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UMS Concert Program, Wednesday Nov. 10 To 21: University Musical Society: 1999-2000 Fall - Wednesday Nov. 10 To 21 --

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

University Musical Society of the University of Michigan, Ann Arbor
University Musical Society
1999 FALL SEASON of the University of Michigan. Ann Arbor
On the Cover
Clockwise from left Lyon Opera Ballet Ibrahim Ferrer Moby Dick Arnold Schocnbcrg Deconstructed Berlin Wall
Back Cover
Frcdcrica von Stade
King Arthur detail uounwyof
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Neemc )arvi
Ludwig van Beethoven
Bill Friscll
The Volga Vouty from
The Harlem Nutcracker
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4 Letter from the Chair
5 Corporate LeadersFoundations
14 UMS Board of Directors
14 UMS Senate
15 UMS Staff
15 Advisory Committees
17 General Information
19 Tickets
19 Group Tickets
19 Gift Certificates
21 The UMS Card
25 UMS Choral Union
26 Auditoria & Burton Memorial Tower
29 The 19992000 UMS Season
35 Education & Audience Development
37 Dining Experiences
39 Restaurant & Lodging Packages
41 The UMS Preferred Restaurant Program
I IIVIiinnnrf
45 Advisory Committee UL kj kJ W 1 L
45 Sponsorship and Advertising
47 InternshipsWork-study
47 Ushers
48 Membership
56 UMS Advertisers
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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
Kenneth C. Fischer, President
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.
Beverley Geltner
Chair, UMS Board of Directors
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."
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."
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.
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
of the University of Michigan
Beverley B. Geltner,
Chair Letitia J. Byrd,
Vice-Chair Elizabeth Yhouse,
Secretary David Featherman,
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
(former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Richard S. Berger Maurice S. Binkow Carl A.rauer Allen P. Britton Leon S. Cohan Jon 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 [udythe 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
Administration Finance
Kenneth C. Fischer,
President Elizabeth E. Jahn,
Assistant to the
President John B. Kennard, Jr.,
Director of
Administration John Peckham,
Information Systems
Box Office
Michael L. Gowing,
Sally A. Cushing, Staff Ronald J. Reid, Assistant
Manager and Group
Choral Union
Thomas Sheets,
Conductor Edith Leavis Bookstein,
Co-Manager Kathleen Operhall,
Co-Manager Donald Bryant,
Conductor Emeritus
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
Gus Malmgren, Director Emily Avers, Production
and Artist Services
Manager Jennifer Palmer, Front
of House Coordinator Brett Finley, Stage
Manager Eric R. Bassey, Stage
Bruce Oshaben,
Assistant Head Usher Paul Jomantas, Assistant
Head Usher
Michael J. Kondziolka,
Director Mark Jacobson,
Nadine Balbeisi Rebekah Camm Mark Craig Mariela Flambury David Her Carrie Kahl Un Jung Kim Rebekah Nye Beverly Schneider Amy Tubman
Bree Doody Brooke McDaniel
President Emeritus
Gail W. Rector
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
Maryanna Graves
Linda Greene
Nina E. Hauser
Mercy Kasle
Steve Kasle
Maxine Larrouy
Beth Lavoie
Esther Martin
Jeanne Merlanli
Candice Mitchell
Robert Morris
John Mulcrone
Nancy Niehoff
Karen Koykka O'Neal
Marysia Ostafin
Mary Pittman
leva Rasmussen
Sue Schroeder
Meg Kennedy Shaw
Loretta Skewes
Cynny Spencer
Susan B. Ullrich
Bryan Ungard
Suzette Ungard
Kathleen Treciak Van Dam
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 Hanum Vickey Holley Foster Amy Goodman Taylor Jacobsen Callie Jefferson Lola l HH's 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 Katy Ryan Karen Schulte Helen Siedel loan Singer Sue Sinta Sandy Trosien Sally Vandeven Barbara Hertz Wallgren Jeanne Weinch
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 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 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.
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.
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 variety 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.
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.
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 $100. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe Ann Arbor Acura Ann Arbor Arts
Back Alley Gourmet Blue Nile Restaurant Bodywise Therapeutic
Massage Cafe Marie Chelsea Flower Shop Dough Boys Bakery Fine Flowers Gandy Dancer Great Harvest Jacques John Leidy Shop
John's Pack & Ship Kerrytown Bistro King's Keyboard
House Le Dog
Michigan Car Services Paesano's Restaurant Regrets Only Ritz Camera One
Hour Photo SKR Blues & Jazz SKR Classical SKR Pop & Rock Shaman Drum
Bookshop Zingerman's
The UMS card also entitles you to 10 off your ticket purchases at other Michigan Presenter venues. Individual event restrictions may apply. Call the UMS Box Office for more information at 734.764.2538.
UMS enters a new interactive com?munication era with the launch of the new and improved!
Why should you log onto
Tickets Forget about waiting in long ticket lines--order tickets to UMS performances online with our secure order form.
Cyber$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.
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.
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 Shostakovich'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
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
Auditorium 4,163
Michigan Theater
Power Center 1,390
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 designed by Albert Kahn, the
10-story tower is built ot 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, November 10 through Sunday, November 21,1999
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.
Les Arts Florissants 3
Purcell's King Arthur
William Christie, Music Director
Wednesday, November 10, 8:00pm Hill Auditorium
Theatre of Voices 15
Paul Hillier, Director
Friday, November 12, 8:00pm
St. Francis of Assisi Catholic Church
Paco de Lucia & Septet 21
Friday, November 19, 8:00pm Hill Auditorium
KREMERata BALTICA Soloists 25
Sunday, November 21,4:00pm Rackham Auditorium
Les Arts Florissants King Arthur
William Christie, Music Director
Ana Yepes, Semi-staging and Choreography Georges Keraghel, Assistant to Ana Yepes
Les Fragments Reunis, Dance Ensemble
Under the leadership of King Arthur, and with the aid of Merlin the Magician, the Britons have driven the Saxons back into Kent. On this, Saint George's day, they are preparing for the final battle. King Arthur takes his leave of his fiance'e Emmeline, who is blind. Meanwhile, the Saxon King Oswald, with the help of the Magician Osmond and the evil spirit Grimbald, is preparing for battle by making animal and human sacri?fices to their Gods Woden, Thor, and Freya so that they may be propitious.
She (Narrator)
As the curtain rises, King Arthur,
King of all Great Britain, prepares to face the Saxon
He (Arthur)
"See, the Saxon gross begins to move.
Their infantry embattled, fair, fierce and
March firmly on, to fill the middle space: Covered by their advancing cavalry. By Heaven, 'tis beauteous horror ... Beauteous horror ... But soft ..."
No. 3 AIR
(The following dialogue over music)
He (Narrator)
It is the fair Emmeline; as she approaches,
a new, but--oh--a softer flame inspires me.
My betrothed. I won her love from
won it fairly...though he's my enemy. All rage and vengeance slumber at her sight. Her sight What say I For my only love like love itself is blind...the sight is mine and mine alone.
(end of the music)
She (Emmeline)
My father
He (Arthur) Not he.
She (Emmeline)
I'm sure I saw his voice.
He (Arthur)
Your Arthur...who loves you more than
day or night can know.
She (Emmeline)
And I know naught of them. But I understand when you say love. For when my father clasps his hand in mine, that's cold and I can feel it hard and wrinkled. But when you grasp it, then I sigh and pant, and something smarts and tickles in my heart.
He (Arthur) Had she but eyes!
She (Emmeline) I have two.
He (Arthur)
But neither see.
She (Emmeline)
I'm sure they hear you then, or touch you.
Can eyes do more
Is not seeing touching with the eyes
'He (Arthur) No alas. I see at a distance where I touch not.
She (Emmeline)
If you can see so far and yet not touch, I fear you see my naked feet and legs and more...beneath my clothes. Pray do
not see so well.
He (Arthur)
Fear not, sweet you know what war is
She (Emmeline)
Aye. Men hear the angry trumpet bray, then feel about for one another's faces, and so they meet and kill.
He (Arthur)
May you be spared it. Farewell!
She (Emmeline)
He (Narrator)
...and so we cut to the opposing camp.
The vile Saxon, heathen horde worshipping
their accursed graven images:
Thor, Freya and Woden, king of all the
gods of the godless.
She (Narrator)
Then six Saxon youths, fine, fair, blonde,
bold, well built, the flower of their race, are brought
into the
camp. The great high priest of all the heathen stands before them and sings.
No. 5
Woden, first to thee
a milk-white steed, in battle won,
We have sacrific'd.
We have sacrific'd.
Let our next oblation be To Thor, thy thund'ring son, Of such another.
We have sacrific'd.
A third (of Friesland breed was he) To Woden's wife, and to Thor's mother; and now, we have aton'd all three.
We have sacrific'd.
No. 6
Bass & Tenor
The white horse neigh'd aloud. To Woden thanks we render, To Woden we have vow'd.
To Woden, our defender, thanks we render ...
No. 7
The lot is cast, and Tanfan pleas'd;
Of mortal cares you shall be eas'd.
No. 8 Chorus
Brave souls, to be renown'd in story,
Honour prizing,
Death despising,
Fame acquiring
By expiring,
Die and reap the fruit of glory.
No. 9 Tenor
I call you all
To Woden's Hall,
Your temples round
With ivy bound
In goblets crown'd,
and plenteous bowls of burnish'd gold,
Where ye shall laugh
and dance and quaff
The juice that makes the Britons bold.
To Woden's Hall all
Where in plenteous bowls of burnish'd gold
We shall laugh
and dance and quaff
The juice that makes the Britons bold.
He (Narrator)
The Saxon youths are led away
to be bloodily sacrificed. The disgusting evil
magician Grimbald says he will breakfast on
their blood.
and so the battle commences, alarms.
She (Narrator) Excursions.
He (Narrator) Saxon swords ...
She (Narrator) British steel.
He (Narrator) Trumpets.
She (Narrator) Drums.
He (Narrator) Screams of men...
She (Narrator)
... and whinnying horses...
He (Narrator) ...attack...
She (Narrator) ...and counterattack...
He (Narrator)
...and the vile heathen ...
She (Narrator)
... are put to the sword...
He & She (Narrator) ...and routed!
No. 10
"Come if you dare," our trumpets sound.
"Come if you dare," the foes rebound.
"We come, we come, we come, we come,"
Says the double beat of the thund'ring
"Come if you dare," our trumpets sound...
Now they charge on amain. Now they rally again.
The Gods from above the mad labour behold, and pity mankind that will perish for gold.
Now they charge on amain...
The fainting Saxons quit their ground, Their trumpets languish in their sound, They fly, they fly, they fly, they fly, "Victoria," the bold Britons cry.
The fainting Saxons quit their ground...
Now the victory's won, To the plunder we run, We return to our lasses like fortunate traders, Triumphant with spoils of the vanquish'd invaders.
Now the victory's won...
The spirit of Philidel, unable to serve the powers of darkness, has fled the service of Osmond in order to ensure his salvation. Merlin, hearing Philidel lamenting on the battlefield, offers him the chance to prove himself by protecting the Britons against the forces of evil. Grimbald, disguised as a shepherd, tries to lead the Britons who are pursuing the fleeing Oswald astray, but Philidel saves the day. Defeated, Grimbald ' disappears in a flash of lightning. Philidel and the spirits lead the Britons to safety. In the meantime, Emmeline, who is awaiting King Arthur's return in the Briton camp, is being entertained by shepherds and shepherdesses. Oswald and Guillamar abduct Emmeline and Matilda. Arthur asks Oswald to give Emmeline back to him and to share his kingdom. Oswald refuses and Arthur calls his people to arms.
He (Narrator)
Now a duet for two magicians. Merlin...
She (Narrator) ...andPhilidel.
He (Merlin)
"What art thou spirit
For I have viewed thee in my magic glass."
She (Philidel)
My name is Philidel,
an airy spirit, the tenderest of my kind,
the least deformed and least seduced of hell,
desirous to repent and loath to sin.
I can assume any shape you wish,
for which all the demons envy me.
He (Merlin)
Any shape
She (Philidel)
Any shape at all.
He (Merlin) Be a cat.
(cat noise)
He (Merlin)
Good. Now be a deer.
He (Merlin)
Hmm...Nice antlers. Be invisible.
She (Philidel) (Invisibly) This is all too easy.
He (Merlin)
Where did she go
She (Philidel)
Master, enough of this. Arthur and his
soldiers are near at hand with the evil Grimbald who
is trying to lead them astray...into danger.
He (Merlin)
They're no match for you. Mislead them
all, up and down and round and about.
She (Philidel) I obey.
He (Narrator)
King Arthur is led hither and thither by
spirits: Philidel and Grimbald, two types of
magic: good and bad.
She (Philidel) Follow... me.
No. 12 Philidel
Hither, this way, this way bend, Trust not the malicious fiend. Those are false deluding lights Wafted far and near by sprites. Trust'em not, for they'll deceive ye, and in bogs and marshes leave ye.
Chorus of Philidel's Spirits
Hither, this way, this way bend.
Chorus of Grimbald's Spirits
This way, hither, this way bend.
If you step no longer thinking, Down you fall, a furlong sinking. 'Tis a fiend who has annoy'd ye;
Name but Heav'n, and he'll avoid ye. Hither, this way.
Chorus of Philidel's Spirits
Hither, this way, this way bend.
Chorus of Grimbald's Spirits
This way, this way bend.
Chorus of Philidel's Spirits
Trust not the malicious fiend. Hither, this way, this bend.
No. 13 Grimbald
Let not a moonborn elf mislead ye From your prey and from your glory; To fear, alas, he has betray'd ye; Follow the flames that wave before ye, Sometimes sev'n and sometimes one. Hurry, hurry, hurry on.
See, see the footsteps plain appearing. That way Oswald chose for flying. Firm is the turf and fit for bearing, Where yonder pearly dews are lying. Far he cannot hence be gone. Hurry, hurry, hurry on.
No. 14
Chorus of Philidel's Spirits
Hither, this way, this way bend.
Chorus of Grimbald's Spirits
Hither, this way, this way bend.
Chorus of Philidel's Spirits
Trust not the malicious fiend. Hither, this way, this way bend.
No. 15
Philidel & Two Sopranos, Alto, Bass
Come, follow me.
Come, follow me...
Two Voices
And green-sward all your way shall be.
Come, follow me...
No goblin or elf shall dare to offend ye.
Three Voices
We brethren of air
You heroes will bear,
To the kind and the fair that attend ye.
We brethren of air...
He (Narrator)
The blind Emmeline returns with Matilda (indicates himself), her waiting gentlewoman.
He (Matilda)
Madam, what do you suppose King
Arthur to be like
She (Emmeline)
He must be made of the most precious
and I believe his mouth and eyes and cheeks
and nose, and all his face are made of gold.
He (Matilda)
Gold Heaven bless us Madam.
If it be yellow he must have the jaundice,
and that's a bad disease.
(The following dialogue over beginning of No. 16)
He (Matilda)
But see, here's a troupe of Kentish lads and
lasses come to entertain you till your lord's
return from battle.
Shepherds they are and shepherdesses
to sing and dance for your delight.
She (Emmeline)
Bring them in, let them sing,
for though I cannot see the songs, I love
them, and love, they tell me, is a dance of hearts.
No. 16
One Shepherd
How blest are shepherds, how happy their
lasses, While drums and trumpets are sounding
Over our lowly sheds all the storm passes, and when we die 'tis in each other's arms, all the day on our herds and flocks
employing, all the night on our flutes and in enjoying.
How blest are shepherds, how happy their lasses...
One Shepherd
Bright nymphs of Britain with graces
Let not your days without pleasure expire. Honour's but empty, and when youth is
all men will praise you but none will desire. Let not youth fly away without contenting; age will come time enough for your
Bright nymphs of Britain with graces attended...
No. 17
IWo Shepherdesses
Shepherd, shepherd, leave decoying: Pipes are sweet on summer's day, But a little after toying, Women have the shot to pay. Here are marriage-vows for signing: Set their marks that cannot write, after that, without repining, Play, and welcome, day and night.
Chorus of Shepherds
Come, shepherds, lead up a lively measure; The cares of wedlock are cares of pleasure: But whether marriage bring joy or sorrow, Make sure of this day and hang tomorrow.
He (Narrator)
They are lulled with music and delight...
She (Narrator) But suddenly...
He (Matilda)
We are lost, where are we
She (Emmeline)
What sounds are those 'Tis Oswald and his
men. Let them not see your voices.
He {Oswald)
Yes, 'tis Oswald. Arthur stole you from me,
and now I shall steal you back.
She (Emmeline)
A rape, a rape!
He (Oswald)
You wrong me. Though I may seize you, yet your honour shall be sacred.
She (Emmeline)
O, help me, Britons, help me. Arthur, save me!
He (Narrator)
And Arthur returns but he can do
nothing. He challenges Oswald to a fight to the death,
but the cowardly Saxon refuses.
She (Narrator)
Blind Emmeline is born away...a hostage to
He (Narrator)
And Arthur remains alone, in dread at
what his rival and his magicians will do next.
The Britons try to save Emmeline by force, but are the victims of Osmond's magic spells. Merlin appears. He has not yet understood the nature of the spells cast by Osmond. All he can do for the moment is to cross the magic forest in order to go to Emmeline and cure her of her blindness. Arthur wants to accompany him: he wants to be the first thing Emmeline sees. In the meantime, in the forest, Philidel succeeds in immobilizing Grimbald: Merlin and Arthur arrive, and the spirit leads the king towards Emmeline, to whom he restores the power of sight. However, Philidel and Arthur are unable to free Emmeline and, at Osmond's arrival, they beat a retreat. Osmond, who has imprisoned Oswald, tries to force his affections on Emmeline who, distraught at the sight of him, is frozen with terror; he tries, in vain, to win her favors by showing her a "mask" representing the power of love in thawing the hearts of an icy people. The set evokes a winter landscape in a frozen land.
She (Confidente)
Where is Emmeline hidden
He (Narrator) On a steep hill.
, She {Confidente) How is she guarded
He {Narrator)
By a living forest, wild winds, howling wolves
and roaring bears.
She (Confidente)
Anything else
He (Narrator)
Yes, hissing hail and fire.
She (Confident)
He (Narrator) Snakes.
She (Confident)
So what is Arthur forced to do
He (Narrator) Retreat.
She (Confident)
But surely he has great Merlin on his side
He (Narrator) Ah yes, so he has.
She (Confident)
And what is his advice
He (Narrator)
He has a spirit in his power ...
She (Confident) Philidel
He (Narrator) Exactly.
She (Confident)
But what of Emmeline
He (Narrator) What of her
She (Confident)
How can she be rescued if she cannot see
He (Narrator)
Merlin has a potion which will restore her sight.
She (Confident)
Hmm .. .Why didn't he mention that before
He (Narrator)
Look, what are all these questions
She (Confident)
Sorry, I.. .just wondered.. .no need to bite my
head off.
He (Narrator)
So. Philidel sets off to rescue Emmeline.
On the way, she encounters the vile
Grimbald, with whom she tussles. She soon ouwits him however and binds him up in chains. Merlin, her master, is hugely impressed.
He (Merlin)
"Well hast thou wrought thy Safety with
thy Wit,
My Philidel, go Meritorious on. Me, other Work requires, to view the Wood, and learn to make the wild enchantments
Show King Arthur his Love, and with these Sovereign Drops restore her sight."
(She plays Philidel)
He (Narrator)
So Arthur watches as his beloved's sight is
A difficult moment for any man.
