroit Opera House opened in April of 1996 fol?lowing an extensive renovation by Michigan Opera Theatre. Boasting a 75,000 square foot stage house (the largest stage between New York and Chicago), an orchestra pit large enough to accommodate 100 musicians and an acoustical virtue to rival the
world's great opera houses, the 2,800-seat facility has rapidly become one of the most viable and coveted theatres in the nation. In only two seasons, the Detroit Opera House became the foundation of a landmark programming collaboration with the Nederlander organization and Olympia
Hill
Auditorium 4,163
Rackham
Auditorium
1,129
Michigan
Theater
1,710
Power Center 1,390
Mendelssohn
Theatre
658
Entertainment, formed a part?nership with the Detroit Symphony Orchestra and played host to more than 500 perform?ers and special events. As the home of Michigan Opera Theatre's grand opera season and dance series, and through quality programming, partner?ships and educational initiatives, the Detroit Opera House plays a vital role in enriching the lives of the community.
Burton Memorial Tower
Seen from miles away, this well-known University of Michigan and Ann Arbor land?mark is the box office and administrative location for UMS.
Completed in 1935 and desiened bv Albert Kahn. the
10-story tower is built of Indiana limestone with a height of 212 feet. During the academic year, visitors may climb up to the observation deck and watch the carillon being played from noon-12:30 p.m. weekdays when classes are in session and most Saturdays from 10:15-10:45 a.m.
University Musical Society
of the University of Michigan 19992000 Fall Season
Event Program Book
Wednesday, October 27 through Sunday, November 7,1999
General Information
Children of all ages are welcome to UMS Family and Youth Performances. Parents are encouraged not to bring children under the age of three to regu?lar, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment are not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event: electronic-beeping or chiming digital watches, beep?ing pagers, ringing cellular phones and clicking portable computers should be turned off during performances. In case of emergency, advise your paging ser?vice of auditorium and seat location and ask them to call University Security at 734.763.1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS performances included in this editon. Thank you for your help.
Sankai Juku 3
Hiyomeki
Wednesday, October 27, 8:00pm Power Center
Bill Frisell's New Quartet 7
Thursday, October 28, 8:00pm Power Center
Orquesta Ibrahim Ferrer & 11
Ruben Gonzalez y su Grupo
Saturday, October 30, 8:00pm Hill Auditorium
Emerson String Quartet 17
Friday, November 5, 8:00pm Rackham Auditorium
American String Quartet 23
Beethoven the Contemporary Sunday, November 7,4:00pm Rackham Auditorium
"Simply committed to the best in dance for Michigan.
UMS
presents
Sankai Juku
Ushio Amagatsu, Direction, Choreography, and Design
Music
Takashi Kako Yoichiro Yoshikawa
Dancers
Ushio Amagatsu Semimaru Toru Iwashita Sho Takeuchi Akihito Ichihara
Program
Wednesday Evening, October 27,1999 at 8:00 Power Center, Ann Arbor, Michigan
Hiyomeki
Within a Gentle Vibration and Agitation
Hiyomeki: Fontanelle
From Hiyomeki
Seed Like a Ripple
Sound Darkness within Light
Anthropos Memory from the Past or the Future
Perpetual Motion Light within Darkness
The Breath in the Water's Depths
Toward Hiyomeki
Fourteenth Performance of the 121st Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Support for this program is provided by media sponsor, WDET.
Special thanks to the Center for Creative Studies in Detroit for their assis?tance with this residency.
Special thanks to Kate Remen, UMS Education and Audience Development Manager, for serving as this evening's Pre-performance Educational Presentation (PREP) speaker.
This tour has been made possible through the cooperation of Mitsubishi Motors and Shiseido.
Sankai Juku appears by arrangement of International Production Associates, Inc. (IPA) and Jedediah Wheeler.
Large print programs are available upon request.
Hiyomeki
Within a Gentle Vibration and Agitation
Fixing the height of one's eyes forward
Right or left, one makes a slow turn.
One's gaze moves, following the turn. Out of focus.
One walks four steps, from the heel,
carefully meeting the floor.
At the height of one's eyes, from both temples,
stretching an imaginary thread
One person holds the furthest possible part.
One tries the same movement.
Relative to the person in the middle,
as the thread lengthens, the movement of
the two holding the thread increases in speed.
The two disappear to a point in the imagination. From a circle within the room as far as infinity.
The speed of consciousness and the distance of movement,
The speed of the body. All carefully treated. When one arrives at imagining infinity the body moves nearly at the speed of light, and nears an almost unlimited stillness.
Turning once around. Standing in the middle.
One stands. From the act of turning
Suddenly one loses every muscle,
draws out the weight from the body
and gives up one's body to the floor.
With this process, and the body lying horizontal,
one feels even more
the pull towards the center.
Interior force and exterior force. Multiple centers.
The vital connection between voluntary movement and gravity.
The body continually vibrates and is agitated between the two.
-Ushio Amagatsu
Sankai Juku and its artistic direc?tor, Ushio Amagatsu are part of the second generation of butoh dancers in Japan. Butoh is a new Japanese art form that evolved during the 1960s as an expression of humanitarian awareness by that country's post-war generation. Led by Tatsumi Hijikata and Kazuo Ohno, world-famous practitioners of butoh, Japanese dancers rejected the traditional forms of Eastern and Western dance. They investigated a method of expression which would be appropriate to a new Japan and could reflect the body and feeling of their generation.
"Butoh can only be made with that
which can be taken from the manner of liv?ing of a race," said butoh master Hijikata. The gestures seen in butoh emanate from a sensibility that has been restrained by cen?turies of tradition. The body of the butoh dancer is unencumbered by the ancient vocabulary of kabuki or noh.
For Ushio Amagatsu, butoh expresses the language of the body rather than a theo-
retical meaning of movement. Therefore each individual brings his own physical his?tory and method of expression to the art form. Before he worked in the butoh style, Amagatsu trained in classical as well as modern dance. In 1975 he started a series of workshops. From those sessions he devel?oped the idea of Sankai Juku and selected three dancers from the workshop to help create the company. The name Sankai Juku can be translated to mean "studio of moun?tain and sea."
The company's first full scale produc?tion, Homage to Ancient Dolls (1977), led to the creation of Kinkan Shonen, which was presented in Tokyo in 1978. This production
revealed Amagatsu's own vision which has enhanced the understanding of butoh. His work is a great departure from the masking of emotion and is premised on a personal expression of suffering. The contrast with the universally accepted Japanese perfor?mance traditions underscores Sankai Juku's passionate appreciation for the joy of life and the sadness of death. The white immo-
bile face traditionally represents a thwarted human being, but the whitened face of the butoh dancer is mobile and is in touch with innocence, wonder, fear and mortality.
In 1980, Sankai Juku was invited to per?form in the West for the first time. They went to the Nancy Festival in France with the firm conviction that Butoh a universal cry from the origins of humanity would be accepted. However, they did not go to expose Japanese culture to the Europeans, but rather to experience other cultural cli?mates which would give their work new res?onance.
For the next four years, the company remained in Europe where they performed constantly. In 1984 they were invited to come to North America where they made their debut at the Toronto International Festival and the L.A. Olympic Arts Festival. Subsequently, they have been embraced warmly by audiences throughout Canada and the US. Their second North American tour was curtailed when Yoshiyuki Takada accidentally died during a performance in Washington on September 10,1985. The company cancelled the remaining engage?ments and returned home, some to Japan, others to Paris.
In spring of 1986 Sankai Juku started a new sixteen-city tour of North America which began in Seattle. The company has been seen in such cities as Boston, Pittsburgh, Cincinnati, Ann Arbor, Minneapolis, Washington DC, and New York City. Sankai Juku has continued to be a much sought after performance group, touring America numerous times.
Ushio Amagatsu has immersed himself in the roots of the rituals and character of traditional Japan, from which his interest has reached a more universal point of view while Sankai Juku continues its foreign activities. His work has evolved to the point where his imagery predates classical struc-
tures and forms. The power and inner beau?ty identified with Sankai Juku is traced to man's inner life a spiritual being who stems from all elements surrounding humanity.
Since 1982, Theatre de la Ville in Paris has been responsible for the commissioning of six works, Jomon Sho (1982), Netsu No Katachi (1984), Unetsu (1986), Shijima (1988), Omote (1991), Yuragi (1993), and Hiyomeki (1996). In the summer of 1988, Ushio Amagatsu created his first work for Western dancers at Jacob's Pillow in Lee, Massachusetts entitled Fushi.
Ushio Amagatsu's newest creation, Hibiki (1998), was co-commissioned by the Hancher Auditorium and will make its US debut in Iowa City at the beginning of the Sankai Juku US tour for Fall 1999. Sankai Juku will return to the US to tour Hibiki in Spring 2002.
Tonight's performance marks Sankai Juku's third appearance under UMS auspices.
Yuji Kobayashi, Stage Manager Kenichi Yonekura, Set Technician
Genta Iwamura, Lighting Technician
Akira Aikawa, Sound Technician
Taiyo Tochiaki, Assistant
Andrew ). Kranis, IPA ProductionTour Manager
Co-CommissionersProducers
Theatre de la Ville, Paris; Ginza Saison Theatre, Tokyo; Theatre de St. Quentin en Yvelines; Scene Nationale; and Sankai Juku with the cooperation of CNDC L'Esquisse, Angers
UMS
presents
Bill Frisell's New Quartet
Bill Frisell, Guitar
Greg Leisz, Pedal steel and slide guitars
David Piltch, Bass
Kenny Wollesen, Drums
Program
Thursday Evening, October 28,1999 at 8:00 Power Center, Ann Arbor, Michigan
Bill Frisell's New Quartet will announce their program from the stage.
There will be a brief question and answer session with the artists immediately following this performance.
Fifteenth Performance of the 121st Season
Sixth Annual Jazz Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Support for this performance is provided by media sponsors, WEMU and WDET.
Special thanks to the U-M Department of Jazz Studies for their assistance in this residency.
Large print programs are available upon request.
In a career that spans more than twenty years and more than eighty recordings, guitarist, composer and bandleader Bill Frisell has established himself as one of the most sought after collaborators in contemporary music. He has contributed to the work of such diverse artists as Ginger Baker, Paul Bley, Gavin Bryars, Don Byron, Elvis Costello, Jerry Douglas, Marianne Faithful, Jan Garbarek, Robin Holcomb, Wayne Horvitz, Lyle Mays, Paul Motian, Vernon Reid, John Scofield, David Sylvian, Hal Willner and John Zorn.
The New York Times wrote, "It's hard to find a more fruitful meditation on American music than in the compositions of guitarist Bill Frisell. Mixing rock and country with jazz and blues, he's found what connects them: improvisation and a sense of play. Unlike other 'pastichists,' who tend to duck passion, Mr. Frisell plays up the pleasure in the music and also takes on another often-avoided subject, tenderness." His work has established Mr. Frisell as one of the most sought-after guitar voices in contemporary music. The breadth of such performing and recording situations is a tes?tament not only to his singular guitar con?ception, but his musical versatility as well. In recent years, it has been Bill Frisell's role as a composer and bandleader which has garnered him increasing notoriety.
Bill Frisell recently made a national television appearance in 1997 on Sessions at West 54th, and The New Yorker called him, "...the most distinctive stylist in contempo?rary jazz." That same year, his 1996 recording Quartet won the Deutsche Schallplattenpreis, the German equivalent of a Grammy Award. In 1998 Frisell's recording Nashville won the Downbeat Critics Poll for "Album of the Year," and he received both a Critics Award and an Industry Award in the category of "Best Guitarist" at the First Annual Jazz Awards, sponsored by the Knitting Factory and the Jazz Journalists Association.
Mr. Frisell recently performed a series of select solo dates, after which he docu?mented his first-ever solo record, produced by Lee Townsend which is set for release next year on Nonesuch. He also arranged and performed on a second collaboration with Elvis Costello, an album of songs by Mr. Costello and Burt Bacharach called The Sweetest Punch, released by Universal Classics earlier this fall. Mr. Frisell has also been busy composing and recording origi?nal soundtrack music for several projects: American Hollow, an HBO special about an Appalachian family; an educational radio program about the human genome called The DNA Files; Gus Van Sant's remake of the classic horror film Psycho; and new music for Gary Larson's second animated film project. Additionally, Mr. Frisell has been on the road with a new band called Bill Frisell and the Willies, featuring a variation on bluegrass instrumentation with Danny Barnes (banjo, guitar), Eyvind Kang (violin) and Keith Lowe (bass).
Bill Frisell was born in Baltimore and grew up in Denver, playing the clarinet in his high school band and discovering his love for the guitar through his exposure to pop music on the radio. His great enthusi?asm for the Chicago Blues particularly the music of B.B. King and Paul Butterfield -led to his complex affinity for contemporary American music. Mr. Frisell studied at the University of Northern Colorado and at the Berklee College of Music in Boston. In 1978, he spent a year composing in Belgium and then moved to New York City, where he spent the next ten years in fruitful collabo?ration with some of the most creative tal?ents of the downtown new music scene. In 1989, Bill Frisell moved to Seattle, where he continues to make his home.
Tonight's performance marks Bill Frisell's debut under UMS auspices.
Guitarist Greg Leisz has been much in demand for playing country, folk, and rock music as well as with pop artists Emmylou Harris, Linda Rondstat, Jewel, Beck, Dave Alvin, Peter Case, Paula Cole, Fiona Apple, the Smashing Pumpkins, and icons the Beach Boys, Joe Cocker, and Joni Mitchell. Leisz's primary instrument is the pedal-steel guitar but he's also gained a reputation for his wizardry on a variety of other string instruments: the acoustic dobro, Hawaiian Weissenborn, lap steel and mandolin, all of which he plays on Mr. Frisell's latest CD, Good Dog, Happy Man (Nonesuch).
Tonight's performance marks Greg Leisz's debut under UMS auspices.
Bassist David Piltch came of age in Toronto's jazz scene, accompanying such greats as Chet Baker, Art Pepper, Kenny Wheeler, and Tom Harrell. In more recent years he has relocated to the Los Angeles
area and now works with vocalists Holly Cole, Janice Ian, and k.d. lang.
Tonight's performance marks David Piltch's debut under UMS auspices.
Drummer Kenny Wollesen grew up in Santa Cruz, California and has since lived and worked in New York City for the past six years. He has played with John Zorn, Marc Ribot, John Medeski, Tom Waits, Sean Lennon, Mitchell Froom, Big John Patton, John Lurie, Jessica Williams and Myra Melford. In addition to his touring work with Bill Frisell he currently works with trumpeter Steven Bernstein's group Sex Mob, with Slow Poke and guitarist Leni Stern.
Tonight's performance marks Kenny Wollesen's debut under UMS auspices.
UMS
and
Charles Hall
with
Buena Vista Social Club present
Orquesta Ibrahim Ferrer & Ruben Gonzalez y su Grupo
Rhythm Saxophones and Flutes
Orlando "Cachaito" L6pez, Bass Jimmy Jenks
Adolfo Pichardo, Piano Tony Jimenez
Ruben Gonzalez, Piano Ventura Garcia
Angel "Pangle" Terry, Congas Julian Sanchez
Robertico "El Millonario" Garcia, Bongos
Filiberto Sanchez, Timbales Soneros
Ibrahim Ferrer
Brass Omara Portuondo
Alejandro Pichardo, Trumpet
Guajiro Mirabal, Trumpet Guitar
Jesus "Aguaje" Ramos, Trombone, Manolo Galban
Ruben's band leader
Demetrio Muniz, Trombone,
general band leader

Program
Saturday Evening, October 30,1999 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Orquesta Ibrahim Ferrer & Ruben Gonzdlez y su Grupo will announce their program from the stage.
Sixteenth Performance of the 121st Season
Sixth Annual Jazz Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by Charles Hall.
Special thanks to Charles Hall for his generous support of the University Musical Society.
Additional support provided by media sponsors, WEMU and Metro Times.
Special thanks to Dr. Alberto Nacif for serving as this evening's Pre-perfor-mance Educational Presenation (PREP) speaker.
The piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
Large print programs are available upon request.
Ibrahim Ferrer was born at a social club dance on February 20,1927 in San Luis, a town near Santiago, Cuba. He has never looked back from that musical introduction to the world. His mother died when he was twelve years old, and Ibrahim was forced to earn his own living singing on the streets of Santiago. At the age of thirteen he formed his first musical group with his cousin. They called themselves the Jovenes del Son (Young Men of Son), and performed at local private parties. Before long they attracted the atten?tion of some of Santiago's musicians and Ibrahim was called to sing with a succession
of bands, most notably the Conjunto Wilson, Conjunto Sorpresa and Maravilla Beltran.
Later he sang with Santiago's finest orchestra, Orquesta Chepin-Choven, a very influential jazz group lead by the composer Electo Rosell (known artistically as Chepin). Rosell composed one of Ibrahim's biggest hits, El platanal de Bartolo.
In 1953 Ibrahim Ferrer started to work with Pacho Alonso's group in Santiago. In 1959 the group moved permanently to Havana and renamed themselves Los Bocucos. (The name comes from a type of drum, used in Santiago carnivals). With the Bocucos, Ferrer's work consisted mainly of
guarachas, sones and up?tempo numbers, although Ibrahim yearned to sing boleros. He enjoyed some popularity with songs such as Mi Quimbin and El Platanal de Bartolo, but he would have to wait nearly forty years to record a bolero worthy of his considerable talents as a bolero singer, That song, Dos Gardenias by Isolina Carrillo, is featured on the Grammy Award-win?ning recording Buena Vista Social Club.
When a bolero singer of the old school was required for the World Circuit recording sessions in 1996, Ibrahim Ferrer was literally plucked off the streets of Havana where he was taking his daily walk. During the sessions he took part in the Afro-Cuban All Stars' Grammy-nominated record?ing A Toda Cuba le Gusta and is one of the main soneros on the million-sell?ing album Buena Vista
Social Club, produced by Ry Cooder.
Whereas the other stars from the Buena Vista sessions had originally some fame both in and outside of Cuba, Ibrahim Ferrei had never been recognized in his own right. He has since emerged as the one true dis?covery of the sessions. Always regarded as a "musician's musician," Ibrahim Ferrer has now been given the chance to display his great talent in both the rural Santiago and urban Havana traditions.
Whereas the other stars from the Buena Vista sessions had originally some fame both in and outside of Cuba, Ibrahim Ferrer had never been recognized in his own right. He has since emerged as the one true discovery.
In May, Ibrahim Ferrer's debut album, produced by Ry Cooder, was released world?wide by World CircuitNonesuch Records. He also plays a starring role in Win Wenders' documentary The Buena Vista Social Club, released in the US this past June.
"I pinch myself all the time," Ibrahim says. "It is a dream come true. When I was younger I thought I was going to travel the world with my music. The only chance I got was when I came to Europe in 1962. Then there was the missile crisis. I played in Paris and Eastern Europe with Pacho Alonso's orchestra and then I was stuck in Europe. I had to stay until everything settled down again before I could go home. Then nothing happened for thirty-five years. This has given me the will to live. I'm living the dream of my youth in the body of an old man."
Tonight's performance marks Ibrahim Ferrer's second appearance under UMS auspices.
It has been said that Ruben Gonzalez could have been a classical pianist or he could have been a doctor. Instead, he became one of the legendary fig?ures of Cuban music, whose piano sound has created trends and established styles for more than half a century. Gonzalez graduated from the Cienfuegos Conservatoire in 1934. He then
"The greatest piano soloist I have ever heard in my life. He's like a Cuban cross between Thelonious Monk and Felix the Cat." Ry cooner
attended medical school, thinking he would be a doctor by day and musician by night. But the rhythms of Cuban son in particular were in his blood. By 1941 he had aban?doned his medical studies and moved to Havana to make a full-time career as a musician.
Within a year he had joined the conjun-to of the legendary Arsenio Rodriguez and also played with Mongo Santamaria in the Orquesta de Los Hermanos. Today he is the
only survivor of a trio of pianists from the period, with Luis 'Lili' Martinez and Peruchin. Together, they helped shape the future sound of Cuban music, developing the mambo and embracing modern jazz harmonies. And at the same time, Gonzalez developed his own very distinctive style.
After traveling to Panama and Argentina to play with tango musicians,
oonzaiez returned to Havana to play with cabaret bands at clubs like the Tropicana. By the early 1960s he had teamed up with Enrique Jorrin, the creator of the cha-cha-cha. Gonzalez stayed with Jorrin for twenty-five years until the bandleader died in the mid-1980s. Gonzalez briefly took over as bandleader and retired shortly thereafter. The recording with Buena Vista Social Club and his own debut solo recording, Introducing Ruben Gonzalez, marks forty-three years since he first entered the studio with Arsenio Rodriguez.
After Gonzalez made his New York debut at Carnegie Hall in July 1998, The New York Times
critic Jon Pareles raved, "Mr. Gonzalez was the group's most determined crowd pleaser, splashing across the piano with two-handed chords, ending phrases with sweeping glis-sandos and quoting Liszt during a danzdn. In one tune, he carried a solo up to the top of the keyboard and beyond, playing the air while the audience cheered."
Tonight's performance marks Ruben Gonzalez' debut under UMS auspices.
UMS
and
Edward Surovell
Realtors
present
Emerson String Quartet
Philip Setzer, Violin (1st in Nos. 13 and 15) Eugene Drucker, Violin (1st in No. 14) Lawrence Dutton, Viola David Finckel, Cello
Program
Friday Evening, November 5,1999 at 8:00 Rackham Auditorium, Ann Arbor, Michigan
All-Shostakovich Program
String Quartet No. 13 in b-flat minor, Op. 138
Adagio
Doppio movimento
Tempo primo
(All mvts. attaca -without pause)
String Quartet No. 14 in F-sharp Major, Op. 142
Allegretto
Adagio
Allegretto Adagio
{Mvts. 2 and 3 attaca -without pause) INTERMISSION
String Quartet No. 15 in e-flat minor, Op. 144
Elegy: Adagio
Serenade: Adagio
Intermezzo: Adagio
Nocturne: Adagio
Funeral March: Adagio molto
Epilogue: Adagio
(All mvts. attacca -without pause)
There will be a brief question and answer session with the artists immediately following this performance.
Seventeenth Performance of the 121st Season
Thirty-seventh Annual Chamber Arts Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Tonight's performance is sponsored by Edward Surovell Realtors.
Special thanks to Edward Surovell for his continuing and generous support of the University Musical Society.
The Emerson String Quartet appears by arrangement with IMG Artists and records exclusively for Deutsche Grammophon.
Visit the Emerson String Quartet on the Internet at www.emersonquartet.com.
Large print programs are available upon request.
String Quartet No. 13 in b-flat minor, Op. 138
Dmitri Shostakovich
Born September 25, 1906 in St. Petersburg,
Russia Died August 9, 1975 in Moscow
The composition of the Violin Sonata (1968) and Symphony No. 14 separate String Quartet No. 12 from No. 13, all of these works in which the composer continued to prune his expressive means and to explore the possibilities of concentrated, twelve-note thematic writing without employing any dogmatic compositional system. In String Quartet No. 13, Shostakovich pursued the goal of cyclic unity to a logical conclusion by casting the work in a concise, symmetri?cal arch form in which the main events of the first half find a mirror reflection in the second.
Shostakovich dedicated his String Quartet No. 13, completed in August 1970, to Vadim Borisovsky, as a belated present for his seventieth birthday. Due to ill health, the longtime violinist of the Beethoven Quartet by this time had already ceded his place in the ensemble to his student Fyodor Druzhinin. The quartet received its premiere in Leningrad on December 13,1970. The composer honored its dedicatee by assign?ing the viola a prominent role in the com?position: the viola both opens the work with a solo statement of the main theme, and in a lengthy monologue accompanied only by the tapping of the bow on the belly of the violin, brings the work to its final sonority.
Of all Shostakovich's quartets, String Quartet No. 13 is tonally the most ambigu?ous, in disposition the most dark and deso?late. Its form is divided into five sections that can be graphically represented as ABCBA; the elegiac opening and closing sections (A) of the quartet are marked "Adagio" while the central sections double the tempo. The viola solo that opens the
quartet sculpts a twelve-note row into dis?tinctive sequential motives; the interval of the descending minor second, prominent in so much of the composer's late music, assumes special significance. As the tempo quickens, tentative staccato repetitions in the violin are transformed into violently struck chordal dissonances before splinter?ing among the instruments. In the central section of the work (C), the instruments flit in a macabre dance over a pizzicato ostinato figure, eerily punctuated by the hollow taps of bows on wood. The recapitulation of the earlier sections is rounded out by a coda for the viola that climbs gradually to a final, harrowing crescendo for the three upper instruments in unison on a stratospheric B-flat. (The precedent for this unusual ending can be found in Symphony No. 14.)
String Quartet No. 14 in F-sharp Major, Op. 142
Shostakovich
Shortly after the completion of his Symphony No. 15 in the summer of 1971, Shostakovich suffered his second heart attack. His heart improved, but his physical strength and mobility deteriorated significantly. A year later, while in the hospital for kidney stones, a cyst was discovered in his left lung and he began radiation treatments. (The cause of Shostakovich's death, in 1975, was lung can?cer.) What bothered him considerably more than his myriad disabilities and failing health, however, was the creative dry spell that they brought on; throughout his life the need for the sustenance of composing was on par with his need for food. His mood improved markedly in the spring of 1973, when the spell was finally broken with the composition of his String Quartet No. 14.
Dedicated to the one remaining mem?ber of the original Beethoven Quartet who
had not yet received individual recognition, the cellist Sergey (Seryozha) Shirinsky, Shostakovich personalized the dedication both by featuring his instrument and by imbedding a quote from Act IV of his opera, Katerina Izmaylova, ("Seryozha, my fine one") in the last movement. (The same quotation, incidentally, had already appeared in String Quartet No. 8.) Additionally, in the opening pizzicato motive of the last movement, Shostakovich spelled out the musical equivalent of the dedicatee's name. String Quartet No. 14 was given its premiere in Leningrad on November 12, 1973.
String Quartet No. 14 is in three move?ments, the second and third played without pause. In sharp contrast to his previous two quartets, in String Quartet No. 14 Shostakovich makes no use of twelve-note writing. Chromaticism is present, but its tonal contexts are more clearly defined; the sound is more "traditional." The cello intro?duces both main themes in the sonata-form first movement. The initial theme, with its simple descending, then ascending sequences reflect back to a more innocent, carefree past. Cadenzas for the viola and later the cello lead to a coda that brings the movement to a tranquil conclusion. The opening theme of the second movement is a fluid, expressive melody that evolved over a long span; much of the movement is in rar?efied two-part texture. A central episode presents a ravishing duet for cello above the first violin. (Shostakovich referred to this uncharacteristically sentimental departure as his "Italian bit.") The final movement contains crisp pointillistic fragmentation of themes from both first and second move?ments and concluded with an extensive reprise of the themes, including the "Italian" duet, from the slow movement.
String Quartet No. 15 in e-flat minor, Op. 144
Shostakovich
Nowhere in his instrumental music is Shostakovich's preoccupation with death more evident than in his last quartet, String Quartet No. 15. Completed in the hospital in May 1974, String Quartet No. 15 was the first quartet since String Quartet No. 6 (and one of a total of only three) that Shostakovich did not provide with a dedica?tion, although the bleak introspection of the quartet left no doubt in his contemporaries' minds that it was to be regarded as a per?sonal requiem. Shostakovich, however, did not end his composing career with String Quartet No. 15. Hard on its heels, in a burst of creative activity, he produced the Suite on Verses of Michelangelo Buonarroti and the Four Verses of Captain Lebyadkin in the summer of 1974. In the autumn, the Beethoven Quartet began rehearsing the new quartet; the sudden death of cellist Sergey Shirinsky, however, brought about Shostakovich's decision to consign the pre?miere to the Taneyev Quartet, who per?formed it in Leningrad on November 15, 1974.
The form of String Quartet No. 15 is unprecedented. All six of its movements, performed without a break, are marked "Adagio." The only contrast in tempo is provided by the fifth movement ("Funeral March"), though, significantly, its tempo is slower than that of the other movements. The consistency of tempo is matched by a unity of key; the tonic key of e-flat minor dominates the entire quartet. Within these restraints, however, Shostakovich achieves a maximum degree of variety and contrast. The "Elegy" exemplifies the austerity and concentration that prevails throughout. The mirror-like theme, introduced frugally, is archaic in its simplicity. The texture is modal and transparent, and the dynamic
level rarely rises above piano. The opening of the second movement, "Serenade," with its harsh, overlapping crescendos and stri?dent dissonance, makes a terrifying contrast. It paves the way for fragmentary strains of a waltz which fails to gain momentum before it is suppressed by destructive forces.
The "Intermezzo," with a cadenza-like flourish for the violin over a sustained pedal in the cello, acts as a transition to the "Nocturne." Here the warm, lyrical melody played by a muted viola is framed by the gently undulating arpeggiations of violin and cello. Toward the end, the intrusion of a dotted-note rhythmic motive heralds the "Funeral March," where emphatic chordal reiteration of the dotted motive alternates with impassioned statements by individual instruments. With rapid trilling effects, the "Epilogue" weaves together brief reminis?cences from the earlier movements into a cyclic whole.
Program notes by Laurel E. Fay.
Acclaimed for its artistry and dynamic performance style, the Emerson String Quartet has amassed an impressive list of achievements: an exclusive Deutsche Grammophon recording contract, four Grammy Awards one for "Best Classical Album" and three for "Best Chamber Music Performance" -Gramophone Magazine's "Record of the Year" award, regular appearances with virtu?ally every chamber music series and festival worldwide, and an international reputation as a quartet that approaches both the clas?sics and contemporary music with equal mastery and enthusiasm.
The Emerson String Quartet has an extensive 1999-2000 season. In the spring of 2000, the group will perform the complete
cycle of Shostakovich Quartets in a five-con?cert series to be presented at both New York's Alice Tully Hall and the Barbican Center in London. Additionally, the Quartet will participate in a Shostakovich sympo?sium and collaborate with renowned direc?tor Simon McBurney {Street of Crocodiles, The Chairs) in a theatrical work featuring Shostakovich's String Quartet No. 15. Blending film, poetry and live music by the Emerson Quartet, Mr. McBurney will cap?ture the essence of this haunted composer and the music Shostakovich devoted to remembrance and renewal. The Quartet continues its sold-out series at the Smithsonian Institution in Washington, DC and the Hartt School of Music. Additional North American concert venues include Chicago, Boston, Cleveland, Philadelphia, Pittsburgh, La Jolla, Aspen, San Francisco, Ann Arbor, Houston, Seattle and Mexico City. International highlights will be appear?ances in Paris, Zurich, Geneva, and tours of Germany and Italy.
In 1987, the Emerson signed an exclu?sive recording contract with Deutsche Grammophon, which led to its acclaimed recording of Bartok's complete string quar?tets. In 1990, the Emerson received the 1989 Grammy for "Best Classical Album" and 1989 Gramophone Magazine's "Record of the Year" award for the Bartok cycle. This was the first time in the history of each award that a chamber music ensemble had ever received the top prize. In 1994, the Emerson added another Grammy to its discography when American Originals, a disc of Ives and Barber quartets, received the award for "Best Chamber Music Recording." In March 1997, the Emerson released the complete quartets of Beethoven to overwhelming crit?ical acclaim, and the following year received its fourth Grammy award, for "Best Chamber Music Recording." A disc of Edgar Meyer's Bass Quintet paired with Ned
Rorem's String Quartet was released in March 1998. The Quartet's next major recording, the complete string quartets of Dmitri Shostakovich, will be released in January 2000. The theatrical nature of these extraordinary masterpieces and their power?ful effect on audiences led the Emerson to record them live during three summers at the Aspen Music Festival.
Formed in the Bicentennial year of the United States, the Emerson String Quartet took its name from the great American poet and philosopher Ralph Waldo Emerson. Violinists Eugene Drucker and Philip Setzer alternate in the first chair position, and are joined by violist Lawrence Dutton and cel?list David Finckel. All four members have performed numerous benefit concerts for
causes ranging from nuclear dis?armament to the fight against AIDS, world hunger and children's diseases. The Quartet has been the topic of two award-win?ning films and appears on a laser video disc released byTeldec. In 1994, the Quartet received the University Medal for Distinguished Service from the University of Hartford, and in 1995, each mem?ber was awarded an honorary doc?toral degree from Middlebury College in Vermont. The
Emerson String Quartet has been featured in The New York Times Magazine, USA Today, Elle, Bon Appetit, The Strad, and Strings. Television appearances include WNET's "City Arts" and A&E's Biography of Beethoven.
Tonight's performance marks the Emerson String Quartet's seventh appearance under UMS auspices.
Beethoven the Contemporary
UMS
presents
American String Quartet
Peter Winograd, Violin Laurie Carney, Violin Daniel Avshalomov, Viola David Geber, Cello

Program
Ludwig van Beethoven
Ruth Crawford Seeger
Sunday Afternoon, November 7, 1999 at 4:00 Rackham Auditorium, Ann Arbor, Michigan
String Quartet in c minor, Op. 18, No. 4
Allegro ma non tanto
Scherzo: Andante scherzoso quasi allegretto
Menuetto: Allegretto
Allegro
Quartet (1931) Rubato assai Leggiero, tempo giusto Andante Allegro possible
(All mvts. attacca -without pause)
INTERMISSION
String Quartet in E-flat Major, Op. 74
Poco Adagio; Allegro
Adagio, ma non troppo
Presto
Allegretto con variazioni
Eighteenth Performance of the 121st Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Support for this performance is provided by media sponsor, Michigan Radio.
Special thanks to the U-M School of Music and the Ann Arbor School for the Performing Arts for their assistance with this residency.
The American String Quartet is represented by Melvin Kaplan, Inc.
The American String Quartet records for CRI, Musical Heritage, Nonesuch, New World, and MusicMasters.
Large print programs are available upon request.
String Quartet in c minor, Op. 18, No. 4
Ludwig van Beethoven
Born December 16, 1770 in Bonn
Died March 26, 1827 in Vienna
Beethoven composed his first set of six string quartets, published as Op. 18 in 1801, during a period of transition within the genre. He was writing for a Viennese audi?ence raised on the works of Mozart and Haydn, both undisputed masters of the genre (in Haydn's case, still actively compos?ing chamber music), and the shadow of eighteenth-century classicism still loomed large over them. But even in these early works, Beethoven hinted at the new hori?zons of musical expression he would explore in Op. 59 and the later quartets. They demonstrate his facile assimilation of a rela?tively new tradition, and an increasingly secure commitment to his own developing musical language.
While it appears that Beethoven worked on Op. 18 mainly between 1798 and 1800, the lack of extant sketches for the fourth quartet suggest it may have been written under different circumstances, perhaps even at a later date than the other five. It is more expansive, vigorous, and richer in texture, and is the most emotionally intense of the set, a trait emphasized by the minor key. Moreover, the key of c-minor is one that Beethoven never took lightly throughout his career. While this quartet may not reach the passionate extremes of, for instance, the Pathetique piano sonata -an earlier c-minor work -it still retains some degree of its emotional gravity and seriousness.
The main theme of the opening "Allegro" sets the serious character immedi?ately, and establishes a new level of drama for the opening of a string quartet. Unusually for Beethoven, the first theme is a fully-fledged melody, lyrical and passionate, rather than a short, rhythmic motif. The
punctuating fortissimo chords at the close of the theme return periodically throughout the movement as a dramatic contrast, and some adventurous modulations in the reca?pitulation raise the level of intensity even further. But this is still an early work, not yet as emphatic as the c-minor Symphony No. 5, in which the passionate struggles would become deeply personal rather than merely musical.
This quartet is the first of several works by Beethoven to include both a scherzo and a minuet, with no slow movement. In the second movement marked "Scherzo," the fugato themes are a parody of classical coun?terpoint, constructed from little more than scale fragments and arpeggios. Beethoven even mimics a baroque-like hemiola at cadence points. But despite the studied banality, there is no ironic edge to the paro?dy; it's simply a playful badinage.
After the witty C-Major "Scherzo," the composer returns to tonic minor for the "Menuetto," recapturing the pathos of the opening movement. He omits the repeat of the trio's second section, and indicates that the da capo restatement of the minuet be taken faster than the original tempo. This movement is brooding and restless, relieved only by the A-flat trio, the only section of the entire quartet to provide tonal contrast, as all four movements keep 'c' as the tonic.
Like the finale of the Pathetique sonata, the finale movement of this quartet is vari?ously lively, gruff, and placid, with the rondo episodes providing opportunities for the greatest contrast. Its rustic, rough-edged vigor presses toward a prestissimo cascade. But then, just as the movement seems to relax into a quiet and subdued ending, Beethoven adds a resolute, unison conclu?sion.
Quartet (1931)
Ruth Crawford Seeger Born July 3, 1901 in East Liverpool, Ohio Died November 18, 1953 in Chevy Chase, Maryland
Ruth Crawford's early training followed a conventional path for women of her time seeking a career in music. She studied for the piano teaching certificate at the American Conservatory of Music in Chicago, and took harmony classes from Adolf Weidig, one of the few teachers there sympathetic to new developments in musical style. But Crawford's early compositions during this period (influenced by Scriabin, both in pianistic style and the meta-mysticism of his aesthet?ic theology) showed an exciting dynamism. Before long it was clear that she possessed tremendous compositional talent.
By the 1930s, Crawford had the support of Henry Cowell, who praised her as an exception to the stereotype of women com?posers as merely "sentimental melodists." She was awarded a Guggenheim fellowship in 1930, and moved to New York to study with Cowell's teacher, Charles Seeger (whom she eventually married). Crawford's biogra?pher, Judith Tick, writes that she avoided "Schoenberg's 'cerebral' approach" and focused on "Seeger's idee fixe (fixed idea) of heterophony, treating dissonance as a value one could apply to all aspects of music." The result was an informal and intuitive approach to what would later be codified as total serialism, with pitch, rhythm, and dynamics all "dissonated" and blended with her tremendous gift for melody.
The Quartet (1931), composed while in Europe, is considered by many to be Crawford's masterpiece, and a brilliant application of Seeger's "dissonant counter?point" theories. But soon after composing the string quartet, Crawford and her hus?band became more involved in the political "left," giving up avant-garde composition in
favor of the search for a "people's music." From 1936 until her death in 1953, she devoted herself to the folk music revival, publishing anthologies of folk songs and composing works based on folk melodies and rhythms.
The first movement of the Quartet, though notated mainly in 3A time, is so filled with quintuplet and triplet rhythms that there is little sense of metric regularity. In the vigorously polyphonic texture, one voice is always marked "solo," indicating which instrument has the prominent melody. The second movement follows without a break. A study in sixteenth-note rhythms, the counterpoint is conceived more traditionally here, with imitations of Renaissance hocket or rapid exchanges between instruments. The movement is liberally marked giocoso (joyfully).
In the third movement, Crawford explores "dissonant dynamics." Each instru?ment sustains a single note for several mea?sures, but the dynamics are individually shaped so that one instrument fades as another emerges. This gives the impression of simultaneous stasis and motion, much like Schoenberg's orchestral Farben, Op. 163. The stunningly majestic climax, with its high, crunching dissonances, anticipates the Polish school's string-texture experi?ments of the 1960s. Crawford arranged this movement as an independent work for string orchestra in 1938.
The final movement is an exact palin?drome: the second half is simply the retro?grade of the first half, played a half-step higher. It is cast as a dialog between the first violin (whose melody re-introduces the triplets and quintuplets from the first move?ment) and the rest of the quartet playing in unison. But there is little "conversation" involved, as each party seems oblivious to the other. The solo violin has the last (and first) say, but ultimately has been talking to itself the whole time.
String Quartet in E-flat Major, Op. 74
Beethoven
The year 1809 was not an especially produc?tive one for Beethoven. After completing the "Emperor" piano concerto, he wrote some piano sonatas (including Op. 81a, Das Lebewohl) but little else of import. The composer was concerned at the time about the political situation in Vienna, which was under attack from Napoleon's French forces. It was only when he escaped to the country?side away from Vienna, soon after finishing the concerto, that he regained some physical and psychological comfort, and composed the String Quartet in E-flat Major, Op. 74. But composition slowed again after he returned to the city. The following year was even less productive, with the Op. 95 string quartet standing out. He would not com?pose another string quartet until 1824. The Viennese audience's cool response to the Razumovsky (Op. 59) quartets in 1806 had troubled Beethoven, and he privately decided that his next quartet would be more accessible, more immediately pleasing to the listener. Joseph Kerman describes the Op. 74 quartet as an "open, unproblematic, lucid work of consolidation," written in response to the reception of Op. 59. But while there may be some conservative elements in it, the E-flat quartet can also be regarded as the first step toward the composer's later style, not least in its contrapuntal complexity and the tendency to eschew dramatic passion in favor of a calm quietude.
The first movement's opening "Poco Adagio" is questioning and hesitant, in a manner that would come to characterize the later quartets. But the following "Allegro" bears the classical hallmarks of balance and untroubled lightness; in Kerman's words, it is "ostentatiously at peace with itself." Whili in formal terms the movement is fairly straightforward, there are specific instru-
mental and textural touches that enliven the music. Extended pizzicato passages, especial?ly in the development section, have earned the quartet its nickname, the "Harp," while periodic unison writing endows the "Allegro" with another kind of textural variety.
The relaxed theme of the slow move?ment gives lie to those who think that Beethoven's gift for lyrical melody was limit?ed. The key of A-flat Major had already inspired some of the composer's most rav?ishing slow movements; as in the Pathetique sonata, he ornaments differently each return of the melody, interspersing it with rondo-like episodes. While the movement's gentle?ness may indicate either grief or serenity, the final marking in the score --"morendo" (dying away) -seems to represent more than just a performance indication. Again, the profundity anticipates the later quartets.
Though not marked as a scherzo, the third movement is certainly intense, and fast. It bears some affinity with the "scherzo" of Symphony No. 5, in key (c-minor, again) and in the aggressive counterpoint of the trio section. There is even an echo of the infamous "fate" motif in the rhythmic pat?terns. The form is the same as the scherzo movements in Op. 59, No. 2, and Symphonies No. 4 and No. 7, with the presto and trio repeating twice before the presto is heard a third time, pianissimo.
A long transition (which later inspired Schubert) leads without pause to the finale, and suggests that the final movement might be something of great import. Instead, Beethoven writes as innocuous a set of vari?ations as one is likely to find in his oeuvre. But this is not so much an anticlimax as energy dissipating into tranquility, recreat?ing the pastoral repose and charming ele?gance of the first movement.
Program notes by Luke Howard.
The American String Quartet celebrated its twenty-fifth anniversary in the 19981999 season with a tour that included concerts in all fifty states, a performance at the Kennedy Center in Washington, and two European tours. In the years since its inception, the Quartet has achieved a position of rare esteem in the world of chamber music. On annual tours that have included virtually every important concert hall in eight European countries and across North America, the Quartet has won critical acclaim for its presentations of the complete quartets of Beethoven, Schubert, Schoenberg, Bartok and Mozart, and for collaborations with a host of distinguished artists.
Resident Quartet at the Aspen Music Festival since 1974 and at the Taos School of Music since 1979, the American also has ongoing series at University of Michigan's University Musical Society and the Orange County Performing Arts Center in California. The Quartet is credited with broadening public awareness and enjoyment of chamber music across North America through educational programs, seminars, broadcast performances, and published arti-
cles. It was one of the first ensembles to receive a National Arts Endowment grant for its activities on college campuses. Its commitment to contemporary music has resulted in numerous commissions and awards, among them three prize-winners at the Kennedy Center's Friedheim Awards.
Quartet-in-Residence at the Manhattan School of Music in New York since 1984, the members of the Quartet were previously on the faculty of the Peabody Conservatory (where they initiated the program of quartet studies) and in 1992 they served as resident ensemble for the Van Cliburn International Piano Competition.
The American String Quartet continues to reach a widening audience through its recordings, most recently the complete
Mozart string quartets for MusicMastersMusical Heritage on a set of matched Stradivarius instru?ments, released during the 19971998 season. The Quartet's diverse activities have also included numer?ous radio and television broadcasts in fifteen coun?tries, tours to Japan and the Far East, and performances with the Montreal Symphony, the New York City Ballet and the Philadelphia Orchestra. The four musicians
studied at The Juilliard School, where the Quartet was formed in 1974, winning the Coleman Competition and the Naumburg Award that same year. Outside the Quartet, each finds time for solo appearances and recitals.
This performance marks the American String Quartet's eighth appearance under UMS auspices.
UMS
Experience
THE 1999-2000 UMS SEASON
All educational activities are free and open to the public unless otherwise noted ($). For more infor?mation on educational activities, call the UMS Education Office at 734.647.6712 or the UMS Box Office at 734.764.2538. Activities are also posted on the UMS Website at www.ums.org.
UMS Co-Commission Laurie Anderson Songs and Stories from Moby Dick
Thursday, September 30, 8 p.m. Friday, October 1, 8 p.m. Saturday, October 2, 8 p.m. Power Center
Video Screening of Laurie Anderson's Home of the Brave (1986) hosted by Linda Kendall, Technologist for the U-M Media Union. Wednesday, September 29,6:30 p.m., Ann Arbor District Library, Main Branch, Multipurpose Room, Lower Level. Master of Arts Interview with Laurie Anderson. Interviewed by Stephen Rush, Professor of MusicDance Technology. Friday, October 1,12 noon, Power Center. In conjunction with the Stamps' Visiting Arts Program of the U-M School of Art and Design, and the Institute for Research on Women and Gender, and the U-M Museum of Art.
Meet the Artist Post-performance dialogue from the stage. Friday and Saturday, October 1-2. Media sponsors WDET and Metro Times.
Detroit Symphony Orchestra
Neeme Jarvi, conductor Sergei Leiferkus, bass-baritone Estonian National Male Choir UMS Choral Union Sunday, October 3, 4 p.m. Hill Auditorium Sponsored by Bank One, Michigan. Media sponsor WGTE.
Andrea Marcovicci
Sunday, October 3, 6:30 p.m. Season Opening Dinner Michigan League Ballroom Please call 734.936.6837 for reser?vations and more information.
Amalia Hernandez' Ballet Folklorico de Mexico Tuesday, October 5, 8 p.m. Wednesday, October 6, 7 p.m. Power Center
Family Project Make a Mexican Skull Rattle at the Ann Arbor Art Center, Sunday, October 3. Call 734.994.8004 for more information ($). PREP "An Introduction to Mexican Folklore and Folkloric Dance" by Gregorio Luke, Director of the Latin American Museum of Los Angeles. Tuesday, October 5, 7 p.m., Michigan League, Vandenberg Room, 2nd Floor. Sponsored by Comerica, Inc. with support from AAA Michigan Media sponsor WDET.
Paco Pena and Inti-lllimani
Friday, October 8, 8 p.m. Michigan Theater Media sponsor WDET.
Lyon Opera Ballet
Mats Ek's Carmen and Solo for Two Saturday, October 16, 8 p.m. Sunday, October 17, 2 p.m. Power Center
PREP "The Lyon Opera Ballet" by Yorgos Loukos, Artistic Director. Saturday, October 16,7 p.m., Michigan League, Vandenberg Room, 2nd Floor. Drawn to Dance Students from the Ann Arbor Art Center sketch the Lyon Opera Ballet dancers in rehearsal. Saturday, October 16, Power Center. For information and registration, call the Ann Arbor Art Center, 734.994.8004. $
Ballet Master Class with Yorgos Loukos, Artistic Director. Saturday, October 16, 10 a.m., Eastern Michigan University. Advanced level students only. To register call EMU Dance Department, 734.487.1211. $ Meet the Artist with Yorgo Loukos, artistic director. Post-performance dialogue from the stage. Saturday, October 16.
Berlin Philharmonic Orchestra
Claudio Abbado, music director Wednesday, October 20, 8 p.m. Hill Auditorium Lecture and Reception "Why is Schoenberg's Music So Easy to Understand" with Glenn Watkins, Earl V. Moore Professor of Music. Wed, Oct 20,5 p.m., U-M Institute for the Humanities. In conjunction with the Center for European Studies. Presented with the generous support of Wilhelm Kast and Friends of the Berlin Philharmonic Orchestra. Media sponsor WGTE.
Moondrunk Da Camera of Houston Conceived by Sarah Rothenberg ChoreographyStage Direction
by John Kelly Lucy Shelton, soprano Friday, October 22, 8 p.m. Power Center
The King's Singers and Evelyn Clennie, percussion
Saturday, October 23, 8 p.m. Hill Auditorium Co-sponsored by O'Neal Construction, Inc. and ElastizelL Media sponsor WDET.
Schoenberg and His Kind Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music Sunday, October 24,4 p.m. Rackham Auditorium Complimentary Admission
Sankai Juku Hiyomeki
Wednesday, October 27, 8 p.m. Power Center PREP "Ecstatic Meditation: The Performance Tradition of Sankai )uku" by Kate Remen, UMS Education and Audience Development Manager. Wednesday, October 27,7 p.m., Michigan League, Vandenberg Room, 2nd Floor. Media sponsor WDET.
Bill Frisell's New Quartet
Thursday, October 28, 8 p.m.
Power Center
Meet the Artist Post-performance
dialogue from the stage.
Media sponsors WEMU and WDET.
Buena Vista Social Club
presents
Orquesta Ibrahfm Ferrer &
Ruben Gonzalez y su Grupo
Saturday, October 30, 8 p.m. Hill Auditorium
PREP "The Cuban Son, its Origins and Evolution; or. Why is Cuban Music so Much Fun" by Dr. Alberto Nacif, Cuban musicologist and percussionist. Saturday, October 30,7 p.m., Michigan League, Vandenberg Room, 2nd Floor. Presented with the generous support of Charles Hall. Media sponsors WEMU and Metro Times.
Emerson String Quartet
Friday, November 5, 8 p.m.
Rackham Auditorium
Meet the Artist Post-Performance
dialogue from the stage.
Sponsored by Edward Surovell Realtors.
American String Quartet
Beethoven the Contemporary Sunday, November 7,4 p.m. Rackham Auditorium Media sponsor Michigan Radio.
Les Arts Florissants Henry Purcell's King Arthur
William Christie, conductor
Wednesday, November 10, 8 p.m.
Hill Auditorium
PREP "Purcell's Music for the Stage"
with Ellwood Derr, U-M Professor of
Music. Wednesday, November 10,7 p.m.,
Michigan League, Vandenberg Room,
2nd Floor.
Presented with the generous support of
Maurice and Linda Binkow. Media
sponsor WGTE.
Theatre of Voices
Paul Hillier, director Friday, November 12, 8 p.m. St. Francis of Assisi Catholic Church
Presented with the generous support of Robert and Pearson Macek.
Paco de Lucia and Septet Friday, November 19, 8 p.m. Hill Auditorium Sponsored by Parke-Davis Pharmaceutical Research. Media spon?sors WEMU and Metro Times.
KREMERata BALTICA
Gidon Kremer, violin Sunday, November 21,4 p.m. Rackham Auditorium Sponsored by Deloitte & Touche.
The Harlem Nutcracker Donald ByrdThe Group
Friday, November 26-Sunday, December 5 Detroit Opera House Co-presented with the Detroit Opera House and The Arts League of Michigan and presented with support from the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network.
Handel's Messiah UMS Choral Union Ann Arbor Symphony Orchestra
Tamara Matthews, soprano Ewa Podles, contralto Glenn Siebert, tenor Andrew Wentzel, bass-baritone Thomas Sheets, conductor Saturday, December 4, 8 p.m. Sunday, December 5, 2 p.m. Hill Auditorium Presented with the generous support of Jim and Millie Irwin.
Boys Choir of Harlem
Thursday, December 9, 8 p.m. Hill Auditorium Sponsored by Thomas B. McMullen Co. A Heartland Arts Fund Program with the National Endowment for the Arts and the Michigan Council for Arts and Cultural Affairs.
Frederica von Stade, mezzo-soprano
Martin Katz, piano Friday, December 10, 8 p.m. Lydia Mendelssohn Theatre PREP with Richard LeSueur, Vocal Arts Information Services. Friday, December 10, 7 p.m., Michigan League, Koessler Library, 3rd Floor. Sponsored by National City Bank. Media sponsor WGTE.
A Lutheran Christmas
Celebration (c. 1620) Gabrieli Consort & Players
UMS Choral Union Paul McCreesh, director Tuesday, December 14, 8 p.m. St. Francis of Assisi Catholic Church
The Romeros
Sunday, January 9, 4 p.m. Rackham Auditorium
Bebe Miller Company
Saturday, January 15, 8 p.m. Power Center
Master of Arts Interview with Bebe Miller, choreographer, and showing of Three, a film by Isaac Julien featuring Bebe Miller and Ralph Lemon. Friday, January 14,7 p.m., Betty Pease Studio, 2nd Floor, U-M Dance Department. In conjunction with the Institute for Research on Women and Gender, Center for Afroamerican and African Studies, Center for Education of Women, and U-M Department of Dance. Dance Master Class Saturday, January 15,10:30 a.m., U-M Dance Department, Studio A.
PREP "Identity and Process in Bebe Miller's Choreography" by Kate Remen, UMS Education and Audience Development Manager. Saturday, January 15, 7 p.m., Michigan League, Koessler Library, 3rd Floor. Meet the Artist Post-performance dialogue from the stage. Dance Department Mini Course "Four Women of the Dance:" a mini-course based on the UMS sponsored performances of four major American women choreographers" taught by Gay Delanghe, U-M Professor of Dance. Winter Term, 2000. Mass Meeting, Saturday, January 8,12 noon. For infor?mation, delanghe@umich.edu or call U-M Department of Dance, 734.763.5460. Media sponsors WDET and Metro Times.
Take 6
Monday, January 17, 8 p.m. Hill Auditorium Sponsored by Butzel Long Attorneys with support from Republic Bank. Media sponsors WEMU and WDET. Co-presented with the U-M Office of Academic Multicultural Initiatives.
Yo-Yo Ma, cello Kathryn Stott, piano
Thursday, January 20, 8 p.m. Hill Auditorium Sponsored by Forest Health Services. Media sponsor WGTE.
American String Quartet
Beethoven the Contemporary Sunday, January 23, 4 p.m. Rackham Auditorium Media sponsor Michigan Radio.
Russian National Orchestra
Mikhail Pletnev, conductor Francesko Schlime, piano UMS Choral Union Monday, January 24, 8 p.m. Hill Auditorium
Center for Russian and Eastern European Studies Symposium "Scriabin and the End of Time" Sunday, January 23, Rackham Auditorium and Media Union. Full schedule at http:www-personal.umich. eduagreenesymposium.html or call 734.764.0351.
CREES Mini-Course on Fin de Siecle Russian Culture with Arthur Greene, Professor of Music and Michael Makin, Professor of Slavic Languages and Literature. Winter Term, 2000. For information, http:www-personal.umich. eduagreenesymposium.html or call 734.764.0351.
Sponsored by Charla Breton Associates. Media sponsor WGTE.
Barbara Hendricks, soprano Staffan Scheja, piano Saturday, January 29, 8 p.m. Lydia Mendelssohn Theatre PREP with Naomi Andre, U-M Professor of Music and Musicology. Saturday, January 29, 7 p.m., Michigan League, Koessler Library, 3rd Floor. Media sponsor WGTE.
Mozart and Friends --
A Birthday Celebration Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music Elwood Derr, director Sunday, January 30, 4 p.m. Rackham Auditorium Complimentary Admission
Jazz at Lincoln Center Sextet
Friday, February 4, 8 p.m. Saturday, February 5, 2 p.m. (One-Hour Family Performance) Michigan Theater
Jazz Combo Master Classes with the Jazz at Lincoln Center Sextet. Thursday, February 3,7 p.m., U-M School of Music.
Sponsored by Blue Nile Restaurant with support from Hudson's and the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network. These concerts are part of Chamber Music
America's "A Musical Celebration of the Millennium." Media sponsors WEMU and WDET.
Gothenburg Symphony Orchestra
Neeme Jarvi, conductor Yuri Bashmet, viola Saturday, February 5, 8 p.m. Hill Auditorium Media sponsor WGTE.
Meredith Monk Magic Frequencies A Science Fiction Chamber Opera
Wednesday, February 9, 8 p.m. Power Center
Master of Arts Interview with Meredith Monk interviewed by Beth Genn?, U-M Professor of Dance, Dance History and Art. Tuesday, February 8,12 noon. In conjunction with the Institute for Research on Women and Gender, U-M School of Music, Center for Education of Women, and the U-M Department of Dance. PREP "Goddess Meredith: The Interdisciplinary Genius of Meredith Monk" by Ben Johnson, UMS Director of Education and Audience Development. Wednesday, February 9, 7 p.m., Michigan League Koessler Library (3rd Floor). Meet the Artist Post-performance dialogue from the stage. Funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from the National Endowment for the Arts and the Doris Duke Charitable Foundation. Media sponsors WDET and Metro Times.
Doudou N'Diaye Rose,
master drummer Drummers of West Africa
Thursday, February 10, 8 p.m. Hill Auditorium
Master of Arts Interview with Doudou N'Diaye Rose. Interviewed by Dr. Lester Monts, Associate Provost for Academic Affairs. Thursday, February 10, 3 p.m., U-M School of Music Recital Hall. In conjunction with the Center for Afroamerican and African Studies.
Sponsored by Comerica, Inc. Media sponsors WEMU and Metro Times.
UMS Co-Commission Martha Clarke Vers la flamme
Christopher O'Riley, piano Friday, February 11, 8 p.m. Power Center
Master of Arts Interview with Martha Clarke, interviewed by Susan Nisbett, Dance and Music reviewer for the Ann Arbor News. Friday, February 11,12 p.m., Betty Pease Studio, U-M Dance Department, 2nd Floor. In conjunction with the Institute for Research on Women and Gender, Center for Education of Women, and the U-M Department of Dance. PREP "Interdisciplinary Inspiration: Martha Clarke's Choreographic Trajectory" by Kate Remen, UMS Education and Audience Development Manager. Friday, February 11,7 p.m., Michigan League, Vandenberg Room, 2nd Floor.
Meet the Artist Post-performance dialogue from the stage. Dance Master Class Saturday, February 12,10:30 a.m., U-M Dance Department, Studio A.
Anne-Sophie Mutter, violin Lambert Orkis, piano
Saturday, February 12, 8 p.m.
Hill Auditorium
Sponsored by KeyBank. Media sponsor
WGTE.
Estonian Philharmonic Chamber Choir
Tonu Kaljuste, director Sunday, February 13, 8 p.m. St. Francis of Assisi Catholic Church
Murray Perahia, piano
Wednesday, February 16, 8 p.m. Hill Auditorium Master of Arts Interview of Murray Perahia by Susan Isaacs Nisbett, music and dance writer for the Ann Arbor News. Tuesday, February 15,7 p.m., U-M School of Music Recital Hall. Sponsored by CFI Group. Media sponsor WGTE.
New York City Opera National Company Rossini's The Barber of Seville
Thursday, February 17, 8 p.m. Friday, February 18, 8 p.m. Saturday, February 19, 2 p.m. (One-Hour Family Performance)
Saturday, February 19, 8 p.m.
Power Center
PREP "Opera 101 for Adults" with
Helen Siedel, UMS Education
Specialist. Friday, February 18,6:45
p.m., Michigan League, Hussey Room,
2nd Floor.
"PREP for Kids" with Helen Siedel,
UMS Education Specialist. Saturday,
February 19, 1 p.m., Michigan League,
Koessler Library, 3rd Floor.
Sponsored by Parke-Davis Pharmaceutical
Research.
Christian TetzlafF, violin
Sunday, February 20, 8 p.m. St. Francis of Assisi Catholic Church
The Chieftains
Wednesday, March 8, 8 p.m. Hill Auditorium Sponsored by Bank of Ann Arbor. Media sponsor WDET.
Ballet d'Afrique Noire The Mand'mka Epic
Jean Pierre Leurs, director
Thursday, March 9, 8 p.m.
Friday, March 10, 8 p.m.
Power Center
Master Classes Saturday, March 11
at Washtenaw Community College and
U-M Dance Department. Please call
734.647.6712 for times.
Sponsored by Detroit Edison Foundation.
Media sponsors WEMU and Metro
Times.
The English Concert Trevor Pinnock, conductor harpsichord
Saturday, March 11,8 p.m. Hill Auditorium PREP with Steven Whiting, U-M Professor of Musicology. Saturday, March 11,7 p.m., Michigan League, Hussey Room, 2nd Floor. Sponsored by Miller, Canfield, Paddock and Stone. Media sponsor WGTE.
Maestro AN Akbar Khan
accompanied by
Zakir Hussain
Friday, March 17, 8 p.m.
Hill Auditorium
Sponsored by Megasys Software Services,
Inc. Media sponsor WDET.
Oscar Peterson Quartet
Saturday, March 18, 8 p.m. Hill Auditorium PREP with Linda Yohn, Programming Director of WEMU. Saturday, March 18, 7 p.m. Michigan League, Hussey Room, 2nd Floor.
Master of Arts Interview with Oscar Peterson, jazz piano. Saturday, March 18,12 noon, Kerrytown Concerthouse, 415 N. Fourth Avenue, Ann Arbor. In conjunction with Kerrytown Concert House, U-M Department of Jazz Studies, and Southeastern Michigan Jazz Association, and the Center for Afroamerican and African Studies. Sposored by Arbor TemporariesPersonnel Systems, Inc.'Arbor Technical Staffing. Media sponsor WEMU.
American String Quartet
Beethoven the Contemporary Sunday, March 19, 4 p.m. Rackham Auditorium Meet the Artist Post-performance dia?logue from the stage. Media sponsor Michigan Radio.
Thomas Quasthoff, baritone
Justus Zeyen, piano Monday, March 20, 8 p.m. Lydia Mendelssohn Theatre PREP with Richard LeSueur, Vocal Arts Information Service. Monday, March 20, 7 p.m., Michigan League, Koessler Room, 3rd Floor. Meet the Artist Post-performance dialogue from the stage. Media sponsor WGTE.
J.S. Bach Birthday Celebration Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music Wednesday, March 22, 8 p.m. Rackham Auditroium Complimentary Admission
Forgiveness
Chen Shi-Zheng, director Friday, March 24, 8 p.m. Michigan Theater Presented with the generous support of Dr. Herbert Sloan.
Mammas
A Mediterranean Women's
Music Summit
Saturday, March 25, 8 p.m. Michigan Theater Sponsored by Ideation.
Beaux Arts Trio
Sunday, March 26, 4 p.m. Rackham Auditorium Sponsored by Dow Automotive.
Moscow Virtuosi
Vladimir Spivakov, conductor Inva Mula, soprano Friday, March 31,8 p.m. Rackham Auditorium Sponsored by Edward Surovell Realtors.
Czech Philharmonic Orchestra
Vladimir Ashkenazy, conductor Saturday, April 1, 8 p.m. Hill Auditorium Sponsored by Pepper Hamilton LLP. Media sponsor WGTE.
The Watts Prophets
with special guest Toni Blackman Saturday, April 8, 8 p.m. Michigan Theater Open Rehearsal at the Michigan Theater.
Hip-Hop Panel Discussion with the Watts Prophets, Toni Blackman, and Detroit Hip-Hop artists. Wednesday, April 5. In conjunction with the Center for Afroamerican and African Studies and the Institute for Research on Women and Gender, and the King Chavfa Parks Visiting Professor's Program and the Office of the Provost. Toni Blackman is presented in conjunc?tion with the Institute for Research on Women and Gender and the Center for Afroamerican and African Studies. Media sponsors WEMU and Metro Times.
Trisha Brown Company
Wednesday, April 12, 8 p.m. Power Center
Institute of the Humanities Brown Bag Lunch "Form and Structure: The Cycles in Trisha Brown's Choreographic Career" by Kate Remen, UMS Education and Audience Development Manager. Tuesday, February 1,12 p.m., U-M Institute for the Humanities. Master of Arts Interview with Trisha Brown, choreographer. Interviewed by Ben Johnson, UMS Department of Education and Audience Development. Wednesday, April 12,12 noon, U-M Department of Dance, Betty Pease Studio, 2nd Floor. In conjunction with the Institute for Research on Women and Gender and the U-M Department of Dance.
PREP "Trisha Brown's Music Cycle: A Choreographer's Journey" by Ben Johnson, UMS Director of Education and Audience. Wednesday, April 12, 7 p.m., Michigan League, Koessler Library, 3rd Floor. Meet the Artist Post-performance dialogue from the stage.
Susanne Mentzer, mezzo-soprano Sharon Isbin, guitar
Thursday, April 13, 8 p.m. Lydia Mendelssohn Theatre
Vocal Master Class with Susanne Mentzer. Friday, April 14, U-M School of Music.
Presented with the generous support of Ronald and Sheila Cresswell. Media sponsor WGTE.
Australian Chamber Orchestra
Richard Tognetti, conductor Anne-Marie McDermott, piano Friday, April 14, 8 p.m. Rackham Audtorium
J.S. Bach's St. Matthew Passion UMS Choral Union Ann Arbor Symphony
Orchestra
Ann Arbor Youth Chorale Thomas Sheets, conductor Sunday, April 16, 4 p.m. Hill Auditorium PREP Sunday, April 16, 3 p.m., Michigan League, Koessler Library, 3rd Floor.
Presented with the generous support of Carl and Isabelle Brauer.
Lincoln Center Jazz Orchestra Dance Tour
with Wynton Marsalis Saturday, April 22, 8 p.m. EMU Convocation Center
Swing Dance Lesson with the Lincoln Center Jazz Orchestra Dancers. Saturday, April 22,6:30 p.m., Eastern Michigan University Convocation Hall. Sponsored by Hudson's Project Imagine. Presented with support from the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network. Media sponsor WEMU.
The Ford Honors Program is made possible by a generous grant from the Ford Motor Company Fund and benefits the UMS Education Program.
Each year, UMS honors a world-renowned artist or ensemble with whom we have maintained a long-standing and significant relationship. In one evening, UMS pays tribute to and presents the artist with the UMS Distinguished Artist Award, and hosts a dinner and party in the artist's honor. This season's Ford Honors Program will be held on Friday, May 5, 2000. The recipient of the 2000 UMS Distinguished Artist Award will be announced in January.
EDUCATION & AUDIENCE DEVELOPMENT
In the past several seasons, UMS' Education and Audience Development program has grown significantly. With a goal of deepening the understanding of the importance of the live performing arts and the major impact the arts can have in the community, UMS now seeks out active and dynamic collabora?tions and partnerships to reach into the many diverse communities it serves.
Family Performances
For many years, UMS has been committed to providing the opportunity for families to enjoy the arts together.
This season's special, one-hour Family Performances include:
? Amalia Hernandez' Ballet Folklorico de Mexico
? Boys Choir of Harlem
Jazz at Lincoln Center Sextet
New York City Opera National Company: The Barber of Seville
Specially designed for family participation that creates an environment where both chil?dren and adults can learn together, the UMS Family Performances are a great way to spend quality time with your children.
Master of Arts Interview Series
Now entering its fourth year, this series is an opportunity to showcase and engage our artists in academic, yet informal, dialogues about their art form, their body of work and their upcoming performances.
This year's series includes interviews with:
? Laurie Anderson
Bebe Miller
Meredith Monk
' Doudou D'Diaye Rose
Martha Clarke
Murray Perahia
Trisha Brown
PREPs (Performance-Related Educational Presentations)
This series of pre-performance presentations features talks, demonstrations and workshops designed to provide context and insight into the performance. All PREPs are open to the public and usually begin one hour before curtain time.
Meet the Artists: Post-Performance Dialogues
The Meet the Artist Series provides a special opportunity for patrons who attend perform?ances to gain additional understanding about the artist, performance and art form. Each Meet the Artist event occurs immediately after the performance, and the question-and-answer session takes place from the stage.
Residency Activities
UMS residencies cover a diverse spectrum of artistic interaction, providing more insight and greater contact with the artists. Residency activities include interviews, open rehearsals, lecturedemonstrations, in-class visits, master classes, participatory workshops, clinics, visit?ing scholars, seminars, community projects, symposia, panel discussions, art installations and exhibits. Most activities are free and open to the public and occur around the date of the artist's performance.
Major residencies for the 19992000 season are with:
? Lyon Opera Ballet
American String Quartet
Russian National Orchestra
? Jazz at Lincoln Center Sextet
Chen Shi-Zheng's Forgiveness
? The Watts Prophets
Trisha Brown Company
ATTENTION TEACHERS AND EDUCATORS!
Youth Performances
These performances are hour-long or full length, specially designed, teacherand stu?dent-friendly live matinee performances.
The 19992000 Youth Performance Series includes:
Amalia Hernandez' Ballet Folklorico de Mexico
The Harlem Nutcracker
Boys Choir of Harlem
New York City Opera National Company: The Barber of Seville
Ballet d'Afrique Noire: The Mand'mka Epic
Trisha Brown Company
Teachers who wish to be added to the youth performance mailing list should call 734.615.0122.
The Youth Education Program is sponsored by
Teacher Workshop Series
This series of workshops for all K-12 teachers is a part of UMS' efforts to provide school?teachers with professional development oppor?tunities and to encourage ongoing efforts to incorporate the arts in the curriculum.
This year's Kennedy Center Workshops are:
"Developing Literacy Skills Through Music"
"Bringing Literature to Life"
"Making History Come Alive"
? "Reaching the Kinesthetic Learner Through Movement"
Workshops focusing on the UMS youth performances are:
"Opera in the Classroom"
"African Drumming in the Classroom"
"Jazz in the Classroom" with the Jazz at
Lincoln Center Sextet
"Modern Dance in the Classroom"
For information and registration, please call 734.615.0122.
The Kennedy Center Partnership
The University Musical Society and Ann Arbor Public Schools are members of the Performing Arts Centers and Schools: Partners in Education Program of the John F. Kennedy Center for the Performing Arts. Selected because of its demonstrated com?mitment to the improvement of education in and through the arts, the partnership team participates in collaborative efforts to make the arts integral to education and creates a multitude of professional development opportunities for teachers and educators.
Special Discounts for Teachers and Students to Public Performances
UMS offers special discounts to school groups attending our world-class evening and weekend performances. Please call the Group Sales Office at 734.763.3100 for more infor?mation about discounts for student and youth groups.
DINING EXPERIENCES
UMS Camerata Dinners
Hosted by members of the UMS Board of Directors, Camerata dinners are a delicious and convenient beginning to your concert evening and are welcome to all. Our dinner buffet is open from 6:00 to 7:30 p.m. offering you the perfect opportunity to arrive early, park with ease, and dine in a relaxed setting with friends and fellow patrons. All dinners are held in the Alumni Center unless otherwise noted below. Dinner is $25 per person. Reservations can be made by calling 734.647.8009. UMS members receive reservation priority.
Wednesday, October 20
Berlin Philharmonic Orchestra
Saturday, October 23
The King's Singers and Evelyn Glennie This dinner will be held in the Stearns' Room in Hill Auditorium.
Wednesday, November 10
Les Arts Florissants Henry Purcell's King Arthur
Thursday, January 20
Yo-Yo Ma
Monday, January 24
Russian National Orchestra
Saturday, February 5
Gothenburg Symphony Orchestra
Saturday, February 12
Anne-Sophie Mutter
Wednesday, February 16
Murray Perahia
? Saturday, March 11
The English Concert
? Saturday, April 1
Czech Philharmonic Orchestra
Please Note: All dinners are scheduled prior to performances on the Choral Union Series except for the Saturday, October 23 dinner prior to The King's Singers. This performance is part of the Ann Arbor Favorites Series.
RESTAURANT & LODGING PACKAGES
Celebrate in style with dinner and a show or stay overnight and relax in comfort! A delicious meal followed by priority, reserved seating at a performance by world-class artists makes an elegant evening -add luxury accommodations to the package and make it a complete get-a-way. The University Musical Society is pleased to announce its cooperative ventures with the following local establishments:
The Artful Lodger Bed & Breakfast
1547 Washtenaw Avenue 734.769.0653 for reservations Join Ann Arbor's most theatrical host and hostess, Fred & Edith Leavis Bookstein, for a weekend in their massive stone house built in the mid-1800s for U-M President Henry Simmons Frieze. This historic house, located just minutes from the performance halls, has been comfortably restored and furnished with contemporary art and performance memorabilia. The Bed & Breakfast for Music and Theater Lovers!
Package price ranges from $200 to $225 per couple depending upon performance (subject to availability) and includes two nights stay, breakfast, high tea and two prior?ity reserved tickets to the performance.
The Bell Tower Hotel & Escoffier Restaurant
300 South Thayer
734.769.3010 for reservations and prices Fine dining and elegant accommodations, along with priority seating to see some of the world's most distinguished performing artists, add up to a perfect overnight holiday. Reserve space now for a European-style guest room within walking distance of the per?formance halls and downtown shopping, a special performance dinner menu at the
Escoffier restaurant located within the Bell Tower Hotel, and priority reserved "A" seats to the show. All events are at 8 p.m. with dinner prior to the performance.
Sat. Jan. 15 Bebe Miller Company Sat. Jan. 29 Barbara Hendricks, soprano Fri. Feb. 4 Jazz at Lincoln Center Sextet
Sat. Feb. 5 Gothenburg Symphony Orchestra
Sat. Feb. 12 Anne Sophie Mutter, violin Sat. Feb. 19 New York City Opera National
Company: The Barber of Seville Fri. Mar. 10 Ballet d'Afrique Noire:
The Mandinka Epic
Fri. Mar. 17 Ali Akbar Khan and Zakir Hussain Sat. Mar. 25 Mammas: A Mediterranean
Women's Music Summit Fri. Apr. 14 Australian Chamber Orchestra
Package includes valet parking at the hotel, overnight accommodations in a European-style guest room, a continental breakfast, pre-show dinner reservations at Escoffier restaurant in the Bell Tower Hotel, and two performance tickets with preferred seating reservations.
Gratzi Restaurant
326 South Main Street
734.663.5555 for reservations and prices
Sat. Oct. 30 Buena Vista Social Club presents Orquesta Ibrahim Ferrer & Ruben Gonzalez y su Grupo
Fri. Nov. 19 Paco de Lucia and Septet
Sun. Dec. 5 Handel's Messiah
(post-performance dinner)
Mon. Jan. 17 Take 6
Fri. Feb. 18 New York City Opera National Company: The Barber of Seville
Sat. Mar. 18 Oscar Peterson Quartet
Sat. Apr. 1 Czech Philharmonic Orchestra
Pre-performance dinner Package includes guaranteed reservations for a preor post-performance dinner (choose any selection from the special package menu plus a non-alcoholic beverage) and reserved "A" seats on the main floor at the performance.
THE UMS PREFERRED RESTAURANT PROGRAM
Visit and enjoy these fine restaurants. Join us in thanking them for their generous support of UMS this season.
Azure
625 Briarwood Circle 734.747.9500 Experience the culture of fourteen Mediterranean countries with our authentic cuisine and cerulean bar. Reservations accepted for preand post-UMS performances. Visit us at www.azureusa.com.
Bella Ciao Trattoria
118 West Liberty 734.995.2107 Known for discreet dining with an air of casual elegance, providing simple and elabo?rate regional Italian dishes for you and your guests' pleasure. Reservations accepted.
Blue Nile
221 East Washington Street 734.998.4746 Join us for an authentic dining adventure to be shared and long remembered. Specializing in poultry, beef, lamb and vegetarian specialties. Outstanding wine and beer list.
Cafe Marie
1759 Plymouth Road 734.662.2272 Distinct and delicious breakfast and lunch dishes, creative weekly specials. Fresh-squeezed juice and captivating cappuccinos! A sunny, casual, smoke-free atmosphere. Take out available.
The Chop House
322 South Main Street 734.669.9977 Ann Arbor's newest taste temptation. An elite American Chop House featuring U.S.D.A. prime beef, the finest in Midwestern grain-fed meat, and exceptional premium wines in a refined, elegant setting. Open nightly, call for reservations.
The Original Cottage Inn
512 East William 734.663.3379 An Ann Arbor tradition for more than 50 years. Featuring Ann Arbor's favorite pizza, a full Italian menu, banquet facilities and cater?ing services.
D'Amato's Neighborhood Restaurant
102 South First Street 734.623.7400 Casual dining, serving wonderful home style Italian cuisine; many entrees changed daily. Featuring 35 wines by the glass, banquet seat?ing, and moderate prices. Rated '4 Stars' by the Detroit Free Pressl Reservations welcome.
The Earle
121 West Washington 734.994.0211 Provincial French and Italian dishes served in a casually elegant cellar setting. Wine list of over 1,000 selections. Live music nightly. Private rooms seat 8-30.
Gandy Dancer
401 Depot Street 734.769.0592 Located in the historic 1886 railroad depot. Specializing in fresh seafood. Lunches Monday-Friday 11:30-3:30. Dinners Monday-Saturday 4:30-10, Sunday 3:30-9. Award win?ning Sunday brunch 10:00-2:00. Reservations recommended.
Gratzi
326 South Main Street 734.663.5555 Celebrated, award-winning Italian cuisine served with flair and excitement. Sidewalk and balcony seating. Open for lunch and dinner. Reservations accepted.
The Kerrytown Bistro
At the comer of Fourth Ave and Kingsley in Kerrytown 734.994.6424 The Kerrytown Bistro specializes in fine French Provincial inspired cuisine, excellent wines and gracious service in a relaxed, inti?mate atmosphere. Hours vary, reservations accepted.
La Dolce Vita
322 South Main Street 734.669.9977 Offering the finest in after-dinner pleasures. Indulge in the delightful sophistication of gourmet desserts, fancy pastries, cheeses, fine wines, ports, sherries, martinis, rare scotches, hand-rolled cigars and much more. Open nightly.
Mild
106 South First Street 734.665.8226 Award-winning classic Japanese food based on the freshest ingredients. Dinner reserva?tions suggested. Open for weekday lunch and dinner every day until 10 p.m. and 11 p.m. on Friday and Saturday.
The Moveable Feast
326 West Liberty 734.663.3278 Located just west of Main Street in the restored Brehm estate. Fine American cuisine with a global fare. Full service catering, bakery, wedding cakes.
Palio
347 South Main Street 734.930.6100 Zestful country Italian cooking, fresh flavors inspired daily. Featuring the best rooftop seating in town. Open for dinner nightly. Reservations accepted, large group space available.
Real Seafood Company I 341 South Main Street 734.769.5960 I As close to the world's oceans as your taste I can travel. Serving delightfully fresh seafood
and much more. Open for lunch and dinner. Reservations accepted.
Red Hawk Bar & Grill
316 South State Street 734.994.4004 Neighborhood bar & grill in campus historic district, specializing in creative treatments of traditional favorites. Full bar, with a dozen beers on tap. Lunch and dinner daily. Weekly specials. Smoke-free. No reservations.
Sweet Lorraine's Cafe & Bar
303 Detroit Street 734.665.0700 Modern American cooking in a casual, fun & sophisticated setting. Daily vegetarian specials, seafood, pasta & steaks. 30 wines-by-the-glass, cool cocktails, and courtyard dining. Brunch served Saturday and Sunday.
Weber's Restaurant
3050 Jackson Road 734.665.3636 Great American restaurant since 1937. Featuring prime rib, live lobster, Cruvinet wine tasting flights, homemade pastries and desserts. Breakfast, Sunday brunch, lunch, dinner. Reservations accepted.
Zanzibar
216 South State Street 734.994.7777 Contemporary American food with Mediterranean & Asian influences. Full bar featuring classic and neo-classic cocktails, thoughtfully chosen wines and an excellent selection of draft beer. Spectacular desserts. Space for private and semi-private gatherings up to 120. Smoke-free. Reservations encour?aged.
UMS
Support
UMS Volunteers are an integral part of the success of our organization. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome you to the UMS family and involve you in our exciting programming and activities. We rely on volunteers for a vast array of activities, including staffing the education residency activities, assisting in artist services and mailings, escorting students for our popular youth performances and a host of other projects. Call 734.763.0611 to request more information.
ADVISORY COMMITTEE
Now forty-two members strong, the UMS Advisory Committee serves an integral function within the organization, supporting UMS with a volunteer corps and assisting in fundraising. Through an annual auction, season opening events, and the Ford Honors Program gala, the Advisory Committee has pledged to donate $250,000 to UMS this sea?son. Additionally, the Committee's hard work will be in evidence this fall when it publishes BRAVO.', a cookbook that traces the history of UMS through the past 120 years, with recipes submitted by artists who have per?formed under our auspices. If you would like to become involved in this dynamic group,
call 734.936.6837 for more information.
The Advisory Committee also seeks people to help with activities such as escorting students at our popular youth performances, assisting with mailings, and setting up for special events. Please call 734.936.6837 if you would like to volunteer for a project.
SPONSORSHIP & ADVERTISING
Advertising in the UMS program book or sponsoring UMS performances will enable you to reach 130,000 of southeastern Michigan's most loyal concertgoers.
Advertising
When you advertise in the UMS program book you gain season-long visibility, while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descriptions that are so important to performance experi?ences. Call 734.764.6833 to learn how your business can benefit from advertising in the UMS program book.
Sponsorship
As a UMS corporate sponsor, your organiza?tion comes to the attention of an educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treasures. And there are numerous benefits
join Us
Because Music Matters
UMS members have helped to make possible this 121st season of distinctive concerts. Ticket revenue covers only 61 of our costs. The generous gifts from our contributors continue to make the dif?ference. Cast yourself in a starring role--become a UMS member. In return, you'll receive a variety ol special benefits and the knowledge that you are helping to assure that our community will continue to enjoy the extraordinary artistry that UMS offers.
that accrue from your investment. For exam?ple, UMS offers you a range of programs that, depending on level, provide a unique venue for:
Enhancing corporate image Launching new products
Cultivating clients Developing business-to-business relationships
Targeting messages to specific demographic groups
Making highly visible links with arts and education programs Recognizing employees
? Showing appreciation for loyal customers
For more information, please call 734.647.1176.
INTERNSHIPS
Internships with UMS provide experience in performing arts administration, marketing, publicity, promotion, production and arts education. Semesterand year-long intern?ships are available in many of the University Musical Society's departments. For more information, please call 734.763.0611.
COLLEGE
WORK-STUDY
Students working for UMS as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, event planning and production. If you are a college student who receives work-study financial aid and who is interest?ed in working UMS, please call 734.763.0611.
usher;
Without the dedicated service of UMS' Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing program books and pro?viding that personal touch which sets UMS events above others.
The UMS Usher Corps comprises 275 indi?viduals who volunteer their time to make your concert-going experience more pleasant and efficient. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific venue (Hill, Power Center, or Rackham) for the entire concert season.
If you would like information about joining the UMS Usher Corps, leave a message for our front of house coordinator at 734.913.9696.
MEMBERSHIP
Great performances--the best in music, theater and dance --are presented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, members of the Society. The list below represents names of current donors as of July 31, 1999. If there has been an error or omission, we apologize and would appreciate a call at 734.647.1178 so that we can correct it right away. ? UMS would also like to thank those generous donors who wish to remain anonymous.
SOLOISTS
Individuals
Carl and Isabelle Brauer Dr. Kathleen G. Charla Dr. and Mrs. James Irwin The Lohr Family Charlotte McGeoch Randall and Mary Pittman Herbert Sloan and several anonymous donon
Businesses
Aetna Corporation
Bank One
Brauer Investments
Ford Motor Company Fund
Forest Health Services
Corporation Hudson's Parke-Davis Pharmaceutical
Research Office of the Provost,
University of Michigan
Foundations
Arts Midwest
The Ford Foundation
John S. and James L. Knight
Foundation Lila Wallace Reader's
Digest Audiences for the
Performing Arts Network Lila Wallace Reader's Digest
Arts Partners Program Michigan Council for Arts and
Cultural Affairs National Endowment for the Arts
MAESTROS
Individuals
Herb and Carol Amster Ronnie and Sheila Cresswell Robert and
Janice DiRomualdo Charles N. Hall Roger and Coco Newton Prudence and
Amnon Rosenthal Edward Surovell and
Natalie Lacy Ronald and Eileen Weiser
Businesses
Arbor Temporaries Personnel SystemsArbor Technical Staffing, Inc.
Comerica Deloitte & Touche Elastizell Corp of America I. B. M. KeyBank
Masco Corporation McKinley Associates Mechanical Dynamics Mervyn's California National City Corporation NSK Corporation Edward Surovell Realtors
Foundations
Benard L. Maas Foundation Mid-America Arts Alliance
VIRTUOSI
Individuals
Thomas B. and Deborah McMullen
Businesses
Beacon Investment Company Holnam, Inc. Thomas B. McMullen Company
CONCERTMASTERS
Individuals
Maurice and Linda Binkow Douglas Crary Ken and Penny Fischer Beverley and Gerson Geltner Sun-Chien and Betty Hsiao F. Bruce Kulp and Ronna
Romney David G. Loesel Sally and Bill Martin Natalie Matovinovic Joe and Karen Koykka O'Neal John and Dorothy Reed Loretta M. Skewes Carol and Irving Smokier Marina and Robert Whitman
Businesses
Bank of Ann Arbor
Butzel Long Attorneys
Cafe Marie
CFI Group
Chelsea Milling Company
Dow Automotive
Miller, Canfield, Paddock,
and Stone
O'Neal Construction Visteon
Foundations
Chamber Music America Institute for Social Research THE MOSAIC FOUNDATION (ofR. &P. Heydon)
LEADERS
Individuals
Martha and Bob Ause Bradford and Lydia Bates Raymond and Janet Bernreuter Joan A. Binkow Jim Botsford and Janice Stevens Botsford
Mr. and Mrs. William Brannan Dr. Barbara Everitt Bryant Dr. and Mrs. James P. Byrne Kathleen and Dennis Cantwell Edwin and Judith Carlson Mr. Ralph Conger Katharine and Jon Cosovich Jack and Alice Dobson Jim and Patsy Donahey Mr. and Mrs. Thomas C. Evans John and Esther Floyd Otto and Lourdes E. Gago Debbie and Norman Herbert Keki and Alice Irani Robert and Pearson Macek Robert and Ann Meredith George and Barbara Mrkonic Murray Pitt John Psarouthakis Don and Judy Dow Rumelhart Professor Thomas J. and
Ann Sneed Schriber Susan B. Ullrich Don and Carol Van Curler Richard E. and
Laura A. Van House Mrs. Francis V.Viola III John Wagner Marion T. Wirick and
James N. Morgan
Businesses
Alcan Automotive Products
AAA Michigan
Blue Nile
Joseph Curtin Studios
Dennis Dahlmann, Inc.
ERIM International Inc
Ideation, Inc.
Megasys Software Services, Inc.
Pepper, Hamilton & Scheetz
Republic Bank Ann Arbor
Sesi Investment
Target Stores
Foundations
Ann Arbor Area Community Foundation
PRINCIPALS
Individuals
Dr. and Mrs. Gerald Abrams
Mrs. Gardner Ackley
Jim and Barbara Adams
Bernard and Raquel Agranoff
Dr. and Mrs. Robert G. Aldrich
Alf Studios
Lloyd and Ted St. Antoine
Max K. Aupperle
Emily W. Bandera, M.D.
Peter and Paulett Banks
A. J. and Anne Bartoletto
Karen and Karl Bartscht
Kathy Benton and Robert Brown
L. S. Berlin
Philip C. Berry
Suzanne A. and Frederick J. Beutler
Lee C. Bollinger and Jean
Magnano Bollinger Howard and Margaret Bond Bob and Sue Bonfield Laurence and Grace Boxer Jeannine and Robert Buchanan John T. Buck
Lawrence and Valerie Bullen Mr. and Mrs. Richard J. Burstein Letitia J. Byrd Betty Byrne
Edward and Mary Cady Kathleen and Dennis Cantwell Bruce and Jean Carlson Jean and Kenneth Casey Janet and Bill Cassebaum George and Patricia Chatas Don and Betts Chisholm Mr. and Mrs. John Alden Clark David and Pat Clyde Leon and Heidi Cohan Howard J. Cooper Mary K. Cordes Peter and Susan Darrow Molly and Bill Dobson Elizabeth A. Doman Mr. and Mrs. John R. Edman Dr. and Mrs. S.M. Farhat David and Jo-Anna Featherman Adrienne and Robert Z. Feldstein Ray and Patricia Fitzgerald David C. and Linda L. Flanigan Robben and Sally Fleming James and Anne Ford Ilene H. Forsyth Michael and Sara Frank Edward P. Frohlich
Principals, continued
Marilyn G. Gallatin James and Cathie Gibson William and Ruth Gilkey Drs. Sid Gilman and Carol
Barbour
Sue and Carl Gingles Alvia G. Golden and
Carroll Smith-Rosenberg Norm Gottlieb and
Vivian Sosna Gottlieb Linda and Richard
Greene Frances Greer Alice Berberian
Haidostian
Taraneh and Carl Haske Anne and Harold Haugh David and Phyllis Herzig Bertram Herzog Julian and Diane Hoff Janet Woods Hoobler Robert M. and Joan F.
Howe John and Patricia
Huntington
Stuart and Maureen Isaac Mercy and Stephen Kasle Herbert JCatz Richard and Sylvia
Kaufman Thomas and Shirley
Kauper
Bethany and Bill Klinke Charles and
Linda Koopmann Michael and
Phyllis Korybalski Dimitri and
Suzanne Kosacheff Barbara and
Michael Kusisto Lee E. Landes Mr. and Mrs. Henry M. Lee Leo and Kathy Legatski Evie and Allen Lichter Mrs. Frances M. Lohr Dean and Gwen Louis John and Cheryl MacKrell Judy and Roger Maugh Paul and Ruth McCracken Joseph McCune and
Georgiana Sanders Rebecca McGowan and
Michael B. Staebler Hattie and Ted McOmber Dr. and Mrs.
Donald A. Meier
Dr. H. Dean and
Dolores Millard Andrew and
Candice Mitchell Lester and Jeanne Monts Grant W. Moore Dr. and Mrs. Joe D. Morris Cruse W. and
Virginia Patton Moss Eva L. Mueller Mr. and Mrs. Homer Neal M. Haskell and
Jan Barney Newman William and
Deanna Newman Mrs. Marvin Niehuss Marylen and
Harold Oberman Bill and Marguerite Oliver Gilbert Omenn and
Martha Darling Constance L. and
David W. Osier Mrs. Charles Overberger William C. Parkinson Dory and John D. Paul John M. Paulson Maxine and
Wilbur K. Pierpont Eleanor and Peter Pollack Donald H. Regan and
Elizabeth Axelson Ray and Ginny Reilly Maria and Rusty Restuccia Ken Robinson Barbara A. Anderson and
John H. Romani Gustave and
Jacqueline Rosseels Dr. Nathaniel H. Rowe Dick and Norma Sams Maya Savarino Mrs. Richard C. Schneider Rosalie and
David Schottenfeld Robert Sears and
Lisa M. Waits Joseph and Patricia Settimi Janet and Mike Shatusky Helen and George Siedel J. Barry and
Barbara M. Sloat Steve and Cynny Spencer Judy and Paul Spradlin Mr. and Mrs.
John C. Stegeman Victor and
Marlene Stoeffler Lois A. Theis
Dr. Isaac Thomas III
and Dr. Toni Hoover Jerrold G. Utsler Charlotte Van Curler Mary Vanden Belt Ellen C. Wagner Elise and Jerry Weisbach Roy and JoAn Wetzel Paul and Elizabeth Yhouse
Businesses
Consulate Gen. of the
Federal Republic of
Germany General Automotive
Corporation Pan Tropical, LTD Red Hawk Bar and
GrillZanzibar Shar Music Company Standard Federal Bank STM Inc.
Foundations
J. F. Ervin Foundation Harold and Jean
Grossman Family
Foundation
The Lebensfeld Foundation Montague Foundation The Power Foundation
BENEFACTORS
Individuals
M. Bernard Aidinoff Robert P. Ainsworth Michael and Suzan Alexander Carlene and Peter Aliferis Dr. and Mrs. Rudi Ansbacher Catherine S. Arcure Jennifer Arcure and Eric
Potoker
Janet and Arnold Aronoff James R. Baker, Jr., M.D.
and Lisa Baker Gary and Cheryl Balint Norman E. Barnett Mason and Helen Barr Robert and Wanda Bartlett Kathleen Beck Neal Bedford and Gerlinda
Melchiori Henry J. Bednarz Ralph P. Beebe Harry and Betty Benford Ruth Ann and Stuart J.
Bergstein John Blankley and
Maureen Foley
Jane M. Bloom Elizabeth and Giles G. Bole Charles and Linda Borgsdorf Professor and
Mrs. Dale E. Briggs David and Sharon Brooks June and Donald R. Brown Douglas and Marilyn Campbell Jean W. Campbell George R. Carignan Jim and Priscilla Carlson Mrs. Raymond S. Chase James S. Chen Janice A. Clark John and Nancy Clark Jim and Connie Cook Susan and Arnold Coran H. Richard Crane Alice B. Crawford Mary R. and John G. Curtis Mr. and Mrs.
William H. Damon III John and Jean Debbink James M. Deimen Delia DiPietro and
Jack Wagoner, M.D. Dr. and Mrs.
Stephen W. Director Mr. and Mrs.
Raymond D. Dornbusch Charles and lulia Eisendrath Dr. Alan S. Eiser David I kl u ml and Jeff Green Stefan S. and Ruth S. Fajans Claudine Farrand and
Daniel Moerman Dr. and Mrs. John A. Faulkner Dede and Oscar Feldman Ronda and Ron Ferber Sidney and Jean Fine Susan Goldsmith and
Spencer Ford Phyllis W. Foster Paula L. Bockenstedt and
David A. Fox Bernard and Enid Galler Drs. Steve Geiringer and
Karen Bantel
Thomas and Barbara Gelehrter Beverly Gershowitz Elmer G. Gilbert and
Lois M. Verbrugge Joyce and Fred M. Ginsberg Paul and Anne Glendon Susie and Gene Goodson Dr. Alexander Gotz Cozette Grabb
Dr. and Mrs. William A. Grade Elizabeth Needham Graham Dr. John and Renee M. Greden John and Helen Griffith Leslie and Mary Ellen Guinn Helen C. Hall
Mr. and Mrs. Elmer F. Hamel William Hann Susan Harris Paul Hysen and
Jeanne Harrison Clifford and Alice Hart
Mr. and Mrs. E. Jan Hartmann
Anne Vance Hatcher
Nina E. Hauser
leannine and Gary Hayden
Fred and Joyce Hershenson
Mrs. W.A. Hiltner
Mr. and Mrs. William B.
Holmes
David and Dolores Humes Ronald R. and
Gaye H. Humphrey John and Gretchen Jackson James and Dale Jerome Frank and Sharon Johnson Billie and Henry Johnson Stephen Josephson and
Sally Fink
Robert L. and Beatrice H. Kahn Dr. and Mrs. Mark S. Kaminski Richard L. Kennedy Robert and Gloria Kerry Howard King and
Elizabeth Sayre-King Dick and Pat King Rhea and Leslie Kish Hermine R. Klingler Philip and Kathryn Klintworth Jim and Carolyn Knake Barbara and Charles Krause Samuel and Marilyn Krimm Bud and Justine Kulka Till Latta and David S. Bach John K. Lawrence Ted and Wendy Lawrence Laurie and Robert LaZebnik Ann M. Leidy Richard LeSueur Pat and Mike Levine Myron and Bobbie Levine Carolyn and Paul Lichter Richard and Stephanie Lord Mr. and Mrs. Carl J. Lutkehaus Brigitte and Paul Maassen Mark Mahlberg Suzanne and Jay Mahler Edwin and Catherine Marcus Chandler and Mary Matthews Margaret W. Maurer Thomas B. and
Deborah McMullen Bernice and Herman Merte Walter and Ruth Metzger Leo and Sally Miedler Myrna and Newell Miller John and Michelle Morris Brian and Jacqueline Morton Martin Neuliep and
Patricia Pancioli Len and Nancy Niehoff Dr. and Mrs. Frederick C O'DelJ Mr. and Mrs. James C. O'Neill Mark and Susan Orringer Marysia Ostafin and
George Smillie Shirley and Ara Paul Margaret and Jack Petersen Lorraine B. Phillips William and Betty Pierce Stephen and Bettina Pollock
Richard L. Prager and
Lauren O'Keefe Richard H. and Mary B. Price V. Charleen Price Bradley and Susan Pritts Mrs. Gardner C. Quarton William and Diane Rado Mrs. Joseph S. Radom Jim and leva Rasmussen Jim and Bonnie Reece La Vonne and Gary Reed Rudolph and Sue Reichert Mary R. Romig-deYoung Mrs. Irving Rose Dr. Susan M. Rose Jeri Rosenberg and
Victor Strecher Ronald and Donna Santo Sarah Savarino Peter C. Schaberg and
Norma J. Amrhein David and Marcia Schmidt Meeyung and Charles
Schmitter
Edward and Jane Schulak Dr. John J. H. Schwarz Julianne and Michael Shea Howard and Aliza Shevrin Frances U. and Scott K.
Simonds
Scott and Joan Singer George and
Mary Elizabeth Smith Dr. Elaine R. Soller Cynthia J. Sorensen Gus and Andrea Stager Mrs. Ralph L. Steffek Dr. and Mrs. Jeoffrey K. Stross Nancy Bielby Sudia Charlotte B. Sundelson Brian and Lee Talbot Bob and Betsy Teeter James L. and Ann S. Telfer John D. Tennant and
Barbara Campbell Scott Bennett Terrill loan Lowenstein and
Jonathan Trobe Marilyn Tsao and Steve Gao Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger Walter E Vashak Kate and Chris Vaughan Sally Wacker Warren Herb and
Florence Wagner Willes and Kathleen Weber Karl and Karen Weick Raoul Weisman and
Ann Friedman Robert O. and
Darragh H. Weisman Angela and Lyndon Welch Dr. Steven W. Werns B. Joseph and Mary White Harry C. White and
Esther R. Redmount Clara G. Whiting Brymer Williams
Frank E. Wolk
J. D. Woods
David and April Wright
Phyllis B. Wright
Don and Charlotte Wyche
Mr. and Mrs. Edwin H. Young
Businesses
The Barfield CompanyBartech Detroit and Canada Tunnel
Corporation
Detroit Swedish Council, Inc. Edwards Brothers, Inc. Guardian Industries
Corporation Quinn EvansArchitects Charles Reinhart Company Rosebud Solutions Stirling Thermal Motors, Inc. Swedish Club
Foundations
The Kennedy Center for the Performing Arts
ASSOCIATES
Individuals
Anastasios Alexiou Mike Allemang and
Denise Boulange Christine Webb Alvey Dr. and Mrs. David G. Anderson David and Katie Andrea Harlene and Henry Appelman Jeff and Deborah Ash Mr. and Mrs. Arthur J. Ashe, III Mr. and Mrs. Dan E. Atkins III Jim and Patsy Auiler Jonathan and Marlene Ayers Dr. and Mrs. Daniel R. Balbach Lesli and Christopher Ballard Cy and Anne Barnes Gail Davis Barnes Victoria and Robin Baron Leslie and Anita Bassett Scott Beaman Astrid B. Beck and
David Noel Freedman Linda and Ronald Benson Robert Hunt Berry Sheldon and Barbara Berry Ronald J. Bienkowski Mary Steffek Blaske and
Thomas Blaske Cathie and Tom Bloem Paula L. Bockenstedt and
David A. Fox
Ron and Mimi Bogdasarian Harold and Rebecca Bonnell Roger and Polly Bookwalter Dr. and Mrs. C. Paul Bradley lames and )ane Bradner Mr. oel Bregman and
Ms. Elaine Pomeranz Mr. and Mrs. Gerald Bright Olin L. Browder
Morton B. and Raya Brown Dr. and Mrs. Donald T. Bryant Trudy and lonathan Bulklcy Arthur and Alice Burks Michael and Patricia Campbell Margot Campos Marshall F. and Janice L. Carr leannctte and Robert Carr James and Mary Lou Carras Tsun and Siu Ying Chang Dr. Kyung and Young Cho Catherine Christen Dr. and Mrs. David Church Robert J. Cierzniewski Nancy Cilley
Charles and Lynne Clippert Gerald S. Cole and
Vivian Smargon John and Penelope Collins Wayne and Melinda Colquitt Edward J. and Anne M. Comeau Lolagene C. Coombs Kathleen Cooney and
Gary Faerber Cliff and Laura Craig Merle and Mary Ann Crawford Mr. Michael J. and
Dr. loan Crawford George H. and Connie Cress Kathleen J. Crispell and
Thomas S. Porter Constance Crump and
Jay Simrod
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Jim Botsford and
Janice Stevens Botsford Melvin W. and Ethel F. Brandt Carl and Isabellc Brauer Barbara Everitt Bryant Isabel Buckner
Michael and Patricia Campbell Bruce and Jean Carlson Edwin and Judith Carlson Jean and Kenneth Casey Janet and BUI Cassebaum Kathleen G. Charla Mrs. Raymond S. Chase Don and Betts Chisholm John and Nancy Clark Carolyn and L. Thomas Conlin Philip E. and Jean M. Converse Howard J. Cooper Mary K. Cordes Katharine and Jon Cosovich George H. and Connie Cress Ronnie and Sheila Cresswell Mary R. and John G. Curtis Peter and Susan Darrow Molly and Bill Dobson Charlotte K. Eaton Dr. Alan S. Eiscr David Eklund and Jeff Green Stefan S. and Ruth S. Fajans Claudine Farrand and
Daniel Mocrman David and Jo-Anna Featherman Dcde and Oscar Fcldman Ken and Penny Fischer Michael and Sara Frank Sophia L. French Professor and Mrs.
David M. Gates
Thomas and Barbara Gelchrter Beverley and Gerson Geltner Beverly Gershowitz Drs. Sid Gilman and Carol Barbour James W. and Maria J. Gousseff Mrs. William Grabb Arthur W. Gulick
Alice Berberian Haidostian Helen C. Hall Dorothy I. Hastings Debbie and Norman Herbert Peter G. Hinman and
Elizabeth A. Young Ken and Joyce Holmes lack and Davetta Homer Keki and Alice Irani Stuart and Maureen Isaac Mr. and Mrs. Donald E. Jahncke Wallie and Janet Jeffries Tim and o Wiese Johnson Dorte Junker and Mike Rodemer Robert L. and Beatrice H. Kahn Mercy and Stephen Kasle Herbert Katz Jim and Carolyn Knake Dimitri and Suzanne Kosacheff Barbara and Charles Krause Barbara and Michael Kusisto Ted and Wendy Lawrence Laurie and Robert LaZebnik Leo and Kathy Legatski Mrs. Paul H. Lemon Richard LeSueur Dean and Gwen Louis Charles and Judy Lucas Karen Ludema Cynthia Lunan Suzanne and Jay Mahler Hans and Jackie Maier Natalie Matovinovic Mary and Chandler Matthews Richard and Florence McBrien Paul and Ruth McCracken Joseph McCune and
Georgiana Sanders Rebecca McGowan and
Michael B. Staebler Thomas B. and Deborah McMullen Helen Metzner
Prof, and Mrs. Douglas Miller Carmen and Jack Miller Lester and Jeanne Monts Michael Moran and Shary Brown Carole Moranty
William Bolcom and Joan Morris Gavin Eadic and Barbara Murphy Dr. and Mrs. Gundcr A. Myran Edward and Nancy Naszradi Mrs. Marvin Niehuss Karen Koykka O'Neal and
Joe O'Neal
Mark and Susan Orringer Shirley and Ara Paul Randall and Mary Pittman Eleanor and Peter Pollack Cynthia and Roger Postmus Mary Alice Power Dr. Allen D. Price V. Charleen Price Walter A. Prochnow Jim and Bonnie Recce John and Dorothy Reed Maria and Rusty Rcstuccia Dr. Susan M. Rose Prudence and Amnon Roscnthal Gustave and Jacqueline Rossecls Mrs. Doris E. Rowan Sheldon Sandweiss Loretta M. Skewes Herbert Sloan Alcne M. Smith Joyce E. Smith Steve and Cynny Spencer Lloyd and Ted St. Antoine Mrs. Ralph L. Stefffck Nancy Bielby Sudia John and Ida Swigart Lois A. Theis Paul Thielking Angie and Bob Trinka Marilyn Tsao and Steve Gao Susan B. Ullrich Dr. and Mrs. Samuel C. Ursu Don and Carol Van Curler Richard E. and Laura A. Van House
Chair Campaign, continued
Mary Vanden Belt Mrs. Francis V. Viola III Willes and Kathleen Weber Marina and Robert Whitman Helen M. Wilkinson Marion T. Wirick and .
James N. Morgan David and April Wright Paul and Elizabeth Ynouse Mr. and Mrs. Edwin H. Young Ann and Ralph Youngren
BURTON TOWER SOCIETY
The Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important support to continue the great tra?ditions of the Society in the future.
Carol and Herb Amster
Mr. Neil P. Anderson
Catherine S. Arcurc
Mr. and Mrs. Pal E. Barondy
Mr. Hilbert Beyer
Elizabeth Bishop
Pat and George Chatas
Mr. and Mrs. John Alden Clark
Dr. and Mrs. Michael S. Frank
Beverly and Gerson Gcltncr
Mr. Edwin Goldring
Mr. Seymour Greenstone
Mr. and Mrs. Richard Ives
Marilyn Jeffs
Thomas C. and
Constance M. Kinnear Charlotte McGeoch Dr. Eva Mueller Len and Nancy NiehofT Dr. and Mil Frederick O'Dell Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Herbert Sloan Roy and JoAn Wetzel Mr. and Mrs. Ronald G. Zollars
MEMORIALS
Harlan N. Bloomer
John H. Bryant
Margaret Crary
Mary Crawford
James A. Davies
Alice Kclsey Dunn
George R. Hunsche
Alexander Krezel, Sr.
[Catherine Mabarak
Frederick C. Matthaei, Sr.
Glenn D. McGeoch
Miriam McPherson
Dr. David Peters
Emerson and Gwendolyn Powric
Steffi Reiss
Frank Rudcsill
Ralph L. Steffek
Clarence Stoddard
William Swank
Charles R. Tieman
John F. Ullrich
Ronald VandenBelt
Francis Viola III
Norman Wait
Carl H. Wilmot
Peter Holderness Woods
Helen Zicgler
IN-KIND GIFTS
Bernard and Ricky Agranoff
Gregg Alf
MariAnn Aplcy
Arbor Hills Hair & Body Salon
Catherine Arcure
Atys
Bella La Vie Kathleen Bcnton M.uny ,uul 1 irul.i Binkow Bob Caron's Golf Shop Edith Lcavis Bookstein &
The Artful Lodger Janice Stevens Botsford The Boychoir of Ann Arbor Barbara Everitt Bryant Icannine Buchanan Butzcl Long Isabella Cederquist Tomas Chavez Chelsea Flower Shop Chicago Symphony Orchestra Chris W. Peterson Jewelry Claridge Hotel Classic Collegiate China Leon and Heidi Cohan Conlin Travel Karin Wagner Coron Dr. and Mrs. Ronald Cresswell Mary Ann and Roderick Daanc David Smith Photography Peter and Norman Davis Dough Boys Bakery Encore Studio
Eyry of the Eagle Publishing Fitness Success Sara B. Frank Galleiy Van Glahn The Gandy Dancer Gates Au Sable Lodge Beverly and Gerson Gellner Generations for Children Georgetown Gifts Joyce and Fred Ginsberg Anne and Paul Glendon The Great Frame Up Great Harvest Bread Company Gregg Alf Studios Jeanne Harrison Debbie and Norman Herbert Terry Hirth and Bodywise
Therapeutic Massage Dan Huntsbcrgcr Iguanaworks, Inc. Stuart and Maureen Isaac Jeffrey Michael Powers Beauty Spa John'Shultz Photography John Sloan Painting John's Pack & Ship Mercy and Stephen Kasle Kerrytown Market & Shops King s Keyboard House Ed Klum U of M Golf Course Sam Knccht
Bruce and Ronna Romney Kulp Laky's Salon Bern ice Lamey Maxinc Larrouy Carole Lasser Learning Express Kathleen Letts Letty's Lid. Doni Lystra Stephanie Lord Esther Martin Mary Matthews Elizabeth McLeary Jeanne and Ernest Merlanti Michigan Car Services, Inc. Moe Sport Shops Robert and Mctinda Morris Nicola's Books Little Professor OfT the Wall Designs Christine Oldenburg Karen O'Neal Mary Pittman
R. Jeffrey Lamb Photography Pat Pooley leva Rasmusscn Rebecca's Studio Regrets Only Nina Hauser Anne Rubin Maya Savarino Peter Savarino Sarah Savarino Ann and Tom Schriber Grace Shackman Mike and Jan Shatusky Ingrid Sheldon Grace Singleton Loretta Skcwes Herbert Sloan
George Smilic and Marysia Ostafin Irving and Carol Smokier Steve and Cynny Spencer Edward Surovell Sweet Lorraine's Bcngt and Elaine Swenson Raymond Tanter
TIRA's Kitchen
Tom Thompson Flowers
Susan Ullrich
Mary Vandenbelt
Andrea Van Houwelinc
Voili
Eric Wapnick
Emil Wcddigc & the Craig Gallery
West End Grill
Robert and Marina Whitman
The Window Design Studio
Elizabeth Yhouse
BUSINESS LEADERSHIP CIRCLE
AAA Michigan
A!f Studios
Alcan Automotive Products
Allen & Kwan Commercial
Ann Arbor Acura
Arbor TemporariesPersonnel
SystemsArbor Technical
Staffing, Inc. AT&T Wireless Services Austin & Warburton Bank of Ann Arbor Bank One
Barfield CompanyBartcch Beacon Investment Company Blue Nile Restaurant Brauer Investments Briarwood Mail Butzel Long Attorneys CFI Group Charles Reinhart Company
Realtors
Chelsea Milling Company Comerica, Inc. foseph Curtin Studios Deloitte & Touche Detroit Edison Foundation Dow Automotive Elastizcll Corporation ERIM International Forest Health Services
Corporation Ford Motor Company General Motors Corporation Holnam, Inc. Howard Cooper, Inc. Hudson's Ideations KeyBank Lufthansa Masco Corporation McKinley Associates Mechanical Dynamics Megasys Software Services, Inc. Miller, Canfield, Paddock
and Stone National City NSK Corporation O'Neal Construction Parkc-Davis Pharmaceutical
Research
Pepper, Hamilton & Scheetz Republic Bank Sesi Lincoln Mercury Shar Products Company Standard Federal Bank STM Inc. Swedish Office of Science
and Technology Target Stores The Edward Surovell
Company Realtors Thomas B. McMullen Company Visteon Weber's Inn
GIVING LEVELS
Soloists $25,000 or more
Maestro $10,000 24,999
Virtuosi $7,500 9,999
Concertmaster $5,000 7,499
Leader $2,500 4,999
Principal $1,000-2,499
Benefactor $500 999
Associate $250 499
Advocate $100-249
Friend $50 99
Youth $25
UMS ADVERTISERS
44 Aikido Yoshokai Association
12 Ann Arbor Reproductive
Medicine
44 Ann Arbor Symphony
6 Ann Arbor Tax Service
8 Archeo Design
12 Bank of Ann Arbor
6 Beresh Jewelers
2 Blue Hill Development
38 Bodman, Longley, and Dahling
20 bravo! Cookbook
34 Butzcl Long Attorneys
34 Carty's Music, Inc.
10 Chris Triola Gallery
22 Comerica Bank
14 Complete Chiropractic
14 Dance Gallery StudioPeter
Sparling & Co.
10 Dobson-McOmber Agency, Inc.
FC Ford Motor Company
44 Foto 1
10 Fraleigh's Nursery
40 Glacier Hills
44 Greenstones
8 Harmony House
40 Howard Cooper Imports
8 IATSE
BC KeyBank
40 King's Keyboard
38 Lewis Jewelers
8 Liltlcfield and Sons Furniture
22 Michigan League
24 Miller, Canfield, Paddock, and Stone
8 Mundus and Mundus
8 Nina Howard Studio
42 Performance Network
24 SKR Classical
10 Swcetwatcrs Cafe
8 Ufer & Co. Insurance
6 University Productions
6 Washington Street Gallery
16 WEMU
38 WGTE
18 Whole Foods
34 WUOM
42 WHET

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