UMS Concert Program, Saturday Dec. 04 To 14: University Musical Society: 1999-2000 Fall - Saturday Dec. 04 To 14 --

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

UMS
University Musical Society
999 FALL SEASON
University Musical Society of the University of Michigan. Ann Arbor
University Musical Society
1999 FALL SEASON of the University of Michigan, Ann Arbor

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On the Cover
Clockwise from left Lyon Opera Ballet Ibrahim Ferrer Moby Dick Arnold Schoenberg Deconstructed Berlin Wall
(CorbiiBobKriM)
Back Cover
Frederics von Stade
King Arthur detail u?uiyof
l.irjl iVrlnrnulKCi it Lincoln Ccntn)
Neeme larvi
Ludwig van Beethoven
Bill Frisell
The Volga Vouty from
The Harlem Nutcracker
C3 (J Vletler from the Presi
ident
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
21 http:www.ums.org
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23 UMS History
25 UMS Choral Union
26 , Auditoria & Burton Memorial Tower
9 I The 19992000 UMS Season
35 Education & Audience Development
37 Dining Experiences
37 BRAVO!
39 Restaurant & Lodging Packages
41 The UMS Preferred Restaurant Program
45 Advisory Committ
45 Sponsorship and Advertising
47 InternshipsWork-study
47 Ushers
48 Membership
56 UMS Advertisers
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UMS
Leadership
LETTER FROM THE PRESIDENT
Thanks very much for attending this UMS performance and for supporting the performing arts in our community. UMS' 1999-2000 season is one of our best ever, and I hope I'll see you at some other performances. A complete listing of the season begins on page 29.
To be able to bring performances like this one to Ann Arbor takes a lot of people work?ing together as a team. I'm privileged to work with an outstanding Board of Directors, Senate, Advisory Committee, and staff, all of whose names are listed on pages 14-15.
It is the staff who works day in and day out to assure that you are able to see the world's best performing artists. I firmly believe that UMS has the finest staff of any performing arts presenting organization in the country. The programming staff works with artists and artists' managers to design a diverse, exciting, and high-quality season, which this year features over ninety performances. The production staff looks after the wellbeing of our artists and makes the performances look sharp and run smoothly. The education and audience development team, working with over fifty community partners, designs and manages more than 175 events to enhance the audiences' understanding and apprecia?tion of our artists and their work. People
learn about our programs through many different media thanks to the efforts of our marketing staff, which last season led UMS to an all-time record in ticket sales. Our box office staff has a well-deserved reputation of providing outstanding personalized service. The internal operation of UMS--finances, human resources, space, planning, etc.--are the purview of our skilled administrative team. And then there's the development team that each year raises 41 of our income, which is necessary to meet costs not covered by ticket sales. In the 1998-99 season, this figure was $2.3 million.
Speaking of development, this year UMS celebrates the tenth anniversary of Catherine Arcure's service as Director of Development. In these ten years, Cathy's department has always exceeded its annual fundraising goal and has nearly tripled the number of donors to UMS. Our overall financial health has
improved dramatically in the past decade, and Cathy's fundraising successes with indi?viduals as well as foundations, corporations, and government agencies have been key to this turnaround. Cathy has also been instru?mental in developing the Advisory Committee into an outstanding volunteer organization that raises over $200,000 a year for UMS through the Ford Honors Program, Season Opening Party, an annual auction, and other special projects. Then there is Cathy's personal commitment to serve each and every member of UMS.
Among Cathy's proudest achievements is BRAVO!, the 224-page cookbook which UMS unveiled on September 17. More than 100 volunteers, under the leadership of Mary Ann Daane and Anne Glendon, worked on this publication for over two years. What better way for Cathy to combine two of her loves, cooking and UMS, than to create a vehicle for people everywhere to enjoy the legends, lore, and recipes from 120 years of UMS -and for UMS to have a source of revenue for many years to come. For more information on BRAVO!, please see p. 37.
Thank you, Cathy, for your outstanding contribution to UMS and to our community.
I'd like to know your thoughts about this performance. I'd also like to learn from you about anything we can do at UMS to make your concertgoing experience the best possi?ble. If we don't see each other in the lobby, please call my office at 734.647.1174, drop me a note, or send me an e-mail message at kenfisch@umich.edu.
Sincerely,
Kenneth C. Fischer, President
LETTER FROM THE CHAIR
It is with great pride that we acknowl?edge and extend our gratitude to the major business contributors to our 19992000 season listed on the follow?ing pages. We are proud to have been chosen by them, for their investment in the University Musical Society is clear evidence
not only of their wish to accomplish good things for our community and region, but also to be asso?ciated with excellence. It is a measure of their belief in UMS that many of these companies have had a
long history of association with us and have expanded and diversified their support in very meaningful ways.
Increasingly, our annual fundraising requirements are met by the private sector: very special individuals, organizations and companies that so generously help bring the magic to UMS performances and educational programs throughout southeastern Michigan. We know that all of our supporters must make difficult choices from among the many worthwhile causes that deserve their support. We at UMS are grateful for the opportunities that these gifts make possible, enhancing the quality of life in our area.
Sincerely,
Beverley Geltner
Chair, UMS Board of Directors
CORPORATE LEADERS FOUNDATIONS
Richard L. Huber Chairman and CEO, Aetna, Inc. "On behalf of Aetna and Aetna Retirement Services, we are proud to sup?port the arts in southeastern Michigan, especially through our affiliation with The Harlem Nutcracker. We are delighted to be involved with the University Musical Society and their pro?grams, which help bring the arts to so many families and young people."
Don MacMillan President, Alcan Global Automotive Products "For 120 years, the University Musical Society has engaged and enriched our com?munity with the very best in performing arts and educational programs. Alcan salutes your quality and creativity, and your devotion to our youth."
Douglass R. Fox President, Ann Arbor Acura "We at Ann Arbor Acura are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
Jeanne Merlanti President, Arbor TemporariesArbor TechnicalPersonnel System, Inc. "As a member of the Ann Arbor business community, I'm thrilled to know that by sup?porting UMS, I am helping per?petuate the tradition of bringing outstanding musical talent to the community and also provid?ing education and enrichment for our young people."
William Broucek President and CEO, Bank of Ann Arbor "As Ann Arbor's community bank, we are glad and honored to be a supporter of the cultural enrichment that the University Musical Society brings to our community."
Jorge A. Solis Senior Vice President, BankOne, Michigan "BankOne, Michigan is honored to share in the University Musical Society's proud tradition of musical excellence and artistic diversity."