What will she think First thing
Emmeline sees is Matilda, her waiting gentlewoman.
She (Emmeline)
Are women such as thou Such glorious
What is that above that weakens my new
eyes, makes me not see, by seeing
He (Matilda)
That is the sun.
She (Emmeline)
The sun...Why dost thou not Matilda,
gaze like me and wonder
He (Matilda)
To me, the whole world may be a wonder,
but to my eyes it's familiar.
She (Emmeline)
Am I still blind Or do I see but half
With all my care, and looking round
about, I do not see my face.
He {Matilda)
In this glass you may...
She (Emmeline)
What, am I two Is this another me O, look, Matilda, now we are both in the glass...
He (Narrator, Arthur)
And Arthur appears in the glass behind them.
She (Emmeline)
This new face is neither mine nor yours. I think the glass has borne another child! Is it...a man Oh, my dearest Lord, counterpart to our soft sex. Well, are you
so bold, so great, so godlike are you formed. How can you love such silly things as women
He (Narrator)
But this idyll is interrupted unfortunately
by the arrival of the increasingly tiresome
Philidel, who
has brought a troupe of airy spirits to ravish Emmeline's new found sight.
You say, 'tis Love creates the pain
Of which so sadly you complain,
and yet would fain engage my heart
In that uneasy cruel part;
But how, alas! think you that I
Can bear the wounds of which you die
'Tis not my passion makes my care, But your indifference gives despair: The lusty sun begets no spring Till gentle show'rs assistance bring; So Love, that scorches and destroys, Till kindness aids can cause no joys.
Love has a thousand ways to please, But more to rob us of our ease; For waking nights and careful days, Some hours of pleasure he repays; But absence soon, or jealous fears, O'erflows the joy with floods of tears.
But one soft moment makes amends For all the torments that attends.
She & He
Let us love and to happiness haste. Age and wisdom come too fast. Youth for loving was design'd.
You be constant, I'll be kind.
I'll be constant, you be kind.
She & He
Heav'n can give no greater blessing Than faithful love and kind possessing.
She (Arthur)
Break off thy music, for our enemies are near.
He (Narrator)
Indeed they are.
Osmond, Osmond, the evil magician is
swathed to
the Saxon Oswald, and bearing a confusingly similar name. She has heard his voice before, whispering
filth at
her, making her glad she was blind, but
now she sees him for the first time. He grabs her...
She (Emmeline)
Matilda, save me from this ugly thing. It cannot be a man, he's so unlike the man I love.
He (Osmond)
But not all men are equally beautiful.
She (Emmeline)
"Tell me your name and your business here."
He (Osmond)
"My name is Osmond, and my business,
love. Be woman, know your sex and love full
pleasures. Come, you must love or you must suffer
No coyness, none, for I am master here. But love reigns everywhere, even in a
world of ice, as I will prove. I'll show Love's force in Countries cak'd
with Ice, Where the pale Pole-Star in the North of
Sits high, and on the frosty Winter broods; For proof, this Magic Wand Shall turn the Mildness of sweet Britain's
To Iceland and the farthest arctic's Frost. Where the Proud God Cupid, disdaining
Winter's Bounds,
O'er-leaps the Fences of Eternal Snow, and with his Warmth, supplies the distant
She (Narrator)
and he strikes the Ground with his Wand. The Scene changes to an endless frozen waste... ice
and snow...tower in zigzag crags and
stretch to infinity. Cupid descends to wake the genius of the
and his cold people... frozen and buried for a thousand, thousand
No. 21
What ho! thou genius of this isle, what ho!
Liest thou asleep beneath those hills of
Stretch out thy lazy limbs. Awake, awake! and winter from thy furry mantle shake.
No. 22 Cold Genius
What power art thou, who from below
From beds of everlasting snow
See'st thou not how stiff and wondrous old
Far unfit to bear the bitter cold,
I can scarcely move or draw my breath
Let me, let me freeze again to death.
No. 23
Thou doting fool, forbear, forbear!
What dost thou mean by freezing here
At Love's appearing,
all the sky clearing,
The stormy winds their fury spare.
Thou doting fool, forbear, forbear!
What dost thou mean by freezing here
Winter subduing,
and Spring renewing,
My beams create a more glorious year.
No. 24 Cold Genius
Great Love, I know thee now:
Eldest of the gods art thou.
Heav'n and earth by thee were made.
Human nature is thy creature. Ev'rywhere thou art obey'd.
No. 25
No part of my dominion shall be waste:
To spread my sway and sing my praise.
E'en here, e'en here I will a people raise
Of kind embracing lovers and embrac'd.
No. 27
Chorus of Cold People
See, see, we assemble Thy revels to hold, Tho' quiv'ring with cold, We chatter and tremble.
No. 28 Cupid
'Tis I, 'tis I that have warm'd ye. In spite of cold weather I've brought ye together.
'Tis Love that has warm'd us...
No. 29
Cupid & Genius
Sound a parley, ye fair, and surrender.
Set yourselves and your lovers at ease.
He's a grateful offender
Who pleasure dare seize:
But the whining pretender
Is sure to dispease.
Sound a parley...
Since the fruit of desire is possessing,
Tis unmanly to sigh and complain.
When we kneel for redressing,
We move your disdain.
Love was made for a blessing
and not for a pain.
'Tis Love that has warm'd us...
She (Emmeline)
"I could be pleased, Osmond with anyone but
thee for these gay sights...
He (Osmond)
Make me happy now, and without
struggling. I see, I see you would be ravished by force. I'll
give you that excuse your sex desires.
She (Emmeline)
O, Heaven, protect me!"
He {Narrator)
But it does't, really. Emmeline is now in
Osmond's way.
She {Narrator)
He hides her in an enchanted wood, a
bower of beauty.
He {Narrator)
A series of traps for the unwary.
She {Narrator)
Arthur and Merlin approach the magic wood
with caution, for here nothing is as it seems.
Merlin leads Arthur into the enchanted forest, putting him on his guard against ks dangers. Two mermaids suddenly appear out of the river. Arthur, resisting the temptation, continues on his way. Nymphs and sylvans try once again to seduce him. Arthur strikes a tree trunk with his sword, and it begins to bleed and to wail. Arthur, thinking he recognizes the voice of Emmeline, wants to save her. But Philidel intervenes; it was Grimbald trying to trick him.
She (Narrator)
No, nothing is as it seems in this magic wood. Here for instance is a silver gurgling river spanned by a bridge of beaten gold: beneath it, two naked nymphs bathe
together for
Arthur's delectation and delight, dancing and swimming in perfect
No. 31 Two Sirens
Two daughters of this aged stream are we, and both our sea-green locks have comb'd for ye.
Come, come, bathe with us an hour or two; Come, come, naked in for we are so. What danger from a naked foe Come, come, bathe with us and share What pleasures in the floods appear. We'll beat the waters till they bound and circle round.
He (Arthur)
"Farewell you fair illusions... with half my
soul I stagger off. But what's this A hundred walking trees...with trunks for
legs and branches for arms.
A multitude bearing its own shade, leafy and
delicate, swaying in the breeze,
dancing and singing of the delights of love.
How happy the lover, How easy his chain! How sweet to discover He sighs not in vain.
How happy the lover...
Soprano & Bass
For love ev'ry creature Is form'd by his nature. No joys are above The pleasures of love.
No joys are above The pleasures of love.
Three Nymphs In vain are our graces In vain are your eyes. If love you despise, When age furrows faces 'Tis too late to be wise.
Three Men
Then use the sweet blessing While now in possessing. No joys are above The pleasures of love.
Three Women
No joys are above The pleasures of love.
No joys...
The Britons finally succeed in taking Oswald's castle. Osmond frees Oswald so that he can fight a duel with King Arthur, who emerges the winner. Arthur and Emmeline are now reunited, and Osmond is thrown into a dungeon. As for Oswald, he is invited to join the Britons to watch a "mask" conjured up by Merlin and intended to celebrate "the wealth, love, and glory" which will be theirs when Saxons and Britons join to form a single people. There is then a storm over the British ocean. Aeolus, who is perched on a cloud, sings. The scene is now a calm sea an island rises up bearing Britannia enthroned, fisherman at her feet. There is a celebration of Britain's natural resources: its fish, its sheep, and its crops. Venus then enters, followed by a couple of young lovers. Arthur swears to be the valorous ancestor of future Britons.
He (Narrator)
Three things remain, three things that end
all epic plays. Number one...
She (Narrator)
A bloody battle, two kings locked in single
combat. Arthur stumbles as if wounded, Oswald
falls over him. They both rise, Arthur wounds him again,
then Oswald retreats...
He (Narrator)
...enter Osmond, the evil magician who
with his
wand strikes Arthur's sword from his hand.
She (Narrator) Oswald pursues Arthur.
He (Narrator)
Arthur pursues Oswald.
He (Narrator) Then Merlin enters.
He (Narrator)
She (Narrator)
Yes, yes. He gives Arthur back his sword.
He (Narrator)
They fall on each other...
She (Narrator)
...and in the tussle Oswald is disarmed...
He (Narrator)
...and Arthur is triumphant!
He (Narrator) Number two...
She (Narrator) A lover's reunion.
He (Arthur)
At length, at length, I hold thee in my
Though our malevolent stars have strug-
hard and kept us long asunder.
She (Emmeline)
"We are so fitted for each other's hearts That heav'n had err'd, in making of a third, To get betwixt, and intercept our Loves."
He (Narrator)
And thirdly...
She (Narrator) A pageant!
He (Narrator)
Merlin waves his wand and the British
Isles are revealed, blown about by hurricanes and
No. 35
Ye blust'ring brethren of the skies,
Whose breath has ruffled all the wat'ry plain,
Retire and let Britannia rise
In triumph o'er the main.
Serene and calm and void of fear,
The Queen of Islands must appear.
She (Narrator)
As the winds subside a calm sea is
revealed, and Britain rises from the stage with Britannia
sitting in state, with demigods and mermaids
round about her.
He (Narrator)
Fisher folk and farmers...
She (Narrator)
...and a pair of warring lovers...
He (Narrator)
...sing and dance for our delight.
No. 37 Nereid & Pan
Round thy coast, fair nymph of Britain, For thy guard our waters flow. Proteus all his herd admitting On thy green to graze below.
Foreign lands thy fish are tasting; Learn from thee luxurious fasting.
Round thy coast, fair nymph of Britain...
No. 38
Two Tenors & Bass
For folded flocks, and fruitful plains, The shepherd's and the farmer's gains, Fair Britain all the world outvies; and Pan, as in arcadia, reigns Where pleasure mix'd with profit lies. Tho' Jason's fleece was fam'd of old, The British wool is growing gold; No mines can more of wealth supply, It keeps the peasants from the cold, and takes for kings the Tyrian dye.
No. 39
Comus & Two Men
Your hay it is mow'd and your corn is reap'd, Your barns will be full and your hovels
Come boys, come, and merrily roar out our harvest home.
First Man
We've cheated the parson, we'll cheat him
For why shou'd a blockhead have one in ten One in ten, one in ten...
One in ten, one in ten,
For why shou'd a blockhead have one in ten
Second Man
For prating so long, like a book-learn'd sot, Till pudding and dumpling are burnt to pot: Burnt to pot, burnt to pot...
Burnt to pot, burnt to pot,
Till pudding and dumpling are burnt to pot.
Third Man
We'll toss off our ale till we cannot stand; and heigh for the honour of old England; Old England, old England...
Old England, old England,
and heigh for the honour of old England.
No. 40 Venus
Fairest isle, all isles excelling, Seat of pleasure and of love, Venus here will choose her dwelling, and forsake her Cyprian grove. Cupid from his fav'rite nation Care and envy will remove; Jealousy that poisons passion, and despair that dies for love. Gentle murmurs, sweet complaining, Sighs that blow the fire of love, Soft repulses, kind disdaining, Shall be all the pains you prove. Ev'ry swain shall pay his duty, Grateful ev'ry nymph shall prove; and as these excel in beauty, Those shall be renown'd for love.
He (Narrator)
So the island race was saved from the
invader. The great and good of the land, the order
of the Garter assemble to celebrate England...
She (Narrator) ...Honour...
He & She (Narrator) ...and St. George!
No. 43a Honour
Saint George the patron of our Isle!
A soldier and a saint!
On this auspicious order smile,
Which love and arms will plant.
Our Sov'reign high in awful state
His honours shall bestow;
and see his sceptred subjects wait
On his commands below.
Our natives not alone appear To court the martial prize; But foreign kings adopted here Their crowns at home despise. Our Sov'reign high in awful state...
UMS and
Maurice and Linda Binkow
Les Arts Florissants
William Christie, Music Director
Ana Yepes, Semi-staging and Choreography Georges Keraghel, Assistant to Ana Yepes
Les Fragments Reunis, Dance Ensemble
Henry Purcell and Dryden
Wednesday Evening, November 10, 1999 at 8:00 Hill Auditorium, Ann Arbor, Michigan
King Arthur
Narrative by Jeremy Sams after Dryden
A brief intermission will follow Act III in tonight's performance.
Nineteenth Performance of the 121st Season
121st Annual Choral Union 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 presented with the generous support of Maurice and Linda Binkow.
Support for this program is provided by media sponsor, WGTE.
Special thanks to William Christie, Joshua Major, and Ellwood Derr for their involvement in this residency.
Tonight's program is part of Les Arts Florissants' 1979-1999 twentieth-anniversary US tour.
Les Arts Florissants is financed by the French Ministry of Culture, the Town of Caen, the Region de Basse-Normandie. Pechiney has sponsored Les Arts Florissants since 1990.
Special support for this tour is from The American Friends of Les Arts Florissants, l'Association Francaise d'Action Artistique and the Cultural Services of the French Embassy.
Les Arts Florissants appears by arrangement with 1CM Artists, Ltd.
Large print programs are available upon request.
Sopranos Rebecca Ockenden Gaelle Mechaly Stephanie Revidat
Rodrigo Del Pozo Iain Paton Francois Piolino
Baritones and Basses Matthieu De Laubier Matthieu Lecroart Suren Chahjan
Satara Lester Patrick Cremin
Ana Yepes Georges Keraghel Nick Nguyen
Violin I Hiro Kurosaki Mihoko Kimura
Violin II
Simon Heyerick
Galina Zinchenko
Anne-Marie Lasla
Violoncello David Simpson
Double Bass
Jonathan Cable
Sebastien Marq Michelle Tellier
Pier Luigi Fabretti Geoffrey Burgess
Claude Wassmer
Trumpets Per-Olov Lindeke Gilles Rapin
Marie-Ange Petit
Brian Feehan
Harpsichord, Organ and Direction
William Christie
Rehearsal Accompanist Bertrand Cuiller
Costumes and Accessories Paolo Pagni
King Arthur
Henry Purcell
Born 1659 in London, England Died November 21, 1695 in Dean's Yard, Westminster
In its provision for music, King Arthur stands midway between Dioclesian, first produced a year earlier, and The Fairy Queen, a year later. For all its unprecedented full-orchestral opulence, Dioclesian was evidently designed with half an eye to economy, for there is no music at all in the first of its five acts and very little in the third and fourth. In contrast, when The Fairy Queen was being planned money was evidently no object (a fact that later brought the theatre company to financial shipwreck), for each of its five acts contains a sumptuous musical masque. In King Arthur only the fourth act is musically lightweight, although it may have been planned to contain even less music, until the production team were forced to find a place in it for a lengthy number displaced from Act III.
An operatic performance in Purcell's day would have begun with the First and Second Music, played while the audience took their seats and settled down. Unfortunately, the manuscript sources of King Arthur are so chaotic that we cannot be sure which of its surviving instrumental numbers Purcell intended for this function; the orchestral "Chaconne" and the d-minor "Overture" are both regularly pressed into service, but the former should almost cer?tainly be the "Grand Dance" at the end of the opera, while the "Overture" should fol?low the second music. The D-Major over?ture -unconnected with King Arthur, and imported during the eighteenth century from one of Purcell's odes -clouds the pic?ture further.
No such confusions attend the music in the Act I of the drama. But it is not free of
problems, chief among which is that its nature has been widely misunderstood. It begins with a sacrifice scene, with the Saxons, led by Oswald, summoning the aid of their heathen gods as they face battle with King Arthur's Britons; after this the Saxon warriors are called to Woden's hall -a number invariably treated in performance as a jolly carousal. But this was not what Dryden intended. He had taken pains to study Norse mythology and ensure that the details of the whole scene were authentic; and in this context Woden's hall is, of
An operatic performance in Purcell's day would have begun with the First and Second Music, played while the audience took their seats and settled down.
course, Valhalla. Far from carousing before battle, the warriors in the first act of King Arthur are being enjoined to be willing to die in battle. Purcell evidently understood this, for he prefaced this clarion call with a solemn chorus recalling the style of his music for the Anglican church -his cus?tomary means of conditioning the response of his theatre audience to scenes of ritual even if it were pagan. Here, however, the sacrifice proves to be vain, and Woden's hall indeed awaits the Saxon warriors, for after battle music has been heard, complete with battlefield instruments: trumpets and oboes; the act ends with a chorus of victory for the Britons.
Act II contains two sharply contrasted musical scenes. In the first of them, groups of good and evil spirits, headed respectively by Philidel and Grimbald, compete to guide or mislead Arthur's forces as they stand benighted in a perilous marshland. Purcell's
musical treatment is obvious yet ingenious: an antiphonal chorus, with the spirits beck?oning from either side of the stage and echoing each other's phrases. After a gruff solo for Grimbald, who almost succeeds in his fell purpose, a shortened repeat of the chorus retrieves the situation in the nick of time. Finally there is a chorus for the good spirits alone, their sweet vocal lines follow-
In Act V, the powers of evil are finally defeated by Arthur himself in single combat with Oswald; and the opera ends with a sumptuous masque of celebration, magically summoned up by Merlin.
ing each other in close imitation as the Britons duly follow Philidel to safety.
Meanwhile Arthur's betrothed, Emmeline, and her attendant Matilda, are being entertained with song and dance by shepherds and their lasses. The scene begins with one of Purcell's most graceful melodies -the instantly memorable "How blest are shepherds," which must surely have stopped the show on its first few nights. It continues with a perky duet, "Shepherds, leave decoy?ing," introduced by a little sinfonia for oboes and recorders (the latter possessing not only rustic associations for a seventeenth-century audience but also strongly sexual ones, as the shepherdesses make clear!). Finally all join in a lively song-and-dance routine; but the country folk have scarcely left the stage when Oswald stumbles upon the now unde?fended Emmeline and abducts her.
As Act III unfolds it becomes clear that both Oswald and also the evil spirit Osmond -Grimbald's principal -have designs on the chastity of Emmeline. When neither makes any progress, Osmonds casts Oswald into a magical prison, and calls on the black powers of wizardry in pursuit of
his own scheme for her seduction. His con?fident assertion that even a frozen virgin can be thawed by love forms the rather flimsy dramatic pretext for one of the most spec?tacular pieces of musical scene-painting in the whole of Purcell's output: the Frost Scene. It owes its effect partly to the arrest?ing declamatory writing for Cupid, partly to the famous "shiverings," heard in the
orchestral accompaniment of the Cold Genius and the Cold People, and -even more graphically -in the choral parts sung by the latter.
Exactly how those "shiverings" should be executed, however, is problematical; and the scene presents other difficulties besides. First, every published edition of the opera has taken the time-signatures of this scene from manuscripts of relatively late date; and these, unlike those of the earliest sources, are inconsistent -with the result that one or another of the "shivering" passages them?selves is nearly always taken at half speed! Almost equally disturbing is that the move?ment obviously intended to conclude the scene, a lively triple-time dance number with sixteen balanced strains, has somehow become detached from its planned context; it has been pressed into service instead as an implausible and redundant prelude (in the wrong key, incidentally) to the Chorus of Cold People, whom Cupid summons up before thawing them to impress Emmeline. Despite these problems, the Frost Scene quickly became, and still remains, one of the most popular in Purcell's operatic output.
Emmeline, however, is unmoved as it unfolds before her on stage: when Cupid and the Cold Genius, in a languid duet, urge her to surrender herself to love, she main?tains an icy reserve in the face of Osmond's unwelcome advances.
Act IV depicts the temptation of Arthur by a fresh set of illusions. This time it is not trackless bogs that would ensnare him, but seemingly fair women. Two sirens rise -naked to the waist according to the original stage directions -and, in a sensuous duet, tempt him to join them. Nymphs and syl-vans enter to add their persuasions in a long passacaglia, containing passages for orches?tra, solo voices in various combinations, and full chorus. (This is the number apparently designed for inclusion in the early part of Act III, until displaced from it by the com?peting production demands of the Frost Scene). Yet even these bewitching sprites, singing some of Purcell's most seductive music, cannot prevail against Arthur's deter?mination to find and rescue Emmeline.
In Act V, the powers of evil are finally defeated by Arthur himself in single combat with Oswald (whom he magnanimously spares); and the opera ends with a sumptu?ous masque of celebration, magically sum?moned up by Merlin. After a consort of martial music, Aeolus appears and, in a magnificent solo accompanied in turn by scurrying violins and soft recorders, silences the sea winds and calls on Britannia's Isle to rise from the waves. It does so -the creaks of stage machinery covered by a symphony with a rippling top line for solo trumpet -and the surrounding waters are hymned in a stately duet for Nereid and Pan, "Round thy coast," which the chorus repeats.
Then the staple produce of the island -wool -is hailed in "For folded flocks," a gentle male-voice trio strongly reminiscent of those in Purcell's anthems. This is a sly piece of irony. For what follows -"Your hay it is mowed," a bucolic solo for Comus
and a chorus for his tipsy revelers -is not merely an uproarious celebration of har?vest-home but also a complaint at the sys?tem of tithes, the Church's one-tenth levy on the produce. Dryden, a Catholic and as such disadvantaged now under William and Mary, no doubt enjoyed slipping those lines into the song text.
One of the most dazzlingly beautiful melodies Purcell ever created follows. The song "Fairest Isle" is sung by Venus, in token of a linkage, time-honoured in English liter?ature, between Britannia's Isle and the Goddess of Love. This exquisite number provides the cue for a lengthy duet, "You say 'tis love," which is not connected with King Arthur and was probably imported bodily -complete with its text, which, as Dryden was careful to indicate when he published the text of the opera, was not his work. The function of this number was probably to gain time while the singers and dancers changed costumes for the final sequence.
The final sequence consists of four movements: another martial consort; a solo sung by Honour in homage to St. George, patron of the island; and a concluding cho?rus and grand dance. Two major textual dif?ficulties immediately present themselves. The solo for Honour, a rousing trumpet air, is patently corrupt, with a shapeless bass line and a highly suspect part for a second trumpet. It has been suggested that the movement must be the work of someone other than Purcell; but he would surely have set so crucial a portion of the text, whilst even an incompetent minor composer would hardly have produced such palpable nonsense. The ghost of a logical structure can, however, be descried in the music; the present writer has accordingly reconstructed it as a ground-bass air with trumpet obbliga-to -a formula which Purcell used in sever?al other works, including Diocksian and The Fairy Queen. The second problem is that the final Grand Dance is missing in all the man-
uscripts; it was almost certainly the great orchestral chaconne which rounded off the show, but many conductors choose to end with the richly-scored chorus "Our natives not alone appear"-sending the audience home, at the end of this gloriously varied opera, with yet another of Purcell's sturdy melodies ringing in their ears.
Program note by Bruce Wood.
Courtesy of the Theatre du Chdtelet, Paris
A Note on the Staging
by Ana Yepes
Purcell's semi-opera King Arthur is a fine example of lyric art in Great Britain in the seventeenth century. This was not made up of one distinct discipline but took the shape of a much wider theatrical event encompass?ing both words and music. The musical parts would often take the form of interludes or "masques" inserted into an entirely separate piece of theatre. It was quite usual, as in the case of King Arthur, for the leading charac?ters have only speaking parts and play no part in the sung parts of the work. The singing characters serve to prolong the the?atrical action while mingling with the non-singing characters. Only two of the central characters in King Arthur, the good and bad spirits Philidel and Grimbald, have singing roles, a fact which serves to emphasize their supernatural status.
Two comic actors, one male and one female, tell the story. In addition to their roles as narrators, they also play the parts of the different leading characters: Arthur, Emmeline, Oswald, Matilda, Philidel, Merlin, Grimbald and Osmond. The singers and dancers sing and dance various characters in the musical parts of the performance. In this way, King Arthur might be played, at various points in the entertainment, by a comedian, a dancer or a singer.
Born in 1944 in Buffalo, NY, William Christie began his musical studies with his moth?er, and went on the study the piano, organ and harpsichord, notably with Ralph Kirkpatrick, who encouraged him in his predisposition for French music. After graduating from Harvard and Yale, he settled in France in 1971 and made his first recording for the ORTF, working in close collaboration with Genevieve Thibault de Chambure. He then continued his harpsichord studies with Kenneth Gilbert and David Fuller and has given recitals in all principal European festi?vals. Between 1971 and 1975, he worked with the Five Centuries Ensemble, an experimental group devoted to ancient and contemporary music, and took part in numerous first performances of works by composers such as L. Berio, S. Bussotti, M. Feldman, and L. de Pablo. In 1976 he joined Rene Jacobs's Concerto Vocale, with whom he played the piano and the organ until 1980.
In 1979 he founded Les Arts Florissants and rapidly began exploring French, Italian and English music of the seventeenth and eighteenth centuries; this unusual ensemble that could perform equally well in small groups as well as with soloists, choir, and orchestra, whether in sacred or dramatic works, gave him the opportunity to con?tribute greatly to the renaissance of interest in vocal techniques of the same period.
Also interested in the theatre and French declamation, William Christie soon began directing a number of French opera tragedies with Les Arts Florissants. He scored some of his finest successes with the help of stage directors who included Jean-Marie Villegier, Robert Carsen, Alfredo Arias, Jorge Lavelli, Adrian Noble, Pier-Luigi Pizzi, and Pierre Barrat, while among his choreographers were Francine Lancelot, Beatrice Massin, Ana Yepes, Shirley Wynne,
Maguy Marin, and Francois Raffinot.
In 1982, he became the first American professor at the Conservatoire National Superieur de Musique de Paris where he directed the early music course. This regu?larly involved him in a number of important student productions, often in collaboration with other prestigious teaching establishments such as the Royal Conservatory of The Hague, the Guildhall School of Music and Drama, and the Conservatoire National Superieur de Musique de Lyon.
William Christie played a large part in the rediscovery of the work of Marc-Antoine Charpentier, whose music features on many of his recordings. He has conduct?ed the operas Medee and David & Jonathas, as well as the interludes from the Malade Imaginaire by MoliereCharpentier. His attraction to the music of Jean-Philippe Rameau led him to record all the harpsi?chord works by this composer. He has also conducted Anacreon, Les Indes Galantes, Pygmalion, Nelee & Myrthis, Castor & Pollux, and Les Grands Motets.
Les Arts Florissants' recordings (some forty titles on the Harmonia Mundi label) have been distinguished by numerous prizes. At the beginning of 1994, William
Christie signed an exclusive contract with EratoWarner Classics. The latest recording is Mozart's Mass in C.
He is regularly invited to conduct other orchestras (including the Paris, Lyon, London, Geneva, Boston, and San Francisco orchestras). In 1998 William Christie made his second appearance at Glyndebourne in a new production of Handel's Rodelinda with Jean-Marie Villegier.
William Christie loves the French art de vivre and is fond of French gastronomy and gardens.
In January 1993, William Christie was awarded the prestigious French Legion d'Honneur and is now a French citizen. In 1997 he was awarded the "Prix Grand Siecle Laurent Perrier" for services to French music.
Tonight's performance marks William Christie's second appearance under UMS auspices.
The vocal and instrumental ensemble Les Arts Florissants was founded by William Christie in 1979 in Paris, three centuries after the creation of the work by Marc-Antoine Charpentier from which it takes its name. From the out?set, the group has devoted itself to research into seventeenthand eighteenth-century music, their repertoire being composed to a large extent of unedited works, most notably those of the Bibliotheque Nationale de France in Paris (Charpentier, Campra, Monteclair, Mouline, Lambert, Bouzignac, Rossi, etc.).
Les Arts Florissants have also particu?larly earned recognition for their interpreta?tions of operas, notably at the Opera du Rhin with Purcell's Dido and yEneas, Monteverdi's Ballo delle Ingrate (1983), Rameau's Anacreon and Charpentier's Action (1985) staged by Pierre Barrat.
The production of Lully's Atys, staged by Jean-Marie Villegier, was voted best opera by French critics in 1987 and was per?formed at the Opera Comique in Paris, in Caen, Montpellier, Versailles, Florence, New York, and Madrid in 1987,1989 and 1992 to rave reviews. Jean-Marie Villegier has also staged Le Malade Imaginaire by MoliereCharpentier (co-production Theatre du Chatelet, Theatre de Caen, Opera de Montpellier 1990), La Fee Urgele by DuniFavart (directed by Christophe Rousset, Opera Comique 1991) and Charpentier's Medee (co-production Opera Comique, Theatre de Caen, Opera du Rhin 1993, also performed in Lisbon and New York in 1994) and Rameau's Hippolyte & Aricie (co-production Opera National de Paris, Opera de Nice, Opera de Montpellier,
Theatre de Caen, Brooklyn Academy of Music 1996).
Les Arts Florissants are also regularly invited by the Aix-en-Provence Festival, for productions such as Purcell's Fairy Queen (staged by A. Noble, 1989, Grand Prix de la Critique), Rameau's Indes Galantes (staged by A. Arias, 1990, also performed in Caen, Montpellier, Lyon and Paris), Rameau's Castor & Pollux (staged by P. L. Pizzi, 1991), Handel's Orlando (staged by R. Carsen, co-production Theatre des Champs-FJysees, Opera de Montpellier, 1993), Mozart's Magic Flute in 1994 and 1995 (staged by R. Carsen) and Handel's Setnele in 1996 (staged by Robert Carsen).
Since 1989, the Brooklyn Academy of Music has invited Les Arts Florissants for both staged productions (Atys in 1989 and
1992, Medee in 1994, Orlando in 1996, Hippolyte etAricie in 1997) and concerts.
Les Arts Florissants have made over forty recordings on the Harmonia Mundi label, many of which have won prestigious international prizes. At the beginning of 1994, Les Arts Florissants signed an exclu?sive contract with EratoWarner Classics. Their latest recording is Mozart's Mass in C. Rameau's Grands Motets and Purcell's King Arthur have won the 1995 Gramophone Awards, respectively in the category "Baroque Vocal" and "Early Opera."
Future tours in 19992000 will take the ensemble to Great Britain, the US, Luxemburg, Spain, Switzerland, Germany, Belgium, Norway and Austria.
Tonight's performance marks Les Arts Florissants' second appearance under UMS auspices.
Les Fragments Reunis is an ensemble founded by five dancer-choreographers: Francoise Denieau, Marc Leclerq, Nick Nguyen, Natalie van Parys and Ana Yepes, all of whom share several years' experience working in Francine Lancelot's baroque dance company, Ris et Danceries. The goal of the ensemble is to ensure the continuity of this genre, and to provide a means for exploration of the baroque repertoire in various fields such as choreography, perfor?mance, education and research.
Since its creation, Les Fragments Reunis has collaborated on a number of produc?tions with William Christie and Les Arts Florrisants, including Hippolyte etAricie by Rameau, choreographed by Ana Yepes and directed by Jean-Marie Ville'gier, which was performed at the Paris Opera then taken on tour to other French cities and the Brooklyn Academy of Music in New York, Les Pelerins de la Mecque by Gluck, Purcell's King Arthur, Charpentier's La Descente d'Orphee
aux Enfers and Les Plaisirs de Versailles, and Madrigals of Monteverdi, all directed and choreographed by Ana Yepes.
The ensemble has also frequently visit?ed Tokyo's Hokutopia International Music Festival giving performances of Rameau's Anacreon with Les Talens Lyriques, as well as his Pygmalion and Purcell's Dido and Aineas with Ryo Terakado, directed and choreo?graphed by Natalie van Parys.
Works prepared for different European baroque productions include Handel's Admeto at the Halle Theatre in Germany, directed and choreographed by Natalie van Parys, Rameau's Castor et Pollux in Prague, choreographed by Marc Leclerq and Kraesus at the Berlin Opera choreographed by Francoise Denieau.
Les Fragments Reunis' own productions include the baroque ballet he Somnteil ou Les Metamorphoses d'un Songe, conceived and directed by Francoise Denieau and Natalie van Parys, and Dialogues with my Father, a contemporary dance performance in homage to Narciso Yepes, conceived, directed and choreographed by Ana Yepes.
All members of Les Fragments Reunis teach historical dance regularly in various institutions covering France, Spain, Great Britain, Germany, Portugal, Switzerland, The Czech Republic, Argentina, Chile and Japan.
Tonight's performance marks Les Fragments Reunis' debut under UMS auspices.
Ana Yepes was born in Spain, and has lived in France for the past twelve years. After qualifying as a recorder teacher at the Superior Academy of Music of Madrid, she attended analysis and harmony classes with Nadia Boulanger in Paris and the Fontainebleau Summer Music Academy, after which she studied at the Royal Music Academy in the Hague (Holland),
specializing in early music.
Other qualifications include diplomas from the Guildhall School of Music and Drama, London, the Sorbonne, Paris (with Francine Lancelot), and performance classes with Shirley Wynne, Francine Lancelot, Barbara Sparti and Andrea Francalanci.
Highlights of her career with Les Fragments Reunis include: the choreogra?phy of Hippolyte & Aricie by Rameau per?formed in Paris, Nice, Montpellier, Caen and at the Brooklyn Academy of Music in New York; the direction and choreography of Les Pelerins de la Mecque by Gluck at the Montpellier Opera and Caen Theatre; the direction and choreography of the triple program Aspects de I'opera baroque: Monteverdi, Charpentier, Purcell with Les Arts Florissants; and Dialogues with my Father, a contemporary dance performance in homage to Narciso Yepes.
Ms. Yepes was responsible for choreo?graphing Manon by Massenet, directed by Gilbert Deflo, and Carmen by Bizet, directed by Alfretio Arias, both performed at the Paris Opera. Active as a choreographer in opera, ballets and plays, she has been involved in the productions of Semiramide and Comedies madrigalesques (Mireille Laroche), Les Indes Galantes and Fous des Folies (Alfredo Arias), El Gran Mercado del Mundo (Miguel Narros), The Indian Queen (Kate Brown), King Arthur (Francisco Negrin) and Zarandanzas (her own production). She has collaborated with musical directors such as Alan Curtis, William Christie, Tomas Marco, Ignacio Yepes, Dominique Visse, Ton Koopman and has links with the organizations and ensem?bles such as Hemiole, the Trio Yepes, Ris & Danceries, Les Arts Florissants, the National Theater Company of Madrid, Andanzas, and Les Folies Bergere.
Ana Yepes regularly teaches baroque dance in France, Spain, Great Britain, Portugal, Switzerland, Argentina, Chile and Japan.
Jeremy Sams has most recently directed for the stage Schippel the Plumber (Greenwich), Passion (West End), Neville's Island (Nottingham and West End), Wild Oats and MaratSade (Royal National Theatre), Enter the Guardsman (Donmar Warehouse), Maria Friedman-By special arrangement (Donmar Warehouse and West End), The Wind in the Willows (Old Vic) and Two pianos four hands (Birmingham Rep), which opened in the West End in October 1999.
Jeremy Sams is also a translator; he has most notably translated Les Parents terribles, The Miser, Mary Stuart (Royal National Theatre), The Rehearsal (Almeida and West End), Beckett (West End), A Fool and his Money (Nottingham and Birmingham Rep), Figaro's Wedding, la Boheme, The Magic Flute (English National Opera) and The Merry Widow (Covent Garden).
He has written, arranged and directed music for over fifty shows for theatre, television and radio, including The Wind in the Willows, Arcadia (Royal National Theatre), The Merry Wives of Windsor (Royal Shakespeare Company), Have your cake and eat it (Initial Films) and Jane Austen's Persuasion (BBC), for which he won a BAFTA award.
His radio series "Sams at the Opera" played on Radio 3 throughout 1997.
Theatre of Voices
Paul Hillier, Director
Salve mater
Anonymous Worcester Fragments
Salve sancte parens enixa puerpera regem qui coelum terramque regit
in saecula saeculorum.
Benedicta tu in mulieribus et benedictus fructus ventri tui.
Salve Mater redemptoris fons
misericordiae, vas honoris, flor
aula regis gloriae
coeli sponsa creatoris, Domina clementiae. Lux electa conditoris, halamus
virgo verecundiae, gemma pudicitiae, fac nos requiescere cum civibus laetitiae
in saecula saeculorum.
Salve lux languentium consolatrix hominum flor et decus virginum gignens Dei filium regem regum omnium sidus in umbraculo lucens splendoris radio sponsa Dei filio coniuncta sedes
solio. Te laudantes fac videre cum coetu
sanctorum gloriam coelorum.
Hail Holy Mother, who labored to bear the King who rules in heaven and earth
for ever and ever.
Blessed are you among women and blessed is the fruit of your womb.
Hail Mother of the redeemer, fountain
of mercy, vessel of honour, flower
of comeliness, palace of the King of Glory, bride of heaven's creator, lady of clemency, chosen light of the founder, chamber of
virgin of modesty, gem of chastity, make us rest with the citizens of joy,
forever and ever.
Hail light of the suffering,
consoler of men,
flower and ornament of virgins,
bearer of the Son of God,
King of all kings,
star in the darkness,
shining with a ray of splendour,
bride to the Son of God, seated next to
his throne, make those praising you see the glory of
heaven with the company of saints.
Salve sine spina rosa
flor purpureus
aegris medicina
dulcis fontis rivulus
spirantis sacrarium
magni regis thalamus.
Cuius Dei filium ponens in visceribus
precis tuae memorans aevo saeculorum
sit nobis placabilis conditor polorum.
Gloria Patri et Filio
et Spiritui Sancto. Sicut erat in principio et nunc et semper
et in saecula saeculorum.
Hail rose without thorn, purple flower, medicine to the sick, stream from a sweet fountain, shrine of the living God, chamber of the great King, placing the Son of God in your womb, mindful of your prayer forever and ever, may the founder of the ends of the earth be merciful unto us.
Glory be to the Father, and to the Son,
and to the Holy Ghost; as it was in the beginning is now and ever
shall be, world without end.
Beata viscera
Anonymous Worcester Fragments
Beata viscera Mariae virginis que fructu gravida eterni germinis in vite poculo propinat seculo pro bone hominis donum duke dinis.
Blessed womb
of the Virgin Mary
which, pregnant with the fruit
of the eternal offspring,
drinks deep from the cup of life
through all the ages;
for the good of mankind
you deemed this sweet gift to be fitting.
Alleluia psallat
Anonymous Worcester Fragments
Alleluia psallat haec familia, Alleluia concinat haec familia, Alleluia timpanizet, Alleluia citharizet laetus coetus cum
Alleluia concinat Deo laudum et praeconia. Alleluia.
Alleluia let this congregation sing to the Lord, Alleluia let this congregation sing, Alleluia clash the cymbals, Alleluia sound the harp in joyful company
with harmony,
Alleluia let us sing in jubilation to the Lord. Alleluia.
Anonymous Worcester Fragments
Sanctus, sanctus, sanctus, Dominus Deus
Pleni sunt coeli et terra gloria tua. Hosanna in excelsis. Benedictus qui venit in nomine
Domini. Hosanna in excelsis.
Holy, holy, holy, Lord God of
Heaven and earth are full of your glory. Hosanna in the highest. Blessed is he that comes in the name of
the Lord. Hosanna in the highest.
Agnus Dei
Agnus Dei qui tollis peccata mundi,
miserere nobis. Agnus Dei qui tollis peccata mundi, dona
nobis pacem.
Lamb of God that takes away the sins of the world, have mercy upon us.
Lamb of God that takes away the sins of the world, give us peace.
Salve scema sanctitatis
John Dunstable
Salve scema sanctitatis Christi Catherina
sponsa speciosa satis
castitate cristalina
cuius caro columbina reges refusa.
Casti coeli cacumina
rotis revinxit reclusa
ruptis rotulis recusa
plangens plebs precipitatur
rixa rectorum retusa
pira pestilens paratur.
Poli princeps postulatur;
Christo cremantur credentes
piis patio prestatur
coelum constantium cluentes
claudunt carcere cluentes
votis virginum urentem;
clatris confluunt clementes
vitam vitant vegentem
poscit plebem prosperari
vitam vincens et virentem
polo poscit premiari.
Hail Catherine, form of Christ's holiness,
bride beautiful enough,
shining with chastity;
whose dove-like flesh refusing kings,
the revealed heights of chaste heaven
bound fast to the wheels
rejected by the broken wheels,
the weeping people is cast down,
the strife of rulers is subdued
and the destroying pyre is prepared.
The leader of the ordeal is summoned;
believers in Christ are burned,
their pallor is displayed to the faithful,
named among the steadfast in heaven;
in prison they enclose
the burning virgin with their prayers.
The merciful gather at the bars,
they shun the thriving life.
The virgin bids the people prosper,
and conquering her vigorous life
she demands to be rewarded with the ordeal.
Venecie mundoMichael qui stena
Johannes Ciconia
I Venecie mundi splendor Italie cum sis d6cor in te viget omnis livor regulis mundicie.
Gaude mater maris salus qua purgatur quisquis malus
terre ponti tu es palus miserorum baiula.
Gaude late virgo digna principatus portas signa tibi soli sunt condigna
ducalis dominii.
Gaude victrix exterrorum nam potestas Venetorum nulli cedit perversorum
dominans terram maria;
Nam tu vincis manus fortis pacem reddis tuis portis et disrumpis fauces mortis tuorum fidelium.
Pro te canit voce pia tui statum in hac via et conservet et Maria Johannes Ciconia.
Michael qui Stena domus tu ducatus portas onus honor tibi quia bonus vitam duces celibem.
Phebo compar princeps alme tibi mundus promit salve spargis tuis fructum palmae
victor semper nobilis.
Venice, splendour of the world,
as you adorn Italy,
every envy flourishes
of your rule of moral purity.
Rejoice, mother of the sea, wholesomeness by which every evil is
purged away;
you are a bulwark between land and sea, a nurse for the miserable.
Rejoice widely, worthy maiden, for you, being of the first rank, carry the standard (on you alone are these
honors bestowed) of your ducal lord.
Rejoice, conqueress over foreigners,
for the power of Venetians
is not given over to those who would
undermine you, but holds sway over earth and sea.
For you conquer, you and your strong armies, you bring back peace to your gates, and you break the jaws of death for your faithful people.
For you in a gentle voice -and for you may Mary keep him in this way -Johannes Ciconia sings.
Michael, you who carry the burden
as duke of the house of Steno,
honour be unto you because you, good man,
have led a life of celibacy.
Similar to Apollo, sweet prince,
the world promises you Hail.
You spread the fruit of the palm among
your own kind, ever-noble conqueror.
Clemens justis approbaris decus morum appellaris tu defensor estemaris fidei catholicae.
Bonis pandis munus dignum malis fundis poenae signum
leges suas ad condignum gladio justitiae.
Sagas prudens mistis pater lex divina cum sis mater mentis virtus tibi frater zelator republice.
Sedem precor tibi dari Deo coeli famulari eius throno copulari per aeterna saecula.
Merciful, just, you are blessed;
you are called decorous in your manners;
you are considered the defendor
of the Catholic faith.
You extend deserved gifts to the good; you pour out punishments upon the
your laws are worthy to be called a sword of justice.
Wise, prudent, gentle father (O divine Law, it is as if you were his mother), intellectual virtue is like a brother to you, who strive zealously for the republic.
I pray that a place will be given to you to be a servant of God in heaven, to be joined with Him before His throne through all eternal ages.
Ut te per omneslngens alumnus Paduae
Ut te per omnes coelitus plagas sequamur
maxime cultu lavandos lumina. Francisce nostros spiritus.
Tu qui perennis glorie sedes tuere
omnipatris qui cuncta nutu concutit
perversa nobis erue.
Christi letus quod sumpserat vulnus receptum per tuum nobis benigne porrige ut de te canens
gloriam sic ilia felix regula,
fratrum minorum nomine,
cuius fuisti conditor duret pervivum longius.
So that we may follow you to heaven
through all the buffets of life, Francis let us seek the light to cleanse our
souls with worship. You who sits in eternal glory gazing upon
the all-Father who nods yes to all things, destroy in us that which desires wrongdoing. O vassal of Christ, patiently extend to us
the wounds in your own hands, like
those which He took upon Himself; so that this happy Rule, known by the
name of the minor Brothers, of which you were the founder, may
continue, vibrant and alive, singing about you in glory through the
Ingens alumnus Paduae quern Zabarellam
nominant, Franciscus almi supplicat Francisci
adorans numina. Sis tutor excelsis favens servo precanti
te tuo, quem totus orbis predicat insignibus
preconiis. Audi libens dignas preces doctoris immensi,
sacer Francisce quo leges bonas Antenoris stirps accipit.
Silvas per altas alitus in mole causus corporis ducens viam celestium rector veni fidelium.
The great son of Padua, Francis, whom
they call Zabarella, prays, adoring the spirit of gentle Francis.
May you be the guardian on high, protect?ing your servant who prays to you,
whom all the world praises because of your remarkable, glorious actions.
Hear with pleasure the deserving prayers of this great learned man,
blessed St. Francis, from whom the descen?dants of Antenor [legendary founder of Padua] receive good laws.
Thou noble man, though enclosed by the weight of the flesh, lead us through the deep forests along the heavenly path.
Come, O guide of the faithful.
Blazhen muzh
'Anonymous Kiev chant
Blazhen muzh alliluya; izhe ne ide na
sovet nechestivih. Alliluya.
Blessed is the man, alleluia, who walks not
in the counsel of the wicked. Alleluia.
Bogoroditse dyevo
Kamil Tchalaev
Bogoroditse dyevo, radusya, blagodatnaja
Marije, Gospod s'toboju. Blagoslovenna Ty vjenah, I blagosloven
plod chreva Tovyego jako Spasa rodila jesi dush nashich.
Rejoice, O Virgin Theotokos, Mary full of
grace, the Lord is with you. Blessed are you among women, and
blessed is the fruit of your womb, for you have borne the saviour of our souls.
The Cherubic Hymn
Anonymous Znamenny polyphony
Izhe heruvimi, tayno obrazuyushche, I
zhivotvoriashchey Troytse trisviatuyu pesn pripevayushche, fsiakoye nine
zhiteskoye otlozhim popecheniye, yako da Tsaria fseh podimem, angelskimi
nevidimo dorinosima chinmi.
Let us who mystically represent the Cherubim, and sing the thrice-holy
hymn to the life-creating Trinity, now lay aside all cares of this life,
that we may receive the King of All, who comes invisibly surrounded by the
angelic host.
Kanon Pokajanen (excerpts) Arvo Part
O my soul, how dost thou become rich in sins Why dost thou the will of the devil In what dost thou set thy hope Cease from these things and turn to God with weeping and cry out: O kind hearted Lord, have mercy on me, a sinner.
Think, my soul, of the bitter hour of death and the judgement day of the God and Creator. For terrible angels will seize thee, my soul, and will lead thee into the eternal fire. And so before thy death, repent and cry: O lord have mercy on me, a sinner.
An angel made the furnace sprinkle dew on the righteous youths.
But the command of God consumed the Chaldeans and prevailed upon the
tyrant to cry: Blessed art thou, O God of our Fathers.
Have mercy, O God, have mercy on me.
Put not thy hope, my soul, in corruptible wealth, and for what is unjustly collected. For thou dost not know to whom thou wilt leave it all. But cry: O Christ our God, have mercy on me who am unworthy. Have mercy on me, O God, have mercy on me.
Trust not, my soul, in swiftly-passing beauty. For thou seest that the strong and the young die. But cry aloud: O Christ our God, have mercy on me, who am unworthy.
Glory to the Father, and to the Son, and to the Holy Spirit. Remember my soul, eternal life and the heavenly kingdom prepared for the saints, and the outer darkness and the wrath of God for the evil, and cry: O Christ our God, have mercy on me who am unworthy.
Both now and forever, and unto the ages of ages. Amen. Fall down, my soul, before the Mother of God, and pray to her; for she is the quick helper of those that repent. She entreateth the Son, Christ God, and hath mercy on me who am unworthy.
Therefore I cry: grant me, O Lord, repentance before the end. Both now and forever, and unto the ages of ages. Amen.
O most pure Theotokos, accept mine own unworthy prayer and preserve me from sudden death; and grant me repentance before the end.
Antiphonies: ear for EAR
John Cage
O quanta qualia
Peter Abelard
O quanta qualia sunt ilia sabbata quae semper celebrat sipema curia quae fessis requies, quae merces fortibus, cum erit omnia deus in omnibus.
Vera Jerusalem est ilia civitas cuius pax jugis est sunima iucunditas: ubi non praevenit rem desiderium nee desiderio minus est praemium.
Quis rex quis curia quale palatium quae pax quae requies quod illud gaudium, huius participes exponant gloriae si quantum sentiunt possint exprimere.
How mighty and great
are those sabbaths,
which the celestial court
celebrates eternally,
which are the rest of the weary,
the reward of the strong,
when God will be
all things in all things.
The true Jerusalem will be that city whose peace is perpetual -the most exalted joy where none now await that longed-for state, nor is the prize unworthy of the desire.
What king, what court, what kind of palace, what peace, what rest -what joy is this whose celebrants show forth in glory, when they wish to express how much they feel.
Illic ex Sabbato succedit Sabbatum perpes laetitia sabbatizantium. Nee ineffabilis cessabunt jubili quos decantabimus et nos et angeli.
Perenni Domino perpes sit gloria ex quo sunt per quem sunt in quo sunt omnia. Ex quo sunt Pater est per quem sunt Filius in quo sunt Patris et Filii Spiritus.
There Sabbath
succeeds Sabbath -
perpetual joy
created by the Sabbaths.
And that inextinguishable rapture
will not cease
of which the angels
and we will sing.
Eternal Lord,
may your glory be everlasting
for whom, through whom,
and in whom all things have their being.
From whom the Father is,
through whom the Son is,
in whom the Spirit is,
with the Father and the Son.
Benedicamus Domino
School ofPerotin
Benedicamus Domino; Deo gratias.
Let us bless the Lord; thanks be to God.
Communion Hymn for Mid-Pentecost
John Plousiadenos
O eorakos erne eorake ton patera,
ke o trogon mu tin sarka, kai pinon mu to ema
en emi meni kago en afto ipen o Kyrios.
He who has seen me has seen the Father,
and he who eats my flesh and drinks my blood dwells in me
and I in him, says the Lord.
Canon for the Council of Florence
Tin sevasmion taftin ke agian synodon
pistos gereomen, tin en Florentia ieros synachthisan en pneumati
ke tas eklisias dierigmenas aniatos en enosi aftas katefthynasan.
We faithfully celebrate this honourable
and holy synod, devoutly gathered in the Spirit in
Florence, which has set aright in unity the incurably
separated churches.
I foni to Sotiros atithos peplirote, ipate
fisasi iero to Petro: Epistrepsas stirixis is enosin su tus adeifus
su Ego gar, Petre, edeithin, ina mipote lipsi pistis su.
Nyn o romis prostatis: o klinos Evgenios, pantas synithrise en ti
Florentia os tin pistin katechon akiomiton,
ke stirikas pantos, ke pros aftin kathodigisas, tu Sotiros ton logon
Synelthontes en pisti, pantes makarizomen se tin panamomon, tin ta
diestota paradoxos, Parthene, synapsasan
to septo su toko, sita ke nyn tes ekklisies tin irinin kalos proxenisasan.
The voice of the Saviour is fulfilled, which
once spoke divinely to Peter: Return, support your brethren in your
unity. For I prayed, O Peter, in order that your
faith may never disappear.
Now the Bishop of Rome is protector:
the famous Eugenius gathered
everyone in Florence, confirming the faith unshaken, supporting
and directing all towards it, thereby fulfilling the promise of the
Gathering in faith, we bless you, the all-blameless Virgin, who once inexplicably joined what
was separated through your holy offspring,
now auspiciously introduces peace to the churches.
Funeral Ikos
John Tavener
(Text from the Order for the Burial of Dead Priests)
Why these bitter words of the dying, O brethren, which they utter as they go hence I am parted from my brethren. All my friends do I abandon, and go hence. But whither I go, that understand I not, neither what shall become of me yonder; only God, who hath summoned me knoweth. But make commemoration of me with the song: Alleluia.
But whither now go the souls How dwell they now together there This
mystery have I desired to learn, but none can impart aright. Do they call
to mind their own people, as we do them
Or have they forgotten all those who mourn them and make the song:
We go forth on the path eternal, and as condemned, with down cast faces,
present ourselves before the only God eternal. Where then is comeliness
Where then is wealth Where then is the glory of this world
There none of these things shall aid us, but only saying often the psalm:
If thou hast shown mercy unto man, O man, that same mercy shall be shown thee there; and if on an orphan thou hast shown compassion, the same shall there deliver thee from want. If in this life thou hast clothed the naked, the same shall give thee shelter there, and sing the psalm: Alleluia.
Youth and beauty of the body fade at the hour of death, and the tongue then burneth fiercely, and the parched throat is inflamed. The beauty of the eyes is quenched then, the comeliness of the face all altered, the shapeliness of the neck destroyed; and the other parts become numb, if they did
not often say: Alleluia.
With ecstasy are we inflamed if we but hear that there is light eternal
yonder; that there is Paradise, wherein every soul of Righteous Ones
rejoiceth. Let us all also enter into Christ, that we all may cry aloud thus unto God:
Lamentatio Sanctae Matris Ecclesiae Constantinopolae
Guillaume Dufay
Omnes amici eius spreverunt eam.
Non est qui consoletur eam ex omnibus caris eius.
O tres piteux, de tout espoir fontaine, Pere du fils dont suis mere esplore'e, Plaindre me viens a ta court souveraine,
De ta puissance et
de ta nature humaine,
Qui ont souffert telle dure villaine
Faire amon fils, qui tant m'a honored
Dont suis de bien et de joye se'pare'e, Sans que vivant veulle entendre mes
plains. A toy, seul Dieu, du forfait me complains,
All her friends have dealt treacherously
with her. Among all her lovers she hath none to
comfort her.
0 most piteous one, fountain of all hope, father of the son whose tearful mother I am,
1 come to lay my complaint before your
sovereign court,
in that your power and nature as a man
have allowed such grievous harm to be done to my son, who has so much honored me.
Now I am bereft of goodness and joy without any living being willing to hear
my lamentations. To you, the only God, of the heinous
crime I complain,
Du gref tourment et douloureux outrage,
Que voy souffrir au plus bel des humains Sans nul confort de tout humain lignage.
of the grievous torment and sorrowful
which I see the most noble of men suffer and receive no comfort from any human
Nuper rosarum floras
Nuper rosarum flores ex dono pontificis hieme licet horrida, tibi virgo coelica pie et sancte deditum grandis templum machinae condecorarunt perpetim;
hodie vicarius Jesu Christi et Petri successor Eugenius hoc idem amplissimum sacris templum manibus sanctisque liquoribus consecrare dignatus est.
Igitur alme parens nati tui filia virgo decus virginum tuus et Florentiae devotus orat populus ut qui mente et corpore mundo quicquam exorarit
oratione tua cruciatus et meritis tui secundum carnem nati, Domini sui, grata benficia veniamque reatum accipere mereatur.
Terribilis est locus iste.
Lately roses have not ceased
by the Pontiff's gift,
(albeit in shivering
winter) to decorate the temple,
majestic in its engineering -
dedicated to you, heavenly Virgin,
in piety and holiness;
today Eugene, vicar of Jesus Christ and successor of Peter, has deigned to consecrate this same vast temple with his sacred hands and with holy water.
Therefore, kindly mother and daughter of your Son, Virgin the glory of virgins, your people at Florence devoutly pray
that whoever begs for a thing with a pure mind and body
may by your prayer
and the worthy torment
of your Son in the flesh,
his Lord,
be found worthy
to receive welcome favors
and foregiveness for his sins.
Awesome is this place.
Theatre of Voices
Paul Hillier, Director
Kirsten Blase-Heilman, Soprano Wolodymyr Smishkewych, Tenor
Steven Rickards, Countertenor Andrew Hendricks, Baritone
Paul Elliott, Tenor Paul Hillier, Baritone
Anonymous Worcester Fragments
Anonymous Worcester Fragments
Anonymous Worcester Fragments
Anonymous Worcester Fragments
John Dunstable Johannes Ciconia Ciconia
Anonymous Kiev chant
Kamil Tchalaev
Anonymous Znamenny polyphony
Arvo Part
Friday Evening, November 12,1999 at 8:00
St. Francis of Assisi Catholic Church, Ann Arbor, Michigan
Salve mater Beata viscera Alleluia psallat
Sanctus Agnus Dei
Salve scema sanctitatis
Venecie mundoMichael qui stena
Ut te per omneslngens alumnus Paduae
Blazhen muzh
Bogoroditse dyevo The Cherubic Hymn
Kanon Pokajanen (excerpts) Kondakion Ikos Ode VII
John Cage Peter Abelard School ofPerotin John Plousiadenos Plousiadenos John Tavener Guillaume Dufay
I Dufay
Antiphonies: ear for EAR
O quanta qualia
Benedicamus Domino
Communion Hymn for Mid-Pentecost
Canon for the Council of Florence
Funeral Ikos
Lamentatio Sanctae Matris Ecclesiae Constantinopolae
Nuper rosarum floras
Twentieth Performance of the 121st Season
Fifth Annual Divine Expressions 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 presented with the generous support of Robert and Pearson Macek.
Theatre of Voices is represented exclusively in North America by California Artists Management.
Large print programs are available upon request.
The title of this program refers both to the fragmented survival of the distant musical past in manuscript collections often in incomplete or damaged condi?tion, and to the fragmentation of Christianity into Eastern Orthodox and Western Catholic and their respective musical traditions. The program itself could also be called a collec?tion of fragments woven together by certain recurrent ideas. The program does not attempt to convey a message, however. Rather, it is an abstract mosaic in which certain colors or themes are allowed to dominate. In the process, new kinds of musical relationships are opened up by allowing Abelard to suggest Cage, Worcester to lead to Constantinople and Venice to reflect Part.
The program begins with a selection of fourteenth-century English music from the Worcester Fragments and Fountains Fragments -anonymous pieces for three voices, which display the typical early English delight in rich sonorities. This music prepares the way for John Dunstable (d. 1453), one of England's greatest com?posers, who is represented here by a four-voice isorhythmic motet in honor of St. Katherine, Salve scema sanctitatis. This is followed by two motets of Johannes Ciconia, one in praise of Venice, and one of Padua. Ciconia (d. 1412) was born in Flanders, but spent the greater part of his creative life in Italy. The first part of the program then concludes with a selection of music for the Orthodox liturgy, ranging from early pieces for three voices based on {znamennyi) chant but with a surprisingly modern harmonic sound, to new pieces by composers such as Arvo Part (including a movement from his recent Kanon Pokajanen), and Kamil Tchalaev, a younger Russian composer residing in Paris.
The second part of the concert begins with an unusual trilogy: first, John Cage's
Antiphonies, sounding as much medieval as modern; then a twelfth-century hymn by Peter Abelard, O quanta qualia; concluding with one of the masterpieces of Gothic music, Perotin's organum Benedicamus Domino. The program then returns to the Orthodox rite, but this time to Greece. We hear first two works by John Plousiadenos (c. 1429-1500), a Communion Hymn sung by two voices over a drone and a monophonic Canon for the Council of Florence; this is followed by Funeral Ikos by the English composer John Tavener (b. 1942). The program ends with two commemorative motets by the great Burgundian composer, Guillaume Dufay (d. 1474), who like Ciconia also spent a signifi?cant portion of his working life in Italy. We hear first a motet written as a lament on the Fall of Constantinople to the Turks in 1453; and then, Nuper rosarum flores, composed for the dedication of Santa Maria del Fiore in Florence in 1436.
Arvo Part's Katwn Pokajanen will be performed in its entirety by the Estonian Philharmonic Chamber Choir on Sunday, February 13, 2000 at 8:00pm.
Salve mater
This motet combines four separate texts in praise of the Virgin Mary, and is based on a chant which is carried in the lowest voice.
Beata viscera
Beata viscera is based on the Communion chant which is heard in an ornamented ver?sion in the lowest voice.
Alleluia psallat
A joyful piece nicely illustrating the tech?nique known as "voice exchange" between the three voices.
Sanctus & Agnus Dei
These two mass movements are taken from a manuscript once belonging to Fountains Abbey in Yorkshire a Cistercian monastery whose church, once one of the most beautiful buildings in England, is now a picturesque ruin.
Salve scema sanctitatis
Two alliterative texts in honor of St. Catherine are combined over a slower moving pair of lower voices.
Venecie mundoMichael qui stena This motet honors Venice and its Doge, Michele Steno. Padua was conquered by Venice in 1405 and Margaret Bent (in her edition of the collected works of Ciconia -Monaco, 1985) suggests that the work might have been written for the occasion on January 3, 1406, when Zabarella (Ciconia's patron) made formal submission on behalf of the Comune of Padua, to the Doge of Venice outside San Marco. Note that Ciconia places his own name at the end of the first text, in effect signing his work like a painter in the corner of a picture.
Ut te per omnesIngens alumnus Paduae This isorhythmic motet honors the compos?er's adopted city, and is addressed both to his patron Zabarella, Archbishop of Padua Cathedral, and to Zabarella's patron, St. Francis; the text intercedes for Zabarella as a great teacher and wise lawyer, and prays for the Franciscan order.
Blazhen muzh Bogoroditse dyevo The Cherubic Hymn
Kanon Pokajanen
This selection comprises part of section VI and all of section VII from Arvo Part's set?ting of the Canon of Repentance, a group of texts dating back to the eighth century. The composer has written about this work:
In this composition, as in many of my vocal works, I tried to use language as a point of departure. I wanted the word to be able to find its own sound, to draw its own melodic line. Somewhat to my surprise, the resulting music is entirely immersed in the particular character of Church Slavonic, a language used exclusively in ecclesiastical texts.
Antiphonies: ear for EAR This piece was composed in 1983 for the tenth anniversary of EAR: Magazine of New Music. The singers vocalize in a solo and response format on the letters 'e-a-r.'
O quanta qualia
Abelard composed a number of hymns (for Heloise's Paraclete) of which this is the only known example to have survived with music.
Benedicamus Domino
Though anonymous, this piece of extended three-voice organum is written very much in the style of Perotin, and has a mastery which suggests that it is indeed by this com?poser, who is regarded as one of the earliest significant composers of polyphony in the Western tradition.
Communion Hymn for Mid-Pentecost Canon for the Council of Florence The Council of Florence took place in 1439, when a small Byzantine delegation of bishops and theologians assented to Union with the Roman Catholic Church in return for military aid against the Ottoman Empire. The aid was never delivered, however, and public opposition prevented the promulgation of the union until 1452 -after which most Orthodox refused to attend services at St. Sophia. A year later, Constantinople was to fall to the Turks (see Lamentatio below). However, there remained a number of prominent Byzantine converts to the Catholic cause, among them the theorist and composer John Plousiadenos. Later consecrated bishop of Venetian-held Methone, Plousiadenos displayed his innate sympathies in a number of literary works including the canon in honor of the Council of Florence.
Funeral Ikos
Lamentatio Sanctae Matris Ecclesiae Constantinopolae
The only extant lament from a group of four that Dufay composed during 1455 on the fall of Constantinople.
Nuper rosarum flores Composed for the consecration IV of the Duomo in Florence by Pope Eugenius, which took place on March 25,1436, and first per?formed by the Papal Chapel (of which Dufay was then a member). This intricately con?structed yet beautifully sonorous motet is well suited to the building it honors and its famous cupola designed by Filippo Brunelleschi. The motet tenor is based on the chant for the dedication of churches Terribilis est locus iste -which is sung four times (by the lower two voices a fifth apart) in the rhythmic proportion 6:4:2:3. This was formerly thought to reflect the proportions of Brunelleschi's dome, but scholarly opinion now favors the idea that Dufay was thinking of the mystic numerological significance of Solomon's Temple. Both text and music are also domi?nated by the number seven and seven-times-four, which also relates further to Solomon.
Program notes by Paul Hillier.
Paul Hillier is the director of the Early Music Institute at Indiana University where he continues to research and develop new early music projects while also collaborating with a number of composers on special Theatre of Voices commissions. Oxford University Press publishes his book
on tstoman composer Arvo Part.
Tonight's perfor?mance marks Paul Hillier's debut under UMS auspices.
Theatre of Voices was created by Paul Hillier to explore the notion of a "theatre" where the scenery is the sound of voices and the action consists of words. Some of the vocal ensemble's reper?toire is experimental and obscure, while other music explores more familiar territo?ry, especially the crossroads between early and contemporary music. Theatre of Voices is flexible in design and seeks to utilize the talents of artists who are equally at home in the old and the new. Paul Hillier and Theatre of Voices record extensively for harmonia mundi.
One of North America's finest countertenors, Steven Rickards recently returned from tours of Australia and Germany with Joshua Rifkin's Bach Ensemble; he also specializes in the English lutesong repertoire.
Paul EJliott, famed for his work with early-music luminaries including David Munrow, Alfred Deller, and Christopher Hogwood, has dedicated the last decade to developing a new generation of early-music singers through his teaching at the Indiana University School of Music.
Repertoire of soprano Kirsten Blase-Heilman spans Monteverdi to Crumb, and includes both chamber music and opera. She has been a featured soloist in J.S. Bach's Passions, Handel's Messiah and Israel and Egypt, Mozart's Mass in c minor and the Requiem, and the Monteverdi Vespers. In opera, her roles include Despina, Adele, Galatea, the First Lady and Cherubino. Upcoming engagements include Brahms' Liebeslieder Waltzes, Bach's Trauer Ode and St. John Passion, and concerts with The Netherlands Bach Society in 2001.
Wolodymr Smishkewych is a young tenor currently living on the East Coast where he performs with the New York Ensemble for Early Music. An avid participant in ethnic and indigenous music, he performs with several chamber and folkloric ensembles both in the US and abroad.
Baritone Andrew Hendricks has performed a wide variety of music stretching from the Baroque era to the present day, including major works of Bach, Handel, Brahms, Wolf, Britten, George Crumb, and John Adams. His operatic work has included lead roles in operas by Mozart, Rossini, Debussy, Adams, and Bernstein.
Tonight's performance marks Theatre of Voices' debut under UMS auspices.
Paco de Lucfa & Septet
Paco de Lucf a, Guitar
Ramon de Algeciras, Guitar
Duquende, Vocals
Jose Banderas, Guitar
Jorge Pardo, Saxophone, Flute
Rubem Dantes, Percussion
Carlos Benavent, Electric Bass, Mandolin
Joaquin Grilo, Dancer
Friday Evening, November 19,1999 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Paco de Lucia will announce tonight's program from the stage.
Twenty-first 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.
This performance is sponsored by Parke-Davis Pharmaceutical Research.
Special thanks to Dr. Peter Corr of Parke-Davis for his generous support of the University Musical Society.
Additional support provided by media sponsors, WEMU and Metro Times.
Large print programs are available upon request.
Paco de Lucia is one of the world's greatest guitarists, as well as one of the most innova?tive and influential flamenco artists of the last thirty years. Since the late 1960s his flamenco recordings have had a revolutionary impact, infusing new life into the art form and bringing it worldwide attention. His groundbreaking collaborations with jazz artists and his par?ticipation in notable soundtracks have brought him to the attention of a broad audience.
Paco de Lucia, one of the great innova?tors in contemporary flamenco, started rather traditionally. He was born Francisco Sanchez Gomez in Algeciras, a city in the province of Cadiz, in the southernmost tip of Spain, on December 21, 1947. (His stage name is an homage to his mother, Lucia Gomez.) His father, Antonio Sanchez, a day laborer, played guitar at night as a way to
supplement his income. His father, his elder brother Ramon de Algeciras, and flamenco master Nino Ricardo were De Lucia's main influences. De Lucia's first performance was on Radio Algeciras in 1958 when he was only eleven years old. His brothers Ramon and Pepe (a singer) are often part of Paco de Lucia's groups.
The training ground for a flamenco guitarist, de Lucia once said, "is the music around you, made by people you see, the people you make music with. You learn it from your family, from your friends, in la juerga (the party) drinking. And then you work on technique. Guitarists do not need to study. And, as it is with any music, the great ones will spend some time working with the young players who show special talent. You must understand that a Gypsy's life is a life of anarchy. This is one reason why the way of flamenco music is a way without discipline as you know it. We don't
try to organize things with our minds, we don't go to school to find out. We just is everywhere in our lives."
In 1959, de Lucia was awarded a special prize in the Jerez flamenco competition. Starting at fourteen, he toured with the fla?menco troupe of fabled dancer Jose Greco for three seasons. While on tour with Greco's dance company in the US, de Lucia met the great Sabicas, a guitarist whose name had became synonymous with fla?menco in the US. "I was a child when I met him," recalls de Lucia. "He heard me play and basically said that for me to have a career I had to move away from imitation. I think he was annoyed with me because in those days there were two great schools of flamenco guitar: Nino Ricardo, who was the leader of my generation in Spain, and Sabicas, who was in the US. So I came to him playing in Nino Ricardo's style and I believe Sabicas got mad that I didn't play his music. But it was useful -it shocked me. It became a great impetus to go for my own style, my own thing."
De Lucia would follow Sabicas's advice. He recorded his first album, Los Chiquitos de Algeciras, with his brother Pepe, in 1961 at the age of fourteen. But by 1967, with the release of La Fabulosa Guitarra de Paco de Lucia, de Lucia began to distance himself from the influence of masters such as Ricardo and Mario Escudero. With the release of Fantasia Flamenca, two years later, he had defined his own style. His superb technique was showcased in well-designed pieces that departed from the flamenco tra?dition of theme and variations. In 1970, he made his debut at Carnegie Hall.
Flamenco die-hards have criticized de Lucia for his forays into other styles. His own sextet, organized in 1981, includes bass, drums, and saxophone. In addition to his work with McLaughlin and DiMeola, his high-profile collaborations include work with guitarist Larry Coryell, and pianist
Chick Corea, who joined Paco's sextet for Zyryab (1990). The stunning results of these collaborations have been documented in celebrated recordings with The Guitar Trio: Castro Marin (1979), Passion Grace and Fire (1982), and Friday Night in San Francisco (1981). In 1996 De Lucia, McLaughlin, and DiMeola reunited for The Guitar Trio on Verve and a sold-out tour.
Paco de Lucia has also recorded sound?tracks for films such as Carlos Saura's Carmen, Borau's La Sabina, and the ballet Los Tarantos, presented at Madrid's presti?gious Teatro de la Zarzuela in 1986. He was featured in Bryan Adams's 1995 hit single and video "Have You Ever Really Loved a Woman" from the film Don Juan DeMarco. But periodically, de Lucia returns to pure flamenco with a vengeance as in the spec?tacular Siroco (1987).
"Within the tradition, the flamenco orthodoxy, I was not taken seriously at first," he says. "At some point I was thought of as sacrilegious and now it turns out I'm a mas?ter. Some thought I was just fooling around, and as it turns out my tomfoolery is much of today's flamenco."
He shrugs off the complaints of such purists or the concerns of those who fear he might lose his roots or, worse, betray the essence of flamenco. "I have never lost my roots in my music, because I would lose myself," he once said. "What I have tried to do is have a hand holding onto tradition and the other scratching and also digging in other places trying to find new things I can bring into flamenco."
Tonight's performance marks Paco de Lucia's fourth appearance under UMS auspices.
Tour coordinated by: International Music Network
Deloitte & Touche
Gidon Kremer, Violin Ula Ulijona, Viola Marta Sudraba, Cello
Peteris Vasks
Ennio Morricone
Giya Kancheli
Sunday Afternoon, November 21,1999 at 4:00 Rackham Auditorium, Ann Arbor, Michigan
Book for Cello
Fortissimo. Marcatissimo Pianissimo. Dolcissimo
II sogno di un uomo ridicolo
(The Dream of a Ridiculous Man) Duo for Violin and Viola
...mi aveva lasciato per correre da lui (...I was left to run from him)
...deliziosa come il paradiso ( delightful as paradise)
...qui, qui appunto mi destai (... here, here exactly I stirred)
Time and Again for String Trio INTERMISSION
Alfred Schnittke
Astor Pantaleon Piazzolla arr. Leonid Desjatnikov
Trio for Strings
Moderato Adagio
La calle 92 for Viola and Cello Milonga sin palabras for String Trio Rio Sena for String Trio
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.
This performance is sponsored by Deloitte & Touche.
Special thanks to Joseph Yarabek of Deloitte & Touche for his generous support of the University Musical Society.
KREMERata BALTICA Soloists appear by arrangement of ICM Artists, Ltd.
Large print programs are available upon request.
Book for Cello
Peteris Vasks
Born April 16, 1946 in Aizupute, Latvia
The music of Peteris Vasks -like that of Ustvolskaya, Kancheli, and Part -has found a remarkably large audience in the West after the collapse of the Soviet Union. As the former Soviet satellite states asserted their independence, the works of their native composers, so integrally connected with their respective folk cultures, struck Western listeners as deeply spiritual, honest, and free of much of the cultural angst that has plagued Western contemporary compo?sition for decades. Like his Eastern European colleagues, Vasks' music is spiritu?al in the broadest sense of the word. It explores humanity's relationship with its environments, both natural and social, physical and psychological. He has said, "To my mind, every honest composer searches for a way out of the crises of his time -towards affirmation, towards faith.. .and if I can find this way out, this reason for hope, the outline of a perspective, then I offer it as my model."
A native of Latvia, Vasks began his studies at the Riga Conservatory, later transferring to the Lithuanian Music Academy in Vilnius where he earned a degree in double-bass performance. His first-hand knowledge of low strings emerges in much of his orches?tral writing, which typically demonstrate a Mahlerian depth and richness. In addition to Mahler, he cites the Polish composers -Lutoslawski, Penderecki, and Gorecki -as important influences, along with Kancheli, Crumb, Messiaen, and Sibelius. But Vasks is also careful to point out that the spirit of his music is fundamentally nationalistic: "I really do not like the Esperanto mode of musical my music, I speak Latvian."
Vasks composed Book for Cello, in 1978 for the Latvian cellist Maijai Predelei. The title alludes to the numerous collections for
solo instruments, especially popular in the baroque era, that were intended as pedagog?ical or technical tools, such as the Livres de Clavecin or the Anna Magdelena Notebook. Though obviously differing in form and style, the instrumentation also recalls Bach's suites for unaccompanied cello. The work is in two movements, designated (somewhat unusually) by dynamic level rather than tempo. After an aggressive fortissimo open?ing, the first movement develops a short sequential motif that is rife with echoes of Bach. In later passages, double stops and pizzicato techniques abound, along with numerous recollections of the movement's urgent opening. In the pianissimo second movement, a plaintive melody emerges over a drone bass. When it returns, the performer is asked to harmonize the melody in thirds by singing wordlessly while playing. The melody and drone return, moving into the instrument's upper registers. The move?ment's symmetrical form rounds out with a return to the performer's wordless vocaliz?ing and a reprise of the delicate opening tremolando.
II sogno di un uomo ridicolo
(The Dream of a Ridiculous Man) Duo for Violin and Viola
Ennio Morricone
Born November 10, 1928 in Rome
One of the foremost film composers of the last forty years, Ennio Morricone is almost exclusively (and almost as unfortunately) associated with the genre of the "Spaghetti Western." After studying trumpet and com?position, and working for several years as a song writer and arranger, Morricone first made his mark as a film composer in Sergio Leone's 1964 film, A Fistful of Dollars, a score noted for its unusual instrumentation, sparse textures, and memorable melodies.
He ensured his reputation with the sound?track to Leone's 1967 classic, The Good, The Bad, and The Ugly.
Morricone's name became synonymous with Italian Westerns, but it would be wrong to think of his music only in relation to a young Clint Eastwood and bad dubbing. He has written music for nearly 400 feature films, earning several Oscar nominations for scores (and films) as varied in style and genre as The Mission, Bugsy, Cinema Paradiso, Hamlet, and The Untouchables.
With such a distinguished and high-profile career in film, Morricone's non-film music has received relatively little attention, despite the release in 1988 of a recording of some of his early chamber pieces. Morricone's "serious" works, interspersed evenly throughout his career, are written in a variety of styles but with a leaning towards the experimental. The Duet for Violin and Viola belongs to a group of several Morricone chamber works to feature the viola, including Sounds for Dino, Scie, and the Threi Duets based on a text by Dostoyevsky.
Time and Again for String Trio
Giya Kancheli
Born August 10, 1935 in Tbilisi, Georgia
Giya Kancheli almost didn't become a musi?cian at all; his early professional training was as a geologist. During his second year of study at the Geology Institute in his home town of Tbilisi in the Georgian Republic, he went on a fieldwork expedition, hiking sev?enteen miles in hundred-degree heat while carrying rocks and heavy tools. That night, weary and disillusioned, he made a list of professions that that didn't have any con?nection to walking -"musician" was on the list. He quit the Geology Institute and sub-
sequently enrolled at the music conservato?ry in Tbilisi.
Today Kancheli is one of the most suc?cessful composers to emerge from Eastern Europe in the aftermath of the Cold War. He has been aligned with Part and Gorecki, but perhaps is more in the tradition of Shostakovich in that the core of his work is symphonic. He has, to date, composed seven symphonies, characterized by bare structures, simple gestures, and extreme dynamic con?trasts. While his music is not explicitly Christian in the manner of his Eastern European colleagues, he claims that his com?positions should inspire in the listener "the widely understood feeling of religiousness" that is common to the music he loves most.
Kancheli has a deep, almost mystical reverence for silence. He writes, "Silence can be of many kinds. There's formal silence, there's intellectual silence, and there's silence that's accompanied by some kind of'letting go,' some kind of attention, expectation. I strive towards this last kind of silence." In addition to extended passages of silence, many of Kancheli's compositions use slow tempi to help give the impression of a quasi-mystical stasis.
In recent years, Kancheli has written more frequently for solo strings, especially in collaboration with the viola virtuoso Kim Kashkashian, who has championed his music through concert performance and recordings. Kancheli composed Time and Again for another of his ardent enthusiasts, Gidon Kremer. Originally written for violin and piano (and premiered by Kremer in 1997), Time and Again is presented here in an arrangement for string trio.
Trio for Strings
Alfred Schnittke
Born November 24, 1934 in Engels,
near Saratov, Russia Died August 3, 1998 in Hamburg, Germany
Alfred Schnittke never felt the same deep attachment to folk and culture that his Eastern European contemporaries did. Born in central Russia to German parents in 1934, he moved with his family to Vienna a few years later, where he received most of his early musical training. On his return to Russia in 1948 he continued music studies, enrolling at the Moscow Conservatory and taking on a faculty position there after his graduation. But Schnittke was always some?thing of an outsider no matter where he lived. Not only was he constantly buffeted by traditional German-Russian tensions, his Jewish heritage placed him uncomfortably at odds in both the German and Soviet cul?tures. Some have supposed that Schnittke's tendency towards musical "polystylism," in which multiple historical styles co-exist in the same work, might have something to do with this sense of alienation. Without deep cultural roots to anchor him in a folk tradi?tion, he was free (or compelled) to wander across the vast musical landscape, picking up pieces here and there to assemble togeth?er in his compositions. Making the most of his cultural dilemma, Schnittke believed that polystylism was a possible means for guid?ing the avant-garde out of its crisis; now all music could be considered "contemporary." Trio for Strings, completed in 1985 just before the composer suffered a series of near-fatal strokes, was commissioned by the Alban Berg foundation as a tribute for the one-hundredth anniversary of Berg's birth. The first movement begins leisurely, with nostalgic echoes of the Mozart and Beethoven trios in its passages of parallel sixths, tonal harmony, and cadential pat?terns. It mimics the elegance of late Classical
chamber music, but is interrupted by sec?tions of aggressive chromatic turbulence and quasi-minimalist rhythmic cells, as if a rogue allegro movement is trying to bully its way into the piece.
The plaintive ending of the first move?ment glides smoothly into the following "Adagio." Despite the nominal change in tempo, there is little perceptible difference in the level of musical activity. The "Adagio" uses essentially the same materials, but they take on a more folk-like quality with the use of drones and open fifths (and without the interruptions found in the first movement). More overtly sad than the first movement, it ends with a soft, wrenching cry.
La calle 92 for Viola and Cello Milonga sin palabras for String Trio Rio Sena for String Trio
Astor Pantaleon Piazzolla,
arr. Leonid Desjatnikov Born March 11, 1921 in Mar del Plata,
Argentina Died July 4, 1992 in Buenos Aires
Astor Piazzolla, like Bach or Duke Ellington, was the type of consummate musician for whom performance, improvisation, and composition were indivisible. Piazzolla had a successful career as a tanguero in his native Buenos Aires during the 1940s and early 50s, playing the bandoneon and leading dance bands. But he felt compelled to broaden his experience beyond the subur?ban dance halls. He studied composition with Alberto Ginastera and later went to Paris to study with the famous French peda?gogue Nadia Boulanger, who gave him the same advice she had given Aaron Copland: "be true to the real composer inside you." Believing that the tango was "for the ears, not the feet," Piazzolla went back to Argentina (later moving to New York), and
worked tirelessly to make the tango a legiti?mate and respected concert-hall genre.
For many years, Piazzolla's music was met with opposition from both tangueros and classical musicians. His compositions were thought too complex and mannered for dancing, yet too ingratiating to be con?sidered as "serious" new music. It was only near the end of his life, and in the years fol?lowing his death, that overwhelming interest in Piazzolla has replaced the earlier indiffer?ence.
With classically-trained musicians such as the Kronos Quartet and Gidon Kremer paying homage to Piazzolla, many recent performances of his music have been in the form of transcriptions. Leonid Desyatnikov, one of the more prolific transcribers of Piazzolla's works, arranged the 1968 "tango opera" Maria of Buenos Aires with an orchestral accompaniment, and has also arranged Piazzolla's 1956 film score Tango Ballet for Gidon Kremer and the KREMgRata BALTICA.
Program notes by Luke Howard.
In the twenty-five-year course of his distinguished career, violinist Gidon Kremer has established a reputation worldwide as one of the most original and compelling artists of his genera?tion. He has appeared on virtually every major concert stage with the most celebrat?ed orchestras of Europe and America and has collaborated with today's foremost con?ductors and instrumentalists.
His repertoire is unusually extensive, encompassing all of the standard classical and Romantic violin works, as well as music by twentieth-century masters such as Henze, Berg and Stockhausen. He has also champi?oned the works of living Russian and Eastern European composers and has per?formed many important new compositions,
several of them dedicated to him. He has become associated with such diverse com?posers as Alfred Schnittke, Arvo Part, Sofia Gubaidulina, Valentin Silvestrov, Luigi Nono, Aribert Reimann, John Adams and Astor Piazzolla, bringing their music to audiences in a way that respects tradition yet remains contemporary.
Since making his Western debut, Mr. Kremer has appeared with the orchestras of Berlin, Boston, Amsterdam, Los Angeles, San Francisco, Philadelphia, New York, London, Paris and Vienna in collaborations with a distinguished roster of conductors that includes Leonard Bernstein, Herbert von Karajan, Carlo Maria Giulini, Eugen Jochum, Andre Previn, Claudio Abbado, James Levine, Lorin Maazel, Riccardo Muti, Nikolaus Harnoncourt, Zubin Mehta and Sir Neville Marriner.
Deeply committed to chamber music, Mr. Kremer devotes a portion of his sched?ule to recital appearances with partners such as Valery Afanassiev, Martha Argerich, Keith Jarrett, Oleg Maisenberg, Vadim Sakharov, Tatyana Grindenko, Misha Maisky and Thomas Zehetmair. An exceptionally prolific recording artist, Gidon Kremer has made more than 100 albums for Deutsche Grammophon, Teldec, Philips, ECM, Sony Classical, EMIAngel and Nonesuch. His recordings have garnered many awards, among them the prestigious "Grand Prix du Disque" and "Deutsche Schallplattenpreis."
Since 1981, Mr. Kremer has been invit?ing a select group of artists to participate in the music festival he founded in the small Austrian village of Lockenhaus. For two weeks each summer, musicians from all parts of the world gather to perform in an intimate setting. The festival's emphasis is on the exploration of new repertoire, with unusual pairings of musicians who collabo?rate in an informal atmosphere conducive to discovery and communication. Lockenhaus is the realization of the violin-
ist's belief that music can overcome all bar?riers of language and culture. Since 1992, musicians from Lockenhaus have been touring throughout the world under the designation KREMERata MUSICA. On the occasion of Franz Schubert's 200th birthday celebrations in 1997, they undertook a comprehensive concert cycle devoted to Schubert throughout Europe, including appearances at the Salzburg Festival. Also in 1997, Mr. Kremer made a world tour with his "Hommage a Piazzolla" program. The following year he recorded and toured extensively with a concert version of Piazzolla's tango "operita" Maria de Buenos Aires.
In November 1996, Mr. Kremer found?ed the KREMERata BALTICA chamber
orchestra to foster outstanding young musicians from the three Baltic states. He is undertaking regular concert tours with the orchestra, serving as Artistic Director and soloist. Since 1997 Mr. Kremer has also been the Artistic Director of the Musiksommer Gstaad in Switzerland, succeeding Lord Yehudi Menuhin.
Gidon Kremer was born in 1947 in Riga, Latvia. He began his study of the violin at age four with his father and grandfather, both of whom were accomplished string players. At seven, his formal education began with his entry into the Riga Music School as a student of Professor Sturestep. By the time he reached the eighth grade he was auditioning for com?petitions in Poland, Romania and France, and at sixteen was awarded the First Prize of the Latvian Republic. Two years later he suc?cessfully auditioned for David Oistrakh and became one of the
few students selected to apprentice under that master at the Moscow Conservatory.
In 1967 Mr. Kremer won his first inter?national prize: the Queen Elisabeth Competition in Brussels. Following this tri?umph, he took a prize in the Montreal Competition, top honors in the Paganini Competition in Genoa, and, finally, the cov?eted First Prize in the 1970 Tchaikovsky Competition.
Gidon Kremer plays a Guarnerius del Gesu, "ex-David," dated from 1730. He is also the author of three books, published in German, which reflect his artistic pursuits.
This afternoon's performance marks Gidon Kremer's sixth appearance under UMS auspices.
Violist Ula Ulijona was born in Vilnius in 1974. She studied at the Lithuanian Academy of Music and participated in mas?ter classes with Mstislav Rostropovich, Hatto Beyerle, Veronika Hagen, Yuri Bashmet and Gidon Kremer. Winner of first prizes in the national Lithuanian music competitions in 1991 and 1994, Ms. Ulijona has appeared as a soloist with many ensem?bles and orchestras both at home and abroad. As a member of Gidon Kremer's KREMERata BALTICA chamber orchestra, she took part in the ensemble's debut recordings for Teldec and gave concerts at the 1997 Lockenhaus, Dubrovnik, Salzburg and Gstaad Festivals. She also participated in the orchestra's 1998 and 1999 tours to Europe, the US, Taiwan and Hong Kong -playing frequently as soloist with Gidon Kremer. Since 1998 she has also been play?ing chamber music with Gidon Kremer and was a member of the ensemble for his recording (and subsequent touring) of Piazzwlla's tango "operita" Maria de Buenos Aires.
This afternoons performance marks Ula Ulijona's debut under UMS auspices.
Cellist Marta Sudraba was born in Riga, Latvia, in 1975 and attended the local music college, from which she graduated in 1993. In 1998, after studies at the Latvian Academy of Music, she moved first to London and then to Basel to study with Professor Thomas Demenga. In 1997 she joined the Gustav Mahler Youth Orchestra as principal cellist, the same position she holds as a member of Gidon Kremer's KREMERata BALTICA chamber orchestra. She has appeared with KREMERata BALTICA at the 1997 Lockenhaus and Salzburg Festivals; on tour to the US, Japan and Europe in 1998 and 1999; and on the orchestra's first recordings for Teldec. She was in the ensemble for Gidon Kremer's recording of Maria de Buenos Aires, by Astor Piazzolla, which also toured worldwide.
This afternoon's performance marks Marta Sudraba's debut under UMS auspices.
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
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 MiMgatL 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.
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 Glennie, percussion
Saturday, October 23, 8 p.m.
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 Juku" 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
Orquesta Ibrahim 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 Surovcll 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
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.
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 Invin.
Boys Choir of Harlem
Thursday, December 9, 8 p.m. Hill Auditorium Sponsored by Thomas B. McMullcn 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 I performances of four major American I women choreographers" taught by Gay I Delanghe, U-M Professor of Dance. I Winter Term, 2000. Mass Meeting, j Saturday, January 8,12 noon. For infor-I mation, or call I U-M Department of Dance, 734.763.5460. I 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. i Media sponsors WEMU and WDET. I 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 j Sponsored by Forest Health Services. ? Media sponsor WGTE.
American String Quartet
Beethoven the Contemporary Sunday, January 23, 4 p.m. Rackham Auditorium j 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.umkh. 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 Andr5, 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 Genne 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
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
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 Mandinka 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
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 Ali 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
Chen Shi-Zheng, director Friday, March 24, 8 p.m. Michigan Theater Presented with the generous support of Dr. Herbert Sloan.
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 Chavez 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
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.
In the past several seasons, UMS1 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
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
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 Yofith 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
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.
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 S
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.
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
Bscoffier restaurant located within the Bell lower Hotel, and priority reserved "A" seats :o 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 AH 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 Gonzdlez 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.
Visit and enjoy these fine restaurants. Join us in thanking them for their generous support of UMS this season.
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
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 Press. Reservations welcome.
The Earie
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.
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 corner 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.
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.
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
341 South Main Street 734.769.5960 As close to the world's oceans as your taste 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.
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 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.
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.
Advertising in the UMS program book or sponsoring UMS performances will enable you to reach 130,000 of southeastern Michigan's most loyal concertgoers.
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.
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 of 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 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.
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.
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.
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.
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 donors
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
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
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
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
Benard L. Maas Foundation Mid-America Arts Alliance
Thomas B. and Deborah McMullen
Beacon Investment Company Holnam, Inc. Thomas B. McMullen Company
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
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
Chamber Music America Institute for Social Research THE MOSAIC FOUNDATION (of R. & P. Heydon)
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 Canrwell 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
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
Ann Arbor Area Community Foundation
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 llene 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
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
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
Stuart and Maureen Isaac Mercy and Stephen Kasle Herbert Katz Richard and Sylvia
Kaufman Thomas and Shirley
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
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.
J. F. Ervin Foundation Harold and Jean
Grossman Family
The Lebensfeld Foundation Montague Foundation The Power Foundation
M. Bernard AidinofT Robert P. Ainsworth Michael and Suzan Alexander Carlene and Peter Aliferis Dr. and Mrs. Rudi Ansbacher Catherine S. Arcure Jennifer Arcure and Eric
lanet 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 Blankiey 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 Julia Eisendrath Dr. Alan S. Eiser David Eklund 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. Gracie 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
Jcannine and Gary Hayden
Fred and Joyce Hershenson
Mrs. W.A. Hiltner
Mr. and Mrs. William B.
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 Jill 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'Dell Mr. and Mrs. James C. O'Neill Mark and Susan Orringer Marysia Ostafin and
George Smillie Shirley and Aia 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
Edward and Jane Schulak Dr. John J. H. Schwarz Julianne and Michael Shea Howard and Aliza Shevrin Frances U. and Scott K.
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 Joan 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
The Barfield CompanyBartech Detroit and Canada Tunnel
Detroit Swedish Council, Inc. Edwards Brothers, Inc. Guardian Industries
Corporation Quinn EvansArchitects Charles Reinhart Company Rosebud Solutions Stirling Thermal Motors, Inc. Swedish Club
The Kennedy Center for the Performing Arts
ASSOCIATES Individuals
Anastasios Alexiou Mike AUemang 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 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 Muni Bogdasarian Harold and Rebecca Bonnell Roger and Polly Bookwalter Dr. and Mrs. C. Paul Bradley lames and Jane Bradner Mr. Joel 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 Jonathan Bulkley Arthur and Alice Burks Michael and Patricia Campbell Margot Campos Marshall F. and Janice L. Carr Jeannette 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. Joan Crawford George H. and Connie Cress Kathleen J. Crispell and
Thomas S. Porter Constance Crump and
Jay Simrod
Charles and Kathleen Davenport Ed and Ellie Davidson Joe and Nan Decker Penny and Laurence B. Deitch Pauline and Jay J. De Lay Elena and Nicholas Delbanco Ellwood and Michele Derr Louis M. DeShantz Marnee and John DeVine Elizabeth Dexter Macdonald and Carolin Dick Heather and Stuart Dombey Dr. and Mrs. Edward F. Domino Thomas and Esther Donahue Eugene and Elizabeth Douvan Kathy and Ken Eckerd Martin and Rosalie Edwards Joan and Emil Engel Patricia Enns
Susan Feagin and John Brown Reno and Nancy Feldkamp Karl and Sara Fiegenschuh Dr. James F. Filgas Carol Finerman Herschel and Annette Fink Mrs. Beth B. Fischer Susan R. Fisher and
John W. Waidley Beth and Joe Fitzsimmons Jennifer and Guillermo Flores Ernest and Margot Fontheim Mr. and Mrs. George W. Ford Howard and Margaret Fox Ronald Fracker
Deborah and Ronald Freedman Lela J. Fuester David J. Fugenschuh and
Karey Leach
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld
Associates, continued
Gwyn and Jay Gardner Professor and Mrs.
David M. Gates Wood and Rosemary Geist Maureen and David Ginsburg Albert and Almeda Girod David and Shelley Goldberg Edward and Ellen Goldberg Irwin ). Goldstein and
Marty Mayo Enid M. Gosling Lila and Bob Green Dr. and Mrs. Lazar ). Greenfield Daphne and Raymond Grew Lauretta and Jim Gribble Carleton and Mary Lou Griffin Bob and Jane Grover Ken and Margaret Guire Arthur W. Gulick, M.D. Drs. Bita Esmaeli and
Howard Gutstein Don P. Haefher and
Cynthia J. Stewart Susan and John Halloran Robert and Jean Harris Naomi Gottlieb Harrison and
Theodore Harrison DDS Thomas and Connie Heffner J. Lawrence and Jacqueline
Stearns Henkel Carl and Charlene Herstein Russell and Elizabeth Hines Peter G. Hintnan and
Elizabeth A. Young Kenneth and Joyce Holmes Ronald and Ann Holz Jack and Davetta Homer Dr. and Mrs. Joseph A. Houle Linda Samuelson and
Joel Howell Jane H. Hughes Ralph and Del Hulett Ann D. Hungerman Hazel Hunschc
Thomas and Kathryn Huntzicker Eileen and Saul Hymans Robert B. Ingling Carol and John Isles Harold and Jean Jacobson Wallie and Janet Jeffries James and Elaine Jensen Ellen C. Johnson Kent and Mary Johnson Tim and Jo Wiese Johnson Elizabeth and Lawrence Jordan Susan and Stevo Julius Steven R. Kalt and
Robert D. Heeren Perry and Denisc Kantner David and Sally Kennedy Frank and Patricia Kennedy Emily and Ted Kennedy Don and Mary Kiel Tom and Connie Kinnear Paul and Dana Kissner James and Jane Kister Dr. David E. and
Heidi Castleman Klein Joseph and Marilynn Kokoszka Melvyn and Linda Korobkin David and Martha Krehbiel Bert and Catherine La Du Mr. and Mrs. Henry M. Lapcza
John and Theresa Lee Mr. and Mrs. Fernando S. Leon Harry and Melissa LeVine Mrs. Jacqueline H. Lewis Leons and Vija Liepa Alene and Jeff Lipshaw Vi-Cheng and Hsi-Yen Liu Peter and Sunny Lo Naomi E. Lohr Dan and Kay Long Leslie and Susan Loomans Charles and Judy Lucas Edward and Barbara Lynn Donald and Doni Lystra Pamela J. MacKintosh Sally C. Maggio Mr. and Mrs. Stephen Maggio Virginia Mahle Melvin and Jean Manis Marcovitz Family Nancy and Philip Margolis Geraldine and Sheldon Markel Irwin and Fran Martin Margaret E. McCarthy-Susan McClanahan and
Bill Zimmerman Griff and Pat McDonald Eileen Mclntosh and
Charles Schaldenbrand Mr. and Mrs. Ernest Merlanti Helen Metzner Dcanna Relyea and
Piotr Michalowski Prof, and Mrs. Douglas Miller Jeanette and Jack Miller Robert Rush Miller Kathleen and James Mitchiner Dr. and Mrs. George W. Morley A. Anne Moroun Melinda and Bob Morris Cyril and Rona Moscow Gavin Eadie and Barbara Murphy Dr. and Mrs. Gunder A. Myran Frederick C. Neidhardt and
Germaine Chipault Barry Nemon and
Barbara Stark-Nemon Richard S. Nottingham Steve and Christine Nowaczyk Julie and Dave Owens David and Andrea Page Mr. and Mrs. William B. Palmer Helen I. Panchuk Dr. Owen Z. and
Barbara Perlman Jim and Julie Phelps Joyce H. and Daniel M. Phillips Roy and Winnifred Pierce William and Barbara Pierce Frank and Sharon Pignanelli Elaine and Bertram Pitt Richard and Meryl Place Donald and Evonne Plantinga Cynthia and Roger Postmus Philip and Kathleen Power Bill and Diana Pratt Jerry and Lorna Prescott Larry and Ann Preuss Wallace and Barbara Prince J. Thomas and Kathleen Pustell Leland and
Elizabeth Quackcnbush Anthony L. Reffells and
Elaine A. Bennett
Carol P. Richardson Jack and Margaret Ricketts Constance Rinehart John and Marilyn Rintamaki Jay and Machree Robinson Mr. and Mrs. Stephen J. Rogers Robert and Joan Rosenblum Gay and George Rosenwald Craig and Jan Ruff Ina and Terry Sandalow Sheldon Sandweiss Michael and Kinuii Sarosi Albert J. and Jane L. Sayed Drs. Edward and Virginia Sayles Sue Schroeder
Monica and David E. Schteingart Suzanne Selig Marvin and Harriet Selin Ruth and Jay Shanberge Constance M. Sherman George and Gladys Shirley Hollis and Martha A. Showalter Irene and Oscar Signori Alida and Gene Silverman Sandy and Dick Simon Robert and Elaine Sims John and Anne Griffin Sloan Tim and Marie Slottow Alene M. Smith Carl and Jari Smith Radley and Sandra Smith Mrs. Robert W. Smith Jorge and Nancy Solis Katharine B. Soper Yoram and Eliana Sorokin Mr. and Mrs. Neil J. Sosin Dr. Hildreth H. Spencer L. Grasselli Sprankle Francyne Stacey Sally A. Stegeman Frank D. Stella Professor Louis and
Glennis Stout
Dr. and Mrs. Stanley Strasius Joe Stroud and Kathleen Fojtik Peg Talburtt and Jim Peggs Ronna and Kent Talcott Eva and Sam Taylor Paul E. Thielking Mrs. E. Thurston Thieme Mary H. Thieme Edwin J. Thomas Bette M. Thompson Mr. and Mrs. W. Paul Tippett Patricia and Terril Tompkins Dr. and Mrs. Merlin C. Townley Angie and Bob Trinka Paul and Fredda Unangst Dr. and Mrs. Samuel C. Ursu Kathleen and Edward Van Dam Hugo and Karla Vandersypen Jack and Marilyn van der Velde Tanja and Rob Van der Voo Michael Van Tassel William C. Vassell Carolyn and Jerry Voight John and Maureen Voorhees Virginia Wait Bruce and Raven Wallace Charles R. and
Barbara H. Wallgren Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner
Mr. and Mrs. Robert M. Warner Drs. Philip and Maria Warren Robin and Harvey Wax Barry and Sybil Wayburn Mrs. Joan D. Weber Deborah Webster and
George Miller Walter L. Wells Marcy and Scott Westerman Reverend Francis E. Williams R. Jamison Williams Jr. Christine and Park Willis Mrs. Elizabeth Wilson Thomas and Iva Wilson Charlotte Wolfe Mr. and Mrs. A. C. Wooll MaryGrace and Tom York Ann and Ralph Youngren Gail and David Zuk
The Ann Arbor District Library
Atlas Tool, Inc.
Bella Ciao Trattoria
Coffee Express Co.
Dupuis & Ryden P.C.
Jenny Lind Club of Michigan,
John Leidy Shop, Inc. Pollack Design Associates Scientific Brake and
Equipment Company Alice Simsar Fine Art, Inc. A. F. Smith Electric, Inc. Swedish American Chamber
of Commerce Thalner Electronic Labs Milan Vault
Shiftman Foundation Trust
(Richard Levey) The Sneed Foundation, Inc.
John R. Adams Tim and Leah Adams Kazu and Nobuko Akitomo Gordon and Carol Allardyce James and Catherine Allen Richard and Bcttye Allen Barbara and Dean Alseth Nick and Marcia Alter Helen and David Aminoff Dr. and Mrs. Charles T. Anderson Joseph and Annette Anderson Drs. James and
Cathleen Culotta-Andonian Timothy and Caroline Andresen Dr. and Mrs. Dennis L. Angcllis Barbara T. Appelman Patricia and Bruce Arden Bert and Pat Armstrong Thomas and Mary Armstrong Gaard and Ellen Arneson Mr. and Mrs. Lawrence E. Arnctt Rudolf and Mary Arnheim Elaine and Richard Aron Dwight Ashley Eric M. and Nancy Aupperlc
John and Rosemary Austgen Erik and Linda Lee Austin Shirley and Don Axon Virginia and Jerald Bachman Line Bagchi
Chris and Heidi Bailey Prof, and Mrs. J. Albert Bailey Richard W. Bailey and
Julia Huttar Bailey Doris I. Bailo Robert L. Baird C. W. and Joann Baker Dennis and Pamela (Smitter) Baker Laurence R. and Barbara K. Baker Helena and Richard Balon Drs. Nancy Barbas and
Jonathan Sugar John R. Bareham David and Monika Barera Maria Kardas Barna Joan W. Barth Robert and Carolyn Bartle Dorothy W. Bauer Mrs. (ere Bauer
Mr. and Mrs. Gilbert M. Bazii, Jr. Kenneth C. Bcachlcr lames and Margaret Bean Mr. and Mrs. John C. Beatty lames M. Beck and
Robert J. McGranaghan Mr. and Mrs. Steven R. Beckert Robert Beckley and Jytte Dinesen Robert B. Beers Steve and Judy Bcmis Walter and Antje Benenson
Merete and
Erling Blondal Bengtsson loan and Rodney Bentz Mr. and Mrs. Ib Bentzen-Bilkvist Dr. Rosemary R. Bcrardi Jim Bergman and Penny Hommel Abraham and Thclma Bcrman Harvey and
Rochelle Kovacs Berman Pearl Bernstein Gene and Kay Berrodin Andrew H. Berry, D.O. Harvey Bertcher Mark Bertz
Naren and Nishta Bhatia C. Bhushan John and Marge Biancke Dan and Irene Bibcr Eric and Doris Bttles William and Dene Birge Elizabeth S. Bishop Art and Betty Blair Donald and Roberta Blitz Marshall and Laurie Blondy Tom and Rosanne Bloomer Henry Blosser and Lois Lynch Dennis Blubaugh George and Joyce Blum Beverly J. Bole Catherine I. Bolton Mark and Lisa Bomia Dr. and Mrs. Frank Bongiorno Edward and Luciana Borbaly Lola J. Borchardt Gary Boren
Dr. and Mrs. Morris Bornstein Jeanne and David Bostian Dean Paul C. Boylan Stacy P. Brackens William R. Brashear Enoch and Liz Brater Robert and Jacqueline Bree Patricia A. Bridges Patrick and Kyoko Broderick Lorna Brodtkorb Linda Brown and Joel Goldberg Susan S. and Wesley M. Brown Cindy Browne
Mr. and Mrs. John M. Bruegcr Mrs. Webster Brumbaugh Elizabeth A. Buckner
Isabel Buckner
Dr. Frances E. Bull
Robert and Carolyn Burack
Marilyn Burhop
Tony and Jane Burton
Joanne Cage
Louis and Janet Callaway
Susan and Oliver Cameron
Jenny Campbell {Mrs. D.A.)
Douglass and Sherry Campbell
Charles and Martha Cannell
Robert and Phyllis Carlson
Dr. and Mrs. James E. Carpenter
Dennis B. and Margaret W. Carroll
Carolyn M. Carty and
Thomas H. Haug Laura Cathcart Dr. and Mrs. Joseph C. Cerny K. M. Chan
Bill and Susan Chandler Joan and Mark Chester Tim Cholyway
Edward and Rebecca Chudacoff Sallic R. Churchill Mark Clague and
Anne Vanden Belt Pat Clapper
Brian and Cheryl Clarkson Donald and Astrid Cleveland Barbara Clough Roger and Mary Coe Dorothy Coffey Alice S. Cohen Hubert and Ellen Cohen Hilary and Michael Cohen Mike and Tcdi Collier Matthew and Kathryn Collins Ed and Cathy Colone Carolyn and L. Thomas Conlin Patrick and Anneward Conlin Nan and Bill Conlin Philip E. and Jean M. Converse Donald W. Cook Gage R. Cooper Mr. and Mrs. Herbert Couf Marjorie A. Cramer Richard and Penelope Crawford Charles and Susan Cremin Mary C. Crichton Mr. Lawrence Crochier Mr. and Mrs. James I. Crump Margaret Cudkowicz Townley and Joann Culbertson Jean Cunningham Richard J. Cunningham Dolores Nachman Curiel Roderick and Mary Ann Daane Mr. and Mrs. John R. Dale Marylee Dalton Mr. and Mrs. Norman Dancy Mildred and William B. Darnton Jane and Gawaine Dart Stephen Darwall and
Rosemarie Hester Sunil and Das DarLinda and Robert Dascola Ruth E. Datz
Mr. and Mrs. Arthur W. Davidge Laning R. Davidson, M.D. Mr. and Mrs. Roy C. Davis Dr. and Mrs. Raymond F. Decker William S. Demray George and Margaret Demuth Mona C. DeQuis and
Christine L. Cody Lloyd and Genie Dethloff Pamela DcTuilio and
Stephen Wiseman Don and Pam Devine Elizabeth P.W. DcVine Paul Dodd and Charlotte Dodd Elizabeth and Edward R. Doezema Jean Dolega
Rev. Dr. Timothy J. Dombrowski Steven and Paula Donn Dick and Jane Dorr Thomas Downs
Roland and Diane Drayson Harry M. and Norrenc M. DrefTs Dale R. and Betty Berg Drew Cecilia and Allan Dreyfuss Janet Driver and Daniel Hyde John Dryden and Diana Raimi Ronald and Patricia Due Rhetaugh G. Dumas Robert and Connie Dunlap Richard F. Dunn Jean and Russell Dunnaback Peter and Grace Duren Edmund and Mary Durfee John W. Durstine George C. and Roberta R. Earl Charlotte K. Eaton Jacquelynne S. Eccles Morgan H. and Sara O. Edwards Rebecca Eisenberg and
Judah Garber Judge and Mrs. S. J. Eldcn Sol and Judith Elkin Julie and Charles Ellis Ethel and Sheldon Ellis Tames Ellis and Jean Lawton Genevieve Ely
Michael and Margaret Emlaw Mackenzie and Marcia Endo Fred A Erb Roger E. Erickson Leonard and Madeline Eron Dorothy and Donald Eschman Eric and Caroline Ethington Barbara Evans Adele Ewell
Mr. and Mrs. Robert B. Fair, Jr. Mark and Karen Falahee Elly and Harvey Falit Thomas and Julia Falk Phil and Phyllis Fellin Larry and Andra Ferguson Dr. and Mrs. James Ferrara Yi-tsi M. and Albert Feuerwerker Susan Filipiak
Swing City Dance Studio Clay Finkbeiner Marilvn Finkbeiner Davia A. Finn C. Peter and Bev Fischer Gerald B. and Catherine L. Fischer Pat and Dick Fischer Barbara and James Fitzgerald Linda and Thomas Fitzgerald Morris and Debra Flaum Mitchell and Carol Fleischer Kathleen and Kurt Flosky George and Kathryn Foltz Jason I. Fox
William and Beatrice Fox Lynn A. Frecland Lucia and Doug Freeth Sophia L. French Marilyn Friedman Gail Fromes
Mr. and Mrs. Charles C. Froning Jerry Frost
Philip And Renec Frost Bartley R. Frueh, MD Joseph E. Fugere and
Marianne C. Mussett Lois W. Gage Jane Galantowicz Dr. Thomas H. Galantowicz Mrs. Don Garparo Jack J. and Helen Garris C. Louise Garrison Janet and Charles Garvin Allan and Harriet Gelfond Mrs. Jutta Gcrbcr Deborah and Henry Gerst Michael Gerstenbergcr W. Scott Gerstenbcrger and
Elizabeth A. Swecl Paul and Suzanne Gikas Beverly Jeanne Giltrow Gary and Rachel Glick Robert and Barbara Gockel
Albert L. Goldberg Ed and Mona Goldman Steve and Nancy Goldstein Beryl and David Goldsweig Mrs. Eszter Gombosi Mitch and Barb Goodkin Jesse and Anitra Gordon Charles Goss
James W. and Maria J. GoussefT Michael I. Cowing Britt-Marie Graham Christopher and Elaine Graham Mr. ana Mrs. Robert C. Graham Maryanna and
Dr. William H. Graves, III Isaac and Pamela Green Victoria Green and
Matthew Toschlog Deborah S. Greer G. Robinson and Ann Gregory Bill and Louise Gregory Linda and Roger Grekin Mark and Susan Griffin Werner H. Grilk Mrs. Alice Grillot Marshall J. and Ann C. Grimm Marguerite M. Gritenas Betty and Chuck Gross Laurie Gross
Richard and Marion Gross Frederick and Iris Gruhl David and Kay Gugala Mr. and Mrs. Lionet Gurcgian Margaret Gutowski and
Michael Marietta Claribel Halstead Sarah I. Hamcke Mrs. F. G. Hammitt Dora E. Hampcl Gerald T. and Betty K. Hansen Lourdes S. Bastos Hansen Mary C. Harms
Stephen G. and Mary Anna Harper Doug Harris and Deb Peery Laurelynne Daniels and
George P. Harris Ed Saralh and Joan Harris Martin D. and Connie D. Harris Susan S Harris
Stephen Haskin and Karen Soskin Elizabeth C. Hassinen Ruth Hastie
George and Lenore Hawkins Mr. and Mrs. Edward J. Hayes Anne Heacock Ken and Jeanne Heininger Mrs. Miriam Heins Jim and Esther Heitler Sivana Heller
Paula Hencken and George Collins Dr. and Mrs. Keith S. Henley Kathryn Dekoning Hentschel Bruce and Joyce Herbert Ada Herbert Hiroshi Higuchi Stuart and Barbara Hilbert Herb and Dee Hildebrandt I m ii,! and Mark Hildcbrandt Lynn M. Hill Ms. Teresa Hirth James and Ann Marie Hitchcock Louise Hodgson Jane and Dick Hoerner Anne Hoffand George Villec Robert and Frances Hoffman Robert and Claire Hogikyan John and Donna Hollowell Howard L. and Pamela Holmes Hisato and Yukiko Honda Arthur G. Homer, Jr. Dave and Susan Horvath George M. Houchcns and
Caroline Richardson Mr. and Mrs. F. B. House James and Wendy Fisher House Jeffrey and Allison Housner Hclga C. Hover
Advocates, continued
Drs. Richard and Diane Hawlin John I. Hritz, Jr. Hubert and Helen Huebl Jude and Ray Huetteman Mr. and Mrs. William Hufford Joanne WinkJeman Hulce Kenneth Hulsing Joyce M. Hunter Mr. and Mrs. David Hunting Mr. and Mrs. Jacob Hurwitz Bailie, Brenda and
Jason Prouser Imber Diane C. Imredy Edward C. Ingraham Margaret and Eugene Ingram Ann K. Irish Sid and Harriet Israel Mr. and Mrs. Donald E. Jahnckc Marilyn G. Jeffs
Professor and Mrs. Jerome Jelinek Keith and Kay Jensen I run,ii t and Karin Johansson Elizabeth ludson Johnson Paul and Olga Johnson Sherri Lynn Johnson Dr. Marilyn S. Jones John and Linda Jonides Tom and Marie Juster Mary B. and Douglas Kahn Allyn and Sherri Kantor Paul Kantor and
Virginia Weckstrom Kantor Helen and Irving Kao Mr. and Mrs. WUfred Kaplan Alex and Phyllis Kato Barbara Kave and John Hogikyan Julia and Philip Kearney William and Gail Keenan Frank and Karen Keesecker Robert and Frances Keiscr Janice Keller James A. Kelly and
Mariam C. Noland John B. Kcnnard
Linda Atkins and Thomas Kcnncy George L. Kenyon and
Lucy A. Waskell Paul and Leah Kileny William and Betsy Kincaid Shira and Steve Klein Peter and Judith Kleinman Ruth and Thomas Knoll Patricia S. Knoy Rosalie and Ron Koenig Mr. and Mrs.
Richard Krachenberg Jean and Dick Kraft Ron and Barbara Kramer Doris and Don Kraushaar Sara Kring William G. Kring Amy Sheon and Marvin Krislov Bert and Geraldine Kruse Danielle and George Kuper Dr. and Mrs. Richard A. KutcipaJ William and Marie Kuykcndafl Christine A. UBelle Mr. and Mrs. Seymour Lampert Henry and Alice Landau Pamela and Stephen Landau Janet Landsberg LaVonne Lang Patricia M. Lang Joan Larscn and Adam Pritchard Carl F. and Ann L. La Rue Beth and George Lavoie Ruth Lawrence and Ari Naimark Chuck and Linda Leahy Cyril and Ruth Leder Dr. Peter J. Lee and
Mrs. Clara Hwang Mr. Richard G. LeFauve and
Mary F. Rabaut-LcFauve Diane and Jeffrey Lehman Richard and Barbara Lcite Ron and Lcona Leonard Sue Leong
Margaret E. Leslie
David E. Lcvine
George and Linda Levy
Tom and Judy Lewis
Mark Lindley and Sandy Talbott
Ronald A. Lindroth
Dr. and Mrs. Richard H. Lineback
Rod and Robin Little
Jackie K. Livcsay
Larry and Shirley Loewenthal
Julie M. Loftin
Jane Lombard
Ronald Longhofer and
Norma McKenna Armando Lopez Rosas Helen B. Love Donna and Paul Lowry Karen Ludema Pamela and Robert Ludoiph Cynthia Lunan Elizabeth L Lutton Susan E. Macias Marilyn MacLean Walter Allen Maddox Hans and Jackie Maier Deborah Malamud and
Neal Plotkin Karl D. Malcolm, M.D. Claire and Richard Malvin Pearl Manning
Ken Marblestone and Janisse Nagel Thomas E. and Melissa S. Mark Lee and Greg Marks Alice K. and Robert G. Marks Frederick and Deborah Marshall Rhoda and William Martel Vincent and Margot Massey Jim and Ann Mattson Mr Glenn D Maxwell John M. Allen and
Edith A. Maynard Susan C. Guszynski and
Gregory F. Mazure LaRuth C McAfee Richard and Florence McBrien Maurice H. McCall Thomas and Jackie McClain David G. McConnell Dores M. McCrec Dr. and Mrs. James L. McGauley Cornelius and Suzanne McGinn Michael G. McGuire Bruce H. and Natalie A. Mclntyre Mary and Norman Mclvcr Bill and Ginny McKeachie Daniel and Madelyn McMurtrie Kevin D. McVeigh Nancy and Robert Meader Marilyn J. Meeker Allen and Marilyn Menlo Warren and Hilda Merchant Ingrid Merikoski Debbie and Bob Merion Hely Merle-Benner Jill McDonough and
Greg Mernman Russ and Brigette Mcrz Julie and Scott Merz Henry D. Messcr Carl A. House Robert and Bettie Metcalf Lisa A. Mets
Professor and Mrs. Donald Meyer Suzanne and Henry J. Meyer Shirley and Bill Meyers Helen M. Michaels Carmen and Jack Miller John Mills
Bob and Carol Milstein Dr. and Mrs. James B. Miner Olga A. Moir
Dr. and Mrs. William G. Moller, Jr. Bruce and Ann Moln Patricia Montgomery Rosalie E. Moore Michael Moran and Shary Brown Arnold and Gail Morawa Jane and Kenneth Moriarty
James and Sally Mueller
Pcetcr and Judith Muhlberg
Tom and Hedi Mulford
Bernhard and Donna Mullcr
Marci Mulligan and Katie Mulligan
Lora G. Myers
Roscmarie Nagel
Penny H. Nasatir
Edward C. Nelson
Arthur and Dorothy Nesse
John and Ann Nicklas
Susan and Richard Nisbett
Gene Nissen
Laura Nitzberg and Thomas Carli
Dr. Nicole Obregon
Patricia O'Connor
C. W. and Sally O'Dell
Chcrie M. Olsen
Joan and Bill Olscn
Nels R. and Mary H. Olson
J. L Oncley
Karen Koykka O'Neal and
Joe O'Neal
Robert and Elizabeth Oneal Kathleen I. Operhall Elisa Ostafin and Hossein Keshtkar Lillian G. Ostrand Mr. and Mrs. James R. Packard Jenny Palmer Drs. Sujit and Uma Pandit William and Hedda Panzer Penny and Steve Papadopoulos Michael P. Parin Donna D. Park Frank and Arlene Pasley Brian P. Patchen Maria and Ronald J. Patterson Nancy K. Paul Robert and Arlene Paup Patricia D. Pawelski Edward J. Pawlak Elizabeth M. Payne Lisa A. Payne William A. Penner, Jr. Steven and Janet Pepe Bradford Perkins Susan A. Perry Neal W. Persky, M.D. Jeff Javowiaz and Ann Marie Petach Roger and Grace Peterson Frank and Nelly Pelrock Douglas and Gwendolyn Phelps C. Anthony and Marie B. Phillips Mr. and Mrs. Frederick R. Pickard Nancy S. Pickus Robert and Mary Ann Pierce Daniel Piesko
Dr. and Mrs. James Pikulski ! .in.i and Henry Pollack Mary Alice Power Robert and Mary Pratt Ernst Pulgram Dr. G. Robina Quale Mr. and Mrs. Mitchell Radcliff Alex and Natasha Raikhel Jeanne Raisler and
Jonathan Allen Cohn Patricia Randlc and James Eng Alfred and Jacqueline Raphclson Dr. and Mrs. Robert Rapp Mr. and Mrs. Robert H. Rasmusscn Michael Ready Gabriel M. Rebeiz Mr. and Mrs. Richard W. Redman Dr. and Mrs. James W. Reese Mr. and Mrs. Stanislav Rchak Anne and Fred Remley Glenda Renwick Molly Resnik and John Martin John and Nancy Reynolds Alice Rhodes
James and Helen Richards Elizabeth G. Richart Kurt and Lori Riegger Thomas and EllenRiggs Mary Ann Ritter Kathleen Roclofs Roberts
Dave and Joan Robinson H. James Robinson fand K. Robinson, Ph.D. Jonathan and Anala Rodgers Mary Ann and Willard Rodders Thomas and Catherine Rodziewicz Mary F. Loeffler and
Richard K. Rohrer Borje and Nancy Rosaen Elizabeth A. Rose Bernard and Barbara Rosen William and Elinor Rosenberg Richard Z. and Edie W. Rosenfeld Charles W. Ross Mrs. Doris E. Rowan Gary Ruby
Samuel and Irene Rupert Dr. and Mrs. Robert Ruskin Scott A. Ryan Mitchell and Carole Rycus Ellen and Jim Saalbcrg Theodore and Joan Sachs Arnold Samcroffand Susan
McDonough Miriam S. Joffe Samson Tito and Yvonne Sanchez Daren and Maryjo Sandbcrg Mike and Christi Savitski Gary and Arlene Saxonhouse Helga and Jochen Schacht Jerry Schafer
Chuck and Mary Schmidt Courtland and Inga Schmidt Elizabeth L Schmitt Gary and Claudia Schnitker Susan G. Schooner Thomas H. Schopmeyer Carol Schreck Ailccn M. Schulze Alan and Marianne Schwartz Ed and Sheila Schwartz Ruth Scodel David and Darlene Scovell
E. J. Sedlander
John and Carole Segall Sylvia and Leonard Segcl Janet C. Sell
Louis and Sherry L. Scnunas Erik and Carol Serr George H. and Mary M. Sexton Matthew Shapiro and Susan Garctz David and Elvera Shappirio Maurice and Lorraine Sheppard Patrick and Carol Sherry Rev. William J. Sherzer Cynthia Shevel Jean and Thomas Shope Mary Alice Shulman Ned Shure and Jan Onder David and Liz Sickels Douglas B. Siders, M.D. and Barbara Siders Dr. Bruce M. Siegan Mr. and Mrs. Barry J. Siegel Milton and Gloria Siegel Drs. Dorit Adler and Terry Silver
F. Silverstcin
Carl Simon and Bobbi Low
Alan and Eleanor Singer
Donald and Susan Sinta
Irma J. Sklcnar
Beverly N. Slater
Tad Slawccki
Donald C. and Jean M. Smith
Joyce E. Smith
Dr. and Mrs. Michael W. Smith
Paul and Julie Smith
Susan M. Smith
Richard and Julie Sohnly
Lois and William Solomon
James A. Somers
Thomas Spafiford
Juanita and Joseph Spallina
Tom Sparks
Mrs. Herbert W. Spendlove (Anne)
Jim Spevak
Gretta Spier and Jonathan Rubin
Scott Sproat Charles E. Sproger Edmund Sprungcr Mary Stadcl Burnette Staebler Curt and Gus Stager Irving M. Stahl and
Pamela M. Rider David and Ann Staiger Constance D. Stankrauff Betty and Harold Stark Dr. Erich M. Staudachcr Mr. and Mrs. William C. Stebbins Barbara and Michael Steer Ron and Kay Stefanski Virginia ana Eric Stein Ronald R. Stempien Thorn and Ann Sterling Deb Odom Stem and David T. Stem William and Georgine Stcude James and Gayle Stevens Barbara and Bruce Stevenson Harold and Nancy Stevenson Steve and Gayle Stewart John and Beryl Stimson lames L. Stoddard Wolfgang Stolper John Strand Ellen M. Strand and
Dennis C. Regan Mr. and Mrs. Clinton E. Stroebel Mrs. William H. Stubbins Mr. and Mrs. Patrick Suchy Donald and Barbara Sugcrman Richard and Diane Sullivan Alfred Sussman Ronald and Ruth Sutton Eric and Natalie Svaan Earl and Phyllis Swain Rebecca Sweet and Roland Loup ohn and Ida Swigart Mr. and Mrs. Michael W. Taft lim and Sally Tamm Larry and Roberta Tankanow Icrry and Susan Tarpley Frank and Carolyn Tarzia Margie and Graham Tcall Carol and Jim Thiry Tom and Judy Thompson Norman and Elaine Thorpe Peggy Tieman
Bruce Tobis and Alice Hamele Peter and Linda Tolias Fran Toney Ron and lackie Tonks Sara Trinkaus Ken and Sandy Trosicn Donald F. and Leslie Tucker Jeff and Lisa Tulin-Silvcr Claire and Jeremiah Turcotte Dolores J. Turner Victor and Hazel Turner William H. and Gerilyn K. Turner Alvan and Katharine Uhlc Fawwaz T. Ulaby Mr. and Mrs. Bryan D. Ungard Joyce A. Urba and David J. Kinsclla Morella Urbina Emmanuel-George Vakalo Paul and Marcia Valenstein Madeleine Vallier Carl and Sue Van Applcdorn Rebecca Van Dyke Mr. and Mrs.
Douglas Van Houweling Bram and Lia van Leer Fred and Carole van Recsema I. Kevin and Lisa Vasconi Phyllis Vegter Sy and Florence Veniar Katherinc Vcrdery Elizabeth Vetter Jack and Peg Vezina Martha Vicinus and Bea Nergaard Mice and Joseph Vining Mr. and Mrs. Theodore R. Vogt John and Jane Voorhorst
Jerry Walden and
Julia Tiplady-Walden Stanley H. Waldon George S. and Lorraine A. Wales David C. and Elizabeth A. Walker the Buyer's Broker Mona Walz Jill A. Warren Lorraine Nadelman and
Sidney Warschausky Edward C. Weber Joan M. Wcbcr Mr. and Mrs. Roy Weber Jack and Jerry Weidenbach Carolyn J. Weigle Dr. Neal Wcinberg Gerane and Gabnel Weinreich Lawrence A. Weis David and Jacki Weisman Donna G. Weisman Barbara Weiss John, Carol and Ian Wclsch John and Joanne Werner Helen Michael West Tim and Mim Westerdale Ken and Cherry Westerman Paul E. Dufly and
Marilyn L. Wheaton James B. and Mary F. White Iris and Fred Whitehouse Mr. and Mrs. Nathaniel Whiteside Ms. Nancy Wiernik William and Cristina Wilcox Ann and Clayton Wilhitc Benjamin D. Williams Dr. and Mrs. Francis S. Williams John Troy Williams Sara S. Williams Anne Marie and Robert J Willis Lois Wilson-Crabtree Donna Winkelman and
Tom Easthope Jan and Sarajane Winkelman Beth and I. W. Winsten James H. and Mary Anne Winter Dr. and Mrs. Lawrence D. Wise Charles Witke and Aileen Gatten Jeffrey and Linda Witzburg Patricia and Rodger Wolff Wayne Wolfson Dr. and Mrs. Ira S. Wollner Richard E. and Muriel Wong Nancy and Victor Wong Israel and Fay Woronoff Fran and Ben Wylie Sandra and Jonathan Yobbagy James and Gladys Young Dr. Stephen C. Zambito Phyllis Zawisza Craig and Margaret Zechman Mr. and Mrs. Martin Zeile Patricia Zeislcr Alexandre and Natalya Zorin Ronald W. Zorney David S. and Susan H. Zurvalec
A-l Rental, Inc.
Ann Arbor Bivouac, Inc.
Dr. Diane Agresta,
Licensed Psychologist Ayse's Courtyard Cafe Dr. H.W. Bennett & Associates Bodywise Therapeutic Massage Cardea Construction Company Clarion Hotel Atrium
Conference Ctr. Doan Construction Co. ECO Physics, Inc. Garris, Garris, Garris & Garris
Law Office
Kupelian Ormand & Magy, P.C. Lewis Icwclcrs Mundus & Mundus, Inc. Organizational Designs SeloShcvcl Gallery Staples Building Company SWEA Inc.
University of Michigan Credit Union University Microfilms International
Peace Neighborhood Center Schwartz Family Foundation
Hour Detroit Magazine
Metro Times
Dr. and Mrs. Gerald Abrams
Christine Webb Alvey
Herb and Carol Amster
Catherine S. Arcure
Jennifer Arcure and Eric Potoker
Jeff and Deborah Ash
Dr. and Mrs. Daniel R. Balbach
Emily W. Bandera, M.D.
Peter and Paulett Banks
Robert and Wanda Bartlctt
Karen and Karl Bartscht
Bradford and Lydia Bates
Anne S. Benninghoff
Joan A. Binkow
Jim Botsford and
Janice Stevens Botsford Mclvin W. and Ethel F. Brandt Carl and Isabelle Brauer Barbara Everitt Bryant Isabel Buckner
Michael and Patricia Campbell Bruce and Jean Carlson Edwin and Judith Carlson Jean and Kenneth Casey Janet and Bill 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. Eiser David Eklund and Jeff Green Stefan S. and Ruth S. Fajans Claudine Farrand and
Daniel Moerman David and Jo-Anna Feathcrman Dedc and Oscar Feldman Ken and Penny Fischer Michael and Sara Frank Sophia L. French Professor and Mrs.
David M. Gates
Thomas and Barbara Gclehrter Bcvcrley and Gcrson Geltner Beverly Gershowitz Drs. Sid Giiman and Carol Barbour James W. and Maria J. Gousscff Mrs. William Grabb Arthur W. Gulick
Alice Berberian Haidostian Helen C. Hall Dorothy J. Hastings Debbie and Norman Herbert Peter G. Hinman and
Elizabeth A. Young Ken and Joyce Holmes Jack and Davetta Homer Keki and Alice Irani Stuart and Maureen Isaac Mr. and Mrs. Donald E. Jahnckc Wallie and Janet Jeffries Tim and Jo Wiese Johnson Dortc Junker and Mike Rodcmcr Robert L. and Beatrice H. Kahn Mercy and Stephen Kasle Herbert Katz liin and Carolyn Knake Dimitri and Suzanne Kosacheff Barbara and Charles Krause Barbara and Michael Kusisto Ted and Wendy Lawrence Laurie and Robert LaZcbnik Leo and Kathy Lcgatski 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 Maicr Natalie Matovinovic Mary and Chandler Matthews Richard and Florence McBrien Paul and Ruth McCracken Joseph McCune and
Georgiana Sanders Rebecca McGowan and
Michael B. Staebter Thomas B. and Deborah McMullen Helen Metzner
Prof, and Mrs. Douglas Miller Carmen and Jack Miller Lester and )eanne Monts Michael Moran and Shary Brown Carole Moran ty
William Bolcom and loan Morris Gavin Eadie and Barbara Murphy Dr. and Mrs. Gunder 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 Reece John and Dorothy Reed Maria and Rusty Restuccia Dr. Susan M. Rose Prudence and Amnon Rosenthal Gustavc and Jacqueline Rosscels Mrs. Doris E. Rowan Sheldon Sandweiss Loretta M. Skewes Herbert Sloan Alene M. Smith Joyce E. Smith Steve and Cynny Spencer Lloyd and Ted St. Antoine Mrs. Ralph L. Steffck Nancy Bielby Sudia John and Ida Swigart Lois A. Thcis Paul Thiclking 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 Vandcn 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
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 Geltner
Mr. Eawin Goldring
Mr. Seymour Greenstone
Mr. and Mrs. Richard Ives
Marilyn Jeffs
Thomas C. and
Constance M. Kinnear Charlotte McGeoch Dr. Eva Mueller Lcn and Nancy Niehoff Dr. and Mrs. 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
Harlan N. Bloomer
John H. Bryant
Margaret Crary
Mary Crawford
James A. Davies
Alice Kclsey Dunn
George R. Hunsche
Alexander Krczel, Sr.
(Catherine Mabarak
Frederick C. Matthaei, Sr.
Glenn D. McGeoch
Miriam McPherson
Dr. David Peters
Emerson and Gwendolyn Powrie
Steffi Reiss
Frank Rudesill
Ralph L. Stcffek
Clarence Stoddard
William Swank
Charles R. Tieman
John F. Ullrich
Ronald VandcnBclt
Francis Viola III
Norman Wait
CarlH. Wilmot
Peter Holderness Woods
Helen Ziegler
Bernard and Ricky Acranoff
Gregg Alf
MariAnn Apley
Arbor Hills Hair & Body Salon
Catherine Arcurc
Bella La Vie Kathleen Benton Maury and_ Linda Binkow Bob Caron's Golf Shop Edith Lesvu Bookstcin &
The Artful Lodger Janice Stevens Botsford The Boychoir of Ann Arbor Barbara Everitt Bryant Jcanninc 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 Daane David Smith Photography Peter and Norman Davis Dough Boys Bakery Encore Studio
Eyry of the Eagle Publishing Fitness Success Sara B. Frank Gallery Van Glahn The Gandv Dancer Gates Au Sable Lodge Beverly and Gerson Geltner Generations for Children Georgetown Gifts foyce 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 Huntsberger 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 Knecht
Bruce and Ronna Romney Kulp Laky's Salon Bernice Lamey Maxine Lairouy Carole Lasscr Learning Express Kathleen Letts Letty's Ltd. Doni Lystra Stephanie Lord Esther Martin Mary Matthews Elizabeth McLcary Jeanne and Ernest Merlanti Michigan Car Services, Inc. Moe Sport Shops Robert and Melinda Morris Nicola's Books Little Professor Off the Wall Designs Christine Oldenburg Karen O'Neal Mary Pittman
R. Jeffrey Lamb Photography Pat Poolcy leva Rasmussen Rebecca's Studio Regrets Only Nina Hauser Anne Rubin Maya Savarino Peter Savarino Sarah Savarino Ann and Tom Schribcr Grace Shackman Mike and Ian Shatusky Ingrid Sheldon Grace Singleton Loretta Skewcs Herbert Sloan
George Smilic and Marysia Ostafin Irving and Carol Smokier Steve and Cynny Spencer Edward Surovcll Sweet Lorraine's Bcngt and Elaine Swcnson Raymond Tantcr
I'lRA's Kitchen
Tom Thompson Flowers
mi.mi Ullrich
Uary Vandcnbclt
ndrea Van Houweling
Eric Wapnick
Emil Weddigc & the Craig Gallery
West End Grill
Robert and Marina Whitman
Fhc Window Design Studio
Elizabeth Yhouse
AAA Michigan
Alf Studios
Alcan Automotive Products
Mien & Kwan Commercial
Ann Arbor Acura
Arbor TemporariesPersonnel
SystemsArbor Technical
Staffing, Inc. AT&T Wireless Services Austin & Warburton Bank of Ann Arbor Bank One
Barfield CompanyBartech Beacon Investment Company Blue Nile Restaurant Brauer Investments Briarwood Mall Butzel Long Attorneys CFI Group Charles Reinhart Company
Chelsea Milling Company Comerica, Inc. Joseph Curt in 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 Parke-Davis Pharmaceutical
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. McMuIlen Company Visteon Weber's Inn
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

44 Aikido Yoshokai Association
12 Ann Arbor Reproductive
44 Ann Arbor Symphony
6 Ann Arbor Tax Service
8 Archeo Design
12 Bank of Ann Arbor
6 Bcresh Jewelers
2 Blue Hill Development
38 Bodman, Longley, and Dahling
20 bravo! Cookbook
34 Butzcl Long Attorneys
34 Carry'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
BC KeyBank
40 King's Keyboard
38 Lewis Jewelers
8 Littlcficld and Sons Furniture
22 Michigan League
24 Miller, Canfield, Paddock, and
8 Mundus and Mundus
8 Nina Howard Studio
42 Performance Network
24 SKR Classical
10 Swcelwaters Cafe
8 Ufer & Co. Insurance
6 University Productions
6 Washington Street Gallery
18 Whole Foods

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