Habte Dadi Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to sup?port an organization that pro?vides such an important service to Ann Arbor."
Carl A. Brauer, Jr. Owner, Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically support the University Musical Society in bringing great music to our community."
David G. Loesel President, T.M.L Ventures, Inc. "Cafe Marie's sup?port of the University Musical Society Youth Program is an honor and a privilege. Together we will enrich and empower our community's youth to carry for?ward into future generations this fine tradition of artistic talents."
Clayton Wilhite Managing Partner, CFI Group, Inc. "Can you imagine a more power?ful demonstration of Ann Arbor's quality of life than the University Musical Society We at CFI can't, and that's why we're so delighted to be a concert sponsor. We salute UMS for its accomplishments and for what it has contributed to the pride in our community."
Kathleen G. Charla Founder CEO, Charla Breton Associates, Publishers Representatives "Music is a wondrous gift that nurtures the soul. Charla Breton Associates is pleased and honored to support the University Musical Society and its great offering of gifts to the community."
Howdy S. Holmes
President and CEO, Chelsea Milling Company "'Jiffy' Mix appreciates the opportunity to support the University Musical Society. We applaud their commitment to providing nationally recog?nized educational opportunities to children in our community and to providing diverse arts programming."
Eugene Miller Chairman and Chief Executive Officer, Comerica Incorporated "Bravo to the University Musical Society! Their contributions are vital to the arts community. Comerica applauds their tradi?tion of excellence, and their commitment to the presentation of arts and promotion of arts education."
Joseph J. Yarabek Office Managing Partner, Deloitte & Touche "Deloitte & Touche is pleased to support the University Musical Society. Their continued commitment to promoting the arts in our community is out?standing. Thank you for enrich?ing our lives!"
S. Martin Taylor Sr. Vice President-Corporate & Public Affairs and President-Detroit Edison Foundation "The Detroit Edison Foundation is proud to sponsor the University Musical Society because we share a mis?sion of enhancing Southeastern Michigan's reputation as a great place to live and work. To this end, UMS brings the joy of the performing arts into the lives of community residents, provides an important part of Ann Arbor's uplifting cultural identity and offers our young people tremen?dous educational opportunities."
Larry Denton Global Vice President, Dow Automotive "At Dow Automotive, we believe it is through the universal lan?guage of art and music that we are able to transcend cultural and national barriers to reach a deeper understanding of one another. We applaud the University Musical Society for its long-standing support of the arts that enriches all our lives."
Edward Surovell President, Edward Surovell Realtors "It is an honor for Edward Surovell Realtors to be able to support an institu?tion as distinguished as the University Musical Society. For over a century it has been a national leader in arts presenta?tion, and we encourage others to contribute to UMS' future."
Leo Legatski President, Elastizell Corporation of America "A significant characteristic of the University Musical Society is its ability to adapt its menu to changing artistic requirements. UMS involves the community with new concepts of education, workshops, and performances."
Peter Banks President, ERIM International "At ERIM International, we are honored to support the University Musical Society's commitment to providing edu?cational and enrichment oppor?tunities for thousands of young people throughout southeastern Michigan. The impact of these experiences will last a lifetime."
William Clay Ford, Jr.
Chairman, Ford Motor Company "At Ford, we believe the arts speak a universal language. We're proud of our long-standing association with the University Musical Society, its concerts, and the educational programs that enrich our community."
Scott Ferguson Regional Director, Hudson's "Hudson's is committed to supporting arts and cultural organizations because we can't imagine a world without the arts. We are delighted to be part?ners with the University Musical Society for the 1999-2000 season as they present programs to enrich, educate and energize our diverse community."
Gregg A. DeMar Vice President, Customer Segment Marketing, Personal Systems Group, IBM Corporation "IBM salutes the University Musical Society for their valu?able service to our community in support of students, children and families, and for enhancing their exposure to the arts."
William S. Hann
President, KeyBank "Music is Key to keeping our society vibrant, and Key is proud to support the cultural institution rated number one by Key Private Bank clients."
Richard A. Manoogian
Chairman and CEO, Masco Corporation "We at Masco applaud the University Musical Society's contribution to diversity in arts programming and your efforts to enhance the quality of life in our community."
Ronald Weiser Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud to support the University Musical Society and the cultural contribution it makes to the community.
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. SenPrincipal 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 Cliairman and CEO, The Irwin Group of Companies. President, Wolverine Temporaries, Inc. "Wolverine Temporaries began its support of the University Musical Society in 1984, believing that a commitment to such high quality is good for all con?cerned. We extend our best wishes to UMS as it continues to culturally enrich the people of our community."
We also extend our gratitude to several other anonymous companies.
FOUNDATION UNDERWRITERS GOVERNMENT AGENCIES
David. E. Engelbert Hiram A. Dorftnan
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, 1896May 13, 1984."
We at UMS gratefully acknowledge the support of the following foundations and government agencies:
Ann Arbor Area Community
Foundation Arts Midwest
Benard L. Maas Foundation Chamber Music America The Ford Foundation The Heartland Fund KMD Foundation Knight Foundation Lila Wallace-Reader's Digest
Fund Michigan Council for Arts
and Cultural Affairs National Endowment for
the Arts
UNIVERSITY MUSICAL SOCIETY
of the University of Michigan
UMS BOARD OF DIRECTORS
Beverley B. Geltner,
Chair Letitia J. Byrd,
Vice-Chair Elizabeth Yhouse,
Secretary David Featherman,
Treasurer
Gail Davis Barnes Lee C. Bollinger Janice Stevens Botsford Paul C. Boylan Barbara Everitt Bryant Kathleen G. Charla Robert F. DiRomualdo Alice Davis Irani Stuart A. Isaac
Gloria James Kerry F. Bruce Kulp Leo A. Legatski Earl Lewis Lester P. Monts Alberto Nacif Len Niehoff Joe E. O'Neal Randall Pittman
Rossi Ray-Taylor Prudence L. Rosenthal Maya Savarino Herbert Sloan Timothy P. Slottow Peter Sparling James L. Telfer Susan B. Ullrich Marina v.N. Whitman
UMS SENATE
(former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Richard S. Berger Maurice S. Binkow Carl A. Brauer Allen P. Britton Leon S. Cohan 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 Judythe H. Maugh Paul W. McCracken Rebecca McGowan Alan G. Merten John D. Paul Wilbur K. Pierpont John Psarouthakis Gail W. Rector John W. Reed Richard H. Rogel Ann Schriber
Daniel H. Schurz Harold T. Shapiro George I. Shirley John O. Simpson Carol Shalita Smokier Lois U. Stegeman Edward D. Surovell Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker Iva M. Wilson
UMS STAFF
Administration Finance
Kenneth C. Fischer,
President Elizabeth E. Jahn,
Assistant to the
President John B. Kennard, Jr.,
Director of
Administration John Peckham,
Information Systems
Manager
Box Office
Michael L Gowing,
Manager
Sally A. Cushing, Staff Ronald J. Reid, Assistant
Manager and Croup
Sales
Choral Union
Thomas Sheets,
Conductor Edith Leavis Bookstein,
Co-Manager Kathleen Operhall,
Co-Manager Donald Bryant,
Conductor Emeritus
Development
Catherine S. Arcure,
Director Susan D. Halloran,
Assistant Director--
Corporate Support Lisa Michiko Murray,
Advisory Liaison Alison Pereida,
Development Assistant J. Thad Schork, Direct
Mail, Gift Processor Anne Griffin Sloan,
Assistant Director--
Individual Giving L. Gwen Tessier,
Administative Assistant
EducationAudience Development
Ben Johnson, Director Kate Remen, Manager Susan Ratcliffe, Coordinator
MarketingPublic Relations
Sara Billmann, Director Sara A. Miller, Marketing
and Promotion Manager Aubrey Alter, Marketing
and Advertising
Coordinator
Production
Gus Malmgren, Director Emily Avers, Production
and Artist Services
Manager Jennifer Palmer, Front
of House Coordinator Brett Finley, Stage
Manager Eric R. Bassey, Stage
Manager
Bruce Oshaben,
Assistant Head Usher Paul Jomantas, Assistant
Head Usher
Programming
Michael J. Kondziolka,
Director Mark Jacobson,
Coordinator
Work-Study
Nadine Balbeisi Rebekah Camm Mark Craig Mariela Flambury David Her Carrie Kahl Un Jung Kim Rebekah Nye Beverly Schneider Amy Tubman
Interns
Bree Doody Brooke McDaniel
President Emeritus
Gail W. Rector
ADVISORY COMMITTEE
Debbie Herbert, Chair
Dody Viola, Co-Chair
Lisa Murray, Staff Liaison
Martha Ause
Utitia 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 Merlanti
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
Suzctte Ungard
Kathleen Treciak Van Dam
UMS TEACHER ADVISORY COMMITTEE
Fran Ampey Gail Davis Barnes Alana Barter Elaine Bennett Lynda Berg Yvette Blackburn Barbara Boyce Letitia Byrd Nancy Cooper Naomi Corera Gail Dybdahl Keisha Ferguson Doreen Fryling Carolyn Hanum Vickey Holley Foster Amy Goodman Taylor Jacobsen Callie Jefferson Lola Jones 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 Joan Singer Sue Sinta Sandy Trosien Sally Vandeven Barbara Hertz Wallgren Jeanne Weinch
Services
GENERAL INFORMATION
Barrier-Free Entrances
For persons with disabilities, all auditoria have barrier-free entrances. Wheelchair loca?tions are available on the main floor. Ushers are available for assistance.
Listening Systems
For hearing impaired persons, the Power Center, Mendelssohn Theatre, and Rackham Auditorium are equipped with infrared listen?ing systems. Headphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, and Mendelssohn Theatre please call University Productions at 734.763.5213. For items lost at St. Francis of Assisi Catholic Church and the Michigan Theater, please call the UMS Box Office at 734.764.2538.
Parking
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before
the performance begins. Parking is compli?mentary for UMS members at the Principal level and above. Reserved parking is available for UMS members at the Leader level and above.
UMS offers valet parking service for all performances in the Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before each performance. There is a fee for this service. UMS members at the Leader level and above are invited to use this service at no charge.
Refreshments
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Smoking Areas
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
UMSMember Information Kiosk
A wealth of information about UMS events is available at the information kiosk in the lobby of each venue.
Returns
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the UMS Box Office. Refunds are not available; however, you will be given a receipt for an income tax deduc?tion. Please note that ticket returns do not count toward UMS membership.
GROUP TICKETS
Many thanks to all of the groups who have joined UMS for an event in past seasons, and welcome to all of our new friends who will be with us in the coming year. The group sales program has grown dramatically in recent years. This success is a direct result of the wonderful leaders who organize their friends, families, congrega?tions, students, and co-workers and bring them to our events.
Last season over 10,000 people came to UMS events as part of a group, and they saved more than $51,000 on some of the most popular events around! Many groups who booked their tickets early found them?selves in the enviable position of having the only available tickets to sold out events including Wynton Marsalis and the Lincoln Center Jazz Orchestra, the Afro-Cuban All Stars, The Capitol Steps, Trinity Irish Dance Company, Kodo, and Alvin Ailey American Dance Theater.
This season UMS is offering a wide 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.
GIFT CERTIFICATES
ooking for that perfect meaningful gift .that speaks volumes about your taste
Tired of giving flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than ninety events throughout our season, wrapped and delivered with your personal message, the UMS Gift Certificate is ideal for weddings,
birthdays, Hanukkah, Christmas, Mother's and Father's Days, or even as a housewarm-ing present when new friends move to town.
Make your gift stand out from the rest. Call the UMS Box Office at 734.764.2538, or stop by Burton Tower.
THE UMS CARD
UMS and the following businesses thank you for your generous support by pro?viding you with discounted products and services through the UMS Card, a privilege for subscribers and donors of at least $100. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe Ann Arbor Acura Ann Arbor Arts
Center
Back Alley Gourmet Blue Nile Restaurant Bodywise Therapeutic
Massage Cafe Marie Chelsea Flower Shop Dough Boys Bakery Fine Flowers Gandy Dancer Great Harvest Jacques John Leidy Shop
John's Pack & Ship Kerrytown Bistro King's Keyboard
House Le Dog
Michigan Car Services Paesano's Restaurant Regrets Only Ritz Camera One
Hour Photo SKR Blues & Jazz SKR Classical SKR Pop & Rock Shaman Drum
Bookshop Zingerman's
The UMS card also entitles you to 10 off your ticket purchases at other Michigan Presenter venues. Individual event restrictions may apply. Call the UMS Box Office for more information at 734.764.2538.
WWW.UMS.ORG
UMS enters a new interactive com?munication era with the launch of the new and improved www.ums.org!
Why should you log onto www.ums.org
Tickets Forget about waiting in long ticket lines--order tickets to UMS performances online with our secure order form.
Cyber$avers Special weekly discounts appearing every Tuesday only available by ordering over the Web!
Information Wondering about UMS' history, event logistics, or volunteer opportunities Find all this and more.
Program Notes and Artist Bios Your online source for performance programs and artist information.
Sound Clips & Photos Listen to recordings from UMS performers online before the concert. Check out photos from favorite UMS concerts!
BRAVO! Cookbook Order your UMS hardcover coffee-table cookbook featuring more than 250 recipes from UMS artists, alumni and friends, as well as historic photos from the UMS Archives.
Education Events Up-to-date information detailing educational opportunities surrounding each
UMS performance. ? Choral Union
Audition informa?tion and perform?ance schedules for the UMS Choral Union.
Annals
UMS HISTORY
The goal of the University Musical Society (UMS) is to engage, educate, and serve Michigan audiences by bringing to our community an ongoing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 120 years, strong leadership, coupled with a devoted community, has placed UMS in a league of internationally-recognized perform?ing arts presenters. Indeed, Musical America selected UMS as one of the five most influen?tial arts presenters in the United States in 1999. Today, the UMS seasonal program is a reflection of a thoughtful respect for its rich and varied history, balanced by a commitment to dynamic and creative visions of where the performing arts will take us in the upcoming millennium. Every day UMS seeks to cultivate, nurture and stimulate public interest and participation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first performance of Handel's Messiah was in December of 1879, and this glorious oratorio has since been performed by the UMS Choral Union annually.
As a great number of Choral Union mem?bers also belonged to the University, the University Musical Society was established in December 1880. UMS included the Choral Union and University Orchestra, and throughout the year presented a series of concerts featuring local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best traditional and contemporary work from the full spectrum of the performing arts -internationally renowned recitalists and
Musical America selected UMS as one of the five most influ?ential arts presenters in the United States in 1999.
orchestras, dance and chamber ensembles, jazz and world music performers, perform?ance artists, opera and theatre. Through educational endeavors, commissioning of new works, youth programs, artist residencies and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction and innovation. UMS now hosts over ninety performances and more than 175 educational events each season. UMS has flourished with the support of a generous community that gathers to enjoy world-class events in Hill and Rackham Auditoria, the
Power Center for the Performing Arts, the Michigan Theater, St. Francis of Assisi Catholic Church, the Lydia Mendelssohn Theatre, and the Detroit Opera House.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many Univer?sity units, UMS is a separate not-for-profit organization, which supports itself through ticket sales, corporate and individual contri?butions, foundation and government grants, and endowment income.
UMS CHORAL UNION
Throughout its 120-year history, the UMS Choral Union has performed with many of the world's distinguished orchestras and conductors.
Based in Ann Arbor under the aegis of the University Musical Society, the 150-voice Choral Union is especially well known for its definitive performances of large-scale works for chorus and orchestra. Six years ago, the Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra. Among other works, the chorus has joined the DSO in Orchestra Hall and at Meadow Brook for subscription performances of Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe and Brahms' Ein deutsches Requiem, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd. In 1995, the Choral Union began an artistic association with the Toledo Symphony, inaugurating the partner?ship with a performance of Britten's War Requiem, and continuing with performances of the Berlioz Requiem, Elgar's The Dream of Gerontius and Verdi's Requiem. During the 1996-97 season, the Choral Union again expanded its scope to include performances with the Grand Rapids Symphony, joining
with them in a rare presentation of Mahler's Symphony No. 8 (Symphony of a Thousand).
In the past two seasons, the Choral Union has given acclaimed concert presentations of Gershwin's Porgy and Bess with the Birmingham-Bloomfield Symphony Orchestra and musical-theatre favorites with Erich Kunzel and the DSO at Meadow Brook. A 72-voice chorus drawn from the larger choir has performed Durufle's Requiem, the Langlais Messe Solenelle, the Mozart Requiem and other works, and the Choral Union Chamber Chorale recently presented "Creativity in Later Life," a program of late works by nine composers of all historical periods, at the University of Michigan Museum of Art.
During the 1998-99 season, the Choral Union performed in three major subscription series at Orchestra Hall with the Detroit Symphony Orchestra, including performances of Brahms' Ein deutsches Requiem and Rachmaninoff's The Bells, both conducted by Neeme Jarvi, and Kodaly's Psalmus Hungaricus, 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 edeb@umich.edu.
AUDITORIA & BURTON MEMORIAL TOWER
Hill Auditorium
Standing tall and proud in the heart of the University of Michigan campus, Hill Auditorium is associated with the best performing artists the world has to offer. Inaugurated at the 20th Annual Ann Arbor May Festival in 1913, the 4,163-seat Hill Auditorium has served as a showplace for a variety of important debuts and long rela?tionships throughout the past eighty-six years. With acoustics that highlight everything from the softest notes of vocal recitalists to the grandeur of the finest orchestras, Hill Auditorium is known and loved throughout the world.
Former U-M regent Arthur Hill bequeathed $200,000 to the University for the construction of an auditorium for lectures, concerts and other university events. Then-UMS President Charles Sink raised an additional $150,000, and the concert hall opened in 1913 with the Chicago Symphony Orchestra performing Beethoven's Symphony No. 5. The auditorium seated 4,597 when it first opened; subsequent renovations, which increased the size of the stage to accommodate both an orchestra and a large chorus (1948) and improved wheel?chair seating (1995), decreased the seating capacity to its current 4,163.
Hill Auditorium is slated for renovation in the coming years. Developed by Albert Kahn and Associates (architects of the original concert hall) and leading theatre and acousti?cal consultants, the renovation plans include an elevator, expanded bathroom facilities, air conditioning, and other improvements.
Rackham Auditorium
Sixty years ago, chamber music concerts in Ann Arbor were a relative rarity, pre?sented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, and Newberry Hall, the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of human history and human thought, died in 1933, his will established the Horace H. Rackham and Mary A. Rackham Fund, which subsequently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School, which houses the 1,129-seat Rackham Auditorium, but also to establish a $4-million endowment to further the devel?opment of graduate studies. Even more remarkable than the size of the gift, which is still considered one of the most ambitious ever given to higher-level education, is the fact that neither of the Rackhams ever attended the University of Michigan.
Power Center for the Performing Arts
The Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities was mentioned "a new theatre." The Powers were immediately interest?ed, realizing that state and federal government were unlikely to provide financial support for the construction of a new theatre.
The Power Center opened in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote). No seat in the 1,390-seat Power Center is more than seventy-two feet from the stage. The lobby of the Power Center features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
Michigan Theater
The historic Michigan Theater opened January 5, 1928 at the peak of the vaude?villemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost approxi?mately $600,000 when it was first built. The gracious facade and beautiful interior housed not only the theater, but nine stores, offices on the second floor and bowling alleys running the length of the basement. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ, acclaimed as the best of its kind in the country. Restoration of the balcony, outer lobby and facade will be completed by 2003.
In the fall of 1999, the Michigan Theater will open the doors of a new 200-seat screen?ing room addition, as well as additional rest-room facilities, which have been built onto the existing 1928 structure.
St. Francis of Assisi Catholic Church
In 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later, ground was broken to build a permanent church building, and on March 19,1969 John Cardinal Dearden dedicated the new St. Francis of Assisi Church. Father James McDougal was appointed pastor in 1997.
St. Francis of Assisi Catholic Church has grown from 248 families when it first started in 1950 to more than 2,800 today. The present church seats 900 people and has ample free parking. In 1994 St. Francis purchased a splendid three manual "mechanical action" organ with thirty-four stops and forty-five ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through ded?ication, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment
and contemplation of sacred a cappella choral music and early music ensembles.
Lydia Mendelssohn Theatre
In 1926, construction was being discussed for the Women's League, the female coun?terpart to the all-male Michigan Union. Gordon Mendelssohn of Detroit seized the opportunity to support the inclusion of a theatre in the plans and building of the Woman's League, and donated $50,000 in 1926 to establish the Lydia Mendelssohn Theatre, stipulating that the theatre would
always bear his mother's name. UMS recently began presenting artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat the?atre for the 100th May Festival's Cabaret Ball. Now, with a new programmatic initiative to pres?ent song in recital, the superlative Mendelssohn Theatre has become a recent venue addition to UMS' roster and the home of the Song Recital series.
Detroit Opera House
The Detroit Opera House opened in April of 1996 fol?lowing an extensive renovation by Michigan Opera Theatre. Boasting a 75,000 square foot stage house (the largest stage between New York and Chicago), an orchestra pit large enough to accommodate 100 musicians and
an acoustical virtue to rival the world's great opera houses, the 2,800-seat facility has rapidly become one of the most viable and coveted theatres in the nation. In only two seasons, the Detroit Opera House became the foundation of a landmark programming collaboration with the Nederlander organization and Olympia
ull House
Hill
Auditorium
4,163
Rackham
Auditorium
1,129
Michigan
Theater
1,710
Power Center 1,390
Mendelssohn
Theatre
658
Entertainment, formed a part?nership with the Detroit Symphony Orchestra and played host to more than 500 perform?ers and special events. As the home of Michigan Opera Theatre's grand opera season and dance series, and through quality programming, partner?ships and educational initiatives, the Detroit Opera House plays a vital role in enriching the lives of the community.
Burton Memorial Tower
Seen from miles away, this well-known University of Michigan and Ann Arbor land?mark is the box office and administrative location for UMS.
Completed in 1935 and designed by Albert Kahn, the
10-story tower is built of Indiana limestone with a height of 212 feet. During the academic year, visitors may climb up to the observation deck and watch the carillon being played from noon-12:30 p.m. weekdays when classes are in session and most Saturdays from 10:15-10:45 a.m.
University Musical Society
of the University of Michigan 19992000 Fall Season
Event Program Book Saturday, December 4 through Tuesday, December 14, 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 cheir 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.
Handel's Messiah 3
UMS Choral Union
Ann Arbor Symphony Orchestra Thomas Sheets, conductor
Saturday, December 4, 8:00pm Sunday, December 5,2:00pm Hill Auditorium
Boys Choir of Harlem 25
Dr. Walter J. Turnbull, director
Thursday, December 9, 8:00pm Hill Auditorium
Frederica von Stade 35
Friday, December 10,8:00pm Lydia Mendelssohn Theatre
Gabrieli Consort & Players 45
Paul McCreesh, director
A Lutheran Christmas Celebration (c. 1620)
Tuesday, December 14,8:00pm
St. Francis of Assisi Catholic Church
UMS
and
Dr. James and
Millie Irwin
present
George Frideric Handel's
Messiah
UMS Choral Union
Ann Arbor Symphony Orchestra
Thomas Sheets, Conductor
Tamara Matthews, Soprano Ewa Podles, Contralto Glenn Siebert, Tenor Andrew Wentzel, Bass-baritone Edward Parmentier, Harpsichord Janice Beck, Organ
Program
George Frideric Hande,
Saturday Evening, December 4,1999 at 8:00 Sunday Afternoon, December 5, 1999 at 2:00 Hill Auditorium, Ann Arbor, Michigan
MESSIAH,
A N
ORATORIO.
Set to Muiuk by Gxoaoi-FittDextc Hakdei I-.iq;.
MAJORA CAN' A M U S.
And viitmi Cmtrvxrfc grot is ibt Mjiltrj CkJIi-tf, : Gal tou aagU in lit FUJI, jvjtiffdhj lit Spini, fan c[ Angth, prtatktJ mmg it Gcndla, itliiotd m in Ik, WtrU, rxmxd up in GUrj.
h ?j.btm ar U all ibt Trajuru Widsm and Km-
Thirty-fourth and Thirty-fifth Performances 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.
Special thanks to Dr. James and Millie Irwin for their continued and generous support of our presentation of Handel's Messiah.
Tonight's floral art is provided by Cherie Rehkopf and John Ozga of Fine Flowers, Ann Arbor.
Tune into Michigan RadioWUOM 97.1 FM on Christmas Day at 12:00pm for a special tape-delayed broadcast of this performance.
Ms. Matthews appears by arrangement with Novo Artists, Inc. Mme. Podle appears by arrangement with Matthew Sprizzo.
Mr. Siebert and Mr. Wentzel appear by arrangement with Herbert Barrett Management, Inc.
Large print programs are available upon request.
Messiah
George Frideric Handel
Born on February 23, 1685 in Halle,
Germany Died on April 14, 1759 in London
George Frideric Handel's sacred oratorio Messiah is without question one of the most popular works in the choralorchestral repertoire today. In what has become an indispensable Christmas tradition, amateur and profes?sional musicians in almost every city and town throughout the country perform this work as a seasonal entertainment, and are rewarded with the satisfaction of taking part in one of the great communal musical events.
Since the first performances in 1742, generations of musicians have adapted Handel's Messiah to suit the changing tastes of fashion and function. The small ensem?bles Handel conducted himself had around twenty singers and an equal number of instrumental players, but even before the end of the eighteenth century much larger ensembles were performing the work. By the mid-nineteenth century, when the appeal of the spectacle sometimes outweighed the demands of musical integrity, singers and instrumentalists for a single performance would often number in the several thou?sands. But the size of the ensemble wasn't the only variable. Mozart re-orchestrated Handel's score in 1789, adding extra parts for woodwinds to give the orchestral writing richer harmonies and a more varied timbre. Sir Arthur Sullivan and Eugene Goosens likewise made their own arrangements of the orchestral parts, updating the work for their respective audiences. And in 1993, a popular recording of excerpts from Messiah titled A Soulful Celebration brought together Stevie Wonder, Quincy Jones, Al Jarreau, the Boys Choir of Harlem, and others in a
gospel-style interpretation of Handel's music. The diversity of performance styles and enthusiastic responses to this oratorio over the centuries testify to its immense popularity.
The oratorio as a musical genre origi?nated during the seventeenth century in the churches and monasteries of Italy. In the Oratory (a side chapel found in many con?secrated buildings), the theatrical presenta?tion of vocal music on a sacred topic was an adjunct to the liturgy of the Church. But by 1700, oratorios were being performed in private chapels and palaces as a form of entertainment, and had taken on the now-standard characteristics of a sung drama on sacred texts, without staging or costumes.
Handel composed several oratorios early in his career, including some in Italian Trionfo del Tempo e del Disinganno and La Resurrezione and the later English-lan?guage works Esther, Deborah, and Athalia. But after the collapse of his operatic ventures in London around 1740, Handel devoted himself to the oratorio as a form in which he could combine his flair for dramatic vocal writing and his experience as a composer of sacred, devotional music. With these later oratorios Handel eventually won back the esteem of the London critics, and secured a phenomenal public following that would ensure his future success and reputation.
The text for Messiah was selected and compiled from the Authorized (King James) Version of the Bible by Charles Jennens, an aristocrat and musicianpoet of modest talent and exceptional ego. With Messiah, Jennens seems to have outdone himself in compiling a libretto with profound thematic coherence and an acute sensitivity to the inherent musical structure. With the fin?ished libretto in his possession, Handel began setting it to music on 22 August 1741, and completed it twenty-four days later. He was certainly working at white-hot speed, but this didn't necessarily indicate he was in
the throes of devotional fervor, as legend has often stated. Handel composed many of his works in haste, and immediately after com?pleting Messiah he wrote his next oratorio, Samson, in a similarly brief time-span.
The swiftness with which Handel com?posed Messiah can be partially explained by the musical borrowings from his own earlier compositions. For example, the melodies used in the two choruses "And He shall purify" and "His yoke is easy" were taken from an Italian chamber duet Handel had written earlier in 1741, "Quelfior che all' alba ride!' Another secular duet, "Nd, di voi non vo' fidarmi" provided material for the famous chorus "For unto us a Child is born," and the delightful "All we like sheep" borrows its wandering melismas from the same duet. A madrigal from 1712, "Se tu non lasci amore" was transformed into a
duet-chorus pair for the end of the oratorio, "O Death, where is thy sting," and "But thanks be to God." In each instance, howev?er, Handel does more than sim?ply provide new words to old tunes. There is considerable re-composition, and any frivolity that remains from the light-
hearted secular models is more than com?pensated for by the new material Handel masterfully worked into each chorus.
Over-enthusiastic "Handelists" in the nineteenth century perpetuated all sorts of legends regarding the composition of Messiah. An often-repeated story relates how Handel's servant found him sobbing with emotion
After the collapse of his operatic ventures in London around 1740, Handel devoted himself to the oratorio as a form in which he could combine his flair for dramatic vocal writing and his experience as a composer of sacred, devotional music.
while writing the famous "Hallelujah Chorus," and the composer claiming, "I did think I did see all Heaven before me and the great God Himself." Supposedly Handel often left his meals untouched during this compositional period, in an apparent dis?play of devotional fasting and monastic self-denial. Present-day historians more familiar
with Handel's life and religious views tend to downplay these stories. It's been suggest?ed that if Handel did indeed have visions of Heaven while he composed Messiah, then it was only in the same manner in which he visualized the Roman pantheon of gods while he composed his opera Semele. Handel's religious faith was sincere, but tended to be practical rather than mystical.
In 1791, the Caecilian Society of London began annual Christmas performances of Messiah, and in 1818 the Handel and Haydn Society of Boston gave the work's first complete performance in the United States on Christmas Day--establishing a tradition that continues to the present.
Handel was also not a native English-speaker, and examples of awkward text-set?ting in Messiah demonstrate some idiosyn?crasies in his English declamation. He set the word "were" as if it had two syllables, and "surely" with three syllables. In the bass aria, "The trumpet shall sound," Handel originally declaimed "incorruptible" with emphasis on the second and fourth sylla?bles. While these can be corrected by the editor of the score or the singer in perfor?mance, sometimes Handel placed rhythmic accents on the wrong words entirely. Yet they are so familiar to us now that we don't hear them as unusual: "For unto us a Child is born," or "Come unto Him, ye that are heavy laden."
The first public performance of Messiah took place in Dublin, Ireland, on 13 April 1742. As this was to be a benefit perfor?mance for charity, the ladies were asked not to wear hoop dresses, and the men to leave
their swords at home, in order to accommo?date more people in the hall. Messiah was an unqualified success in Dublin; Handel had worked for months preparing his chorus and orchestra, and brought in some of the finest solo singers from England. The alto soloist in particular sang so affectingly that after one aria an audience member exclaimed from his chair, "Woman, for this,
be all thy sins forgiv?en." But when Handel took Messiah to London the fol?lowing season, it received a chilly reception. Even though King George II attended the first performance at Covent Garden Theatre (and, it is claimed, initiated the tradition of standing for the "Hallelujah
Chorus"), London audiences found its con?templative texts lacking in drama and narra?tive action, and it closed after only three performances. Some clergy considered the theatre in general a den of iniquity and cer?tainly no place for a work on such a sacred topic (Handel couldn't win when it was scheduled to be performed in Westminster Abbey, other members of the clergy declared it sacrilege for a public entertainment to take place in a consecrated church). And Jennens, the librettist, wasn't entirely pleased with what Handel had done to his texts. After initially voicing his thorough disap?pointment with the work, Jennens later declared Handel's composition "a fine Entertainment, tho' not near so good as he might and ought to have done." It wasn't until 1750, when another performance for charity was staged at the Foundling Hospital in London, that English audiences took Messiah to their hearts, and yearly perfor-
mances at the hospital from that time on established the lasting popularity of both the work and its composer. Upon Handel's death in 1759, he willed his score and parts for Messiah to the Foundling Hospital in a charitable gesture of gratitude.
The tradition of performing Messiah at Christmas began later in the eighteenth cen?tury. Although the work was occasionally performed during Advent in Dublin, the oratorio was usually regarded in England as an entertainment for the penitential season of Lent, when performances of opera were banned. Messiah's extended musical focus on Christ's redeeming sacrifice also makes it particularly suitable for Passion Week and Holy Week, the periods when it was usually performed during Handel's lifetime. But in 1791, the Caecilian Society of London began its annual Christmas performances, and in 1818 the Handel and Haydn Society of Boston gave the work's first complete per?formance in the United States on Christmas Day establishing a tradition that continues to the present. The University Musical Society is a direct result of this tradition. In 1879, a group of local university and towns?people gathered together to study Handel's Messiah; this group assumed the name "The Choral Union" and, in 1880, the members of the Choral Union established the University Musical Society.
Following the pattern of Italian baroque opera, Messiah is divided into three parts. The first is concerned with prophecies of the Messiah's coming, drawing heavily from messianic texts in the Book of Isaiah, and concludes with an account of the Christmas story that mixes both Old and New Testament sources. The second part deals with Christ's mission and sacrifice, culminating in the grand "Hallelujah Chorus." The final, shortest section is an extended hymn of thanksgiving, an expres?sion of faith beginning with Job's statement "I know that my Redeemer liveth" and clos-
ing with the majestic chorus "Worthy is the Lamb" and a fugal "Amen." In its focus on Christ's sacrifice Messiah resembles the great Lutheran Passions of Schutz and Bach, but with much less direct narrative and more meditative commentary on the redemptive nature of the Messiah's earthly mission. Handel scholar Robert Myers suggested that "logically Handel's masterpiece should be called Redemption, for its author celebrates the idea of Redemption, rather than the per?sonality of Christ."
For the believer and non-believer alike, Handel's Messiah is undoubtedly a majestic musical edifice. But while a truly popular favorite around the world, Messiah aspires to more than just a reputation as an enjoy?able musical event. After an early perfor?mance of the work in London, Handel was congratulated by Lord Kinnoul on the "noble entertainment" he had recently brought to the city. Handel is said to have replied, "My Lord, I should be sorry if I only entertained them; I wished to make them better." Certainly Messiah carries an ennobling message to people of all faiths and credos, proclaiming "peace on earth, and goodwill towards men" a message that continues to be timely and universal.
Program note by Luke Howard.
Tart I
1 Sinfonia
2 Arioso
Isaiah 40:1 Isaiah 40:2
Isaiah 40: 3
3 Air
Isaiah 40:4
4 Chorus
Isaiah 40: 5
5 Accompanied recitative Haggai 2:6
Haggai 2: 7 Malachi 3: 1
6 Air
Malachi 3:2
7 Chorus
Malachi 3: 3
8 Recitative
Isaiah 7: 14
9 Air and Chorus
Isaiah 40: 9
Isaiah 60:1
Mr. Siebert
Comfort ye, comfort ye my people, saith your God.
Speak ye comfortably to Jerusalem, and cry unto her that he warfare is accomplished, that her iniquity is pardoned. The voice of him that crieth in the wilderness: Prepare ye th way of the Lord, make straight in the desert a highway for our God.
Mr. Siebert
Every valley shall be exalted, and every mountain and hill ... made low: the crooked ... straight, and the rough places plain:
And the glory of the Lord shall be revealed, and all flesh shall see it together: for the mouth of the Lord hath spoken it.
Mr. Wentzel
. thus saith the Lord of hosts: Yet once,... a little while, and I will shake the heavens and the earth, the sea and the dry land; And I will shake all nations, and the desire of all nations shall come:...
... the Lord, whom ye seek, shall suddenly come to his temple, even the messenger of the covenant, whom ye delight in: behold, he shall come, saith the Lord of hosts.
Mme. Podles
But who may abide the day of his coming And who shall stand when he appeareth For he is like a refiner's fire,...
... and he shall purify the sons of Levi,... that they may offer unto the Lord an offering in righteousness.
Mme. Podles
Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel, "God-with-us."
Mme. Podles
O thou that tellest good tidings to Zion, get thee up into the high mountain; O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah: Behold your God! Arise, shine; for thy light is come, and the glory of the Lord is risen upon thee.
10 Arioso
Isaiah 60:2
Isaiah 60:3
11 Air
Isaiah 9:2
12 Chorus
Isaiah 9: 6
13 Pifa
14 Recitative
Luke 2: 8
15 Arioso
Luke 2: 9
16 Recitative
Luke 2:10
Luke 2: 11
17 Arioso
Luke 2:13
18 Chorus
Luke 2:14
19 Air
Zechariah 9: 9
Zechariah 9: 10
Mr. Wentzel
For behold,... darkness shall cover the earth, and gross darkness the people: but the Lord shall arise upon thee, and his glory shall be seen upon thee.
And the Gentiles shall come to thy light, and kings to the brightness of thy rising.
Mr. Wentzel
The people that walked in darkness have seen a great light: and they that dwell in the land of the shadow of death, upon them hath the light shined.
For unto us a child is born, unto us a son is given: and the government shall be upon his shoulder, and his name shall be called Wonderful, Counselor, The Mighty God, The Everlasting Father, The Prince of Peace.
(Pastoral Symphony)
Ms. Matthews
... there were ... shepherds abiding in the field, keeping watch over their flock by night.
Ms. Matthews
And, lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid.
Ms. Matthews
And the angel said unto them, Fear not: for, behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a saviour, which is Christ the Lord.
Ms. Matthews
And suddenly there was with the angel a multitude of the heavenly host praising God and saying,
Glory to God in the highest, and peace on earth, good will toward men.
Ms. Matthews
Rejoice greatly, O daughter of Zion; shout, O daughter of Jerusalem: behold, thy King cometh unto thee: he is the righteous Saviour,... ... and he shall speak peace unto the heathen:...
20 Recitative
Isaiah 35: 5
Isaiah 35: 6
21 Air
Isaiah 40:11
Matthew 11:28 Matthew 11:29
22 Chorus
Matthew 11:30
Mme. Podles
Then shall the eyes of the blind be opened, and the ears of the deaf... unstopped.
Then shall the lame man leap as a hart, and the tongue of the dumb shall sing:...
Mme. Podles and Ms. Matthews
He shall feed his flock like a shepherd: and he shall gather the lambs with his arm, and carry them in his bosom, and ... gently lead those that are with young. Come unto him, all ye that labour and are heavy laden, and he will give you rest.
Take his yoke upon you, and learn of him, for he is meek and lowly of heart: and ye shall find rest unto your souls.
His yoke is easy, and his burden is light. Intermission
"Part II
23 Chorus
John 1: 29
24 Air
Isaiah 53: 3
Isaiah 50: 6
25 Chorus
Isaiah 53: 4 Isaiah 53: 5
26 Chorus
Isaiah 53: 4
... Behold, the Lamb of God, that taketh away the sin of the world! ...
Mme. Podles
He was despised and rejected of men; a man of sorrows, and acquainted with grief:...
He gave his back to the smiters, and his cheeks to them that plucked off the hair: he hid not his face from shame and spitting.
Surely he hath borne our griefs, and carried our sorrows:... ... he was wounded for our transgressions, he was bruised for our iniquities: the chastisement of our peace was upon him; and with his stripes are we healed.
All we like sheep have gone astray; we have turned every one to his own way; and the Lord hath laid on him the iniquity of us all.
27 Arioso
Psalm 22: 7 i
28 Chorus
Psalm 22: 8 ]
29 Accompanied recitative
Psalm 69:20
30 Arioso
Lamentations 1:12
31 Accompanied recitative
Isaiah 53:8
32 Air
Psalm 16:10
33 Chorus
Psalm 24: 7
Psalm 24: 8 Psalm 24: 9 Psalm 24: 10
34 Recitative
Hebrews 1: 5
35 Chorus
Hebrews 1: 6
36 Air
Psalm 68: 18
37 Chorus
Psalm 68:11
Mr. Siebert
Ul they that see him laugh him to scorn: they shoot our their lips, and shake their heads, saying:
?ie trusted in God that he would deliver him: let him deliver him, if he delight in him.
Mr. Siebert
rhy rebuke hath broken his heart; he is full of heaviness: he looked for some to have pity on him, but there was no man; neither found he any to comfort him.
Mr. Siebert
.. Behold and see if there be any sorrow like unto his sorrow...
! Mr. Siebert
... he was cut off out of the land of the living: for the transgressions of thy people was he stricken.
Mr. Siebert
But thou didst not leave his soul in hell; nor didst thou suffer thy Holy One to see corruption.
Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of glory shall come in. Who is this King of glory The Lord strong and mighty, the Lord mighty in battle.
Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of glory shall come in. Who is this King of glory The Lord of hosts, he is the King of glory.
Mr. Siebert
... unto which of the angels said he at any time, Thou art my son, this day have I begotten thee...
... let all the angels of God worship him.
Mme. Podles
Thou art gone up on high, thou has lead captivity captive: and received gifts for men; yea, even for thine enemies, that the Lord God might dwell among them.
The Lord gave the word: great was the company of the preachers.
38 Air
Isaiah 52:! 7
39 Chorus
Romans 10:18
40 Air
Psalm 2:1
Psalm 2:2
41 Chorus
Psalm 2:3
42 Recitative
Psalm 2:4
43 Air
Psalm 2: 9
44 Chorus
Revelation 19:6
Revelation 11:15
Revelation 19: 16

Ms. Matthews and Mme. Podles
How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things ...
Their sound is gone out into all lands, and their words unto the ends of the world.
Mr. Wentzel
Why do the nations so furiously rage together,... why do the people imagine a vain thing
The kings of the earth rise up, and the rulers take counsel together against the Lord and his anointed,...
Let us break their bonds asunder, and cast away their yokes from us.
Mr. Siebert
He that dwelleth in heaven shall laugh them to scorn: the Lord shall have them in derision.
Mr. Siebert
Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter's vessel.
Hallelujah: for the Lord God omnipotent reigneth.
... The kingdom of this world is become the kingdom of our Lord, and of his Christ; and he shall reign for ever and ever. ... King of Kings, and Lord of Lords.
You are invited to join the Choral Union in singing the "Hallelujah" chorus. Please leave the music at the door when exiting the auditorium. Thank you.
Tart III
45 Air
Job 19: 25
Job 19: 26
I Corinthians 15: 20
Ms. Matthews
I know that my redeemer liveth, and that he shall stand at the latter day upon the earth.
And though ... worms destroy this body, yet in my flesh shall I see God.
For now is Christ risen from the dead,... the first fruits of them that sleep.
46 Chorus
Corinthians 15:21
I Corinthians 15:22
47 AccomDanied recitative
I Corinthians 15: 51
I Corinthians 15: 52
48 Air
Corinthians 15:52
I Corinthians 15: 53
49 Recitative
I Corinthians 15: 54
50 Duet
Corinthians 15: 55 I Corinthians 15:56
51 Chorus
Corinthians 15: 57
52 Air
Romans 8:31 Romans 8: 33
Romans 8: 34
53 Chorus
Revelation 5: 12
Revelation 5:13
. since by man came death, by man came also the resurrection of the dead. For as in Adam all die, even so in Christ shall all be made alive.
Mr. Wentzel
Behold, 1 tell you a mystery; we shall not all sleep, but we shall all be changed, In a moment, in the twinkling of an eye, at the last trumpet:
Mr. Wentzel
... the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. For this corruptible must put on incorruption, and this mortal must put on immortality.
Mme. Podlei
... then shall be brought to pass the saying that is written, Death is swallowed up in victory.
Mme. Podles and Mr. Siebert
O death, where is thy sting O grave, where is thy victory The sting of death is sin; and the strength of sin is the law.
But thanks be to God, who giveth us the victory through our Lord Jesus Christ.
Ms. Matthews
If God be for us, who can be against us
Who shall lay anything to the charge of God's elect It is God that justifieth.
Who is he that condemneth It is Christ that died, yea rather, that is risen again, who is... at the right hand of God, who ... maketh intercession for us.
... Worthy is the Lamb that was slain and hath redeemed us to God by his blood to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. ... Blessing, and honour,... glory, and power, be unto him that sitteth upon the throne, and unto the Lamb for ever and ever.
Amen.
Thomas Sheets is an accom?plished conductor whose work with community choruses, academic institutions and opera companies has received widespread acclaim.
Mr. Sheets is Music Director of the 160-voice Choral Union, based in Ann Arbor under the aegis of the University Musical Society. Following his appointment to that position in 1993, the Choral Union began performing on a regular basis with the Detroit Symphony Orchestra. In the past six seasons, he has prepared the Choral Union for several notable performances given by the DSO under the direction of Neeme Jarvi, Jerzy Semkow and Gennady Rozhhdestvensky. In January 1994, the Choral Union collaborated with Maestro Jarvi and the DSO in the choir's first major commercial recording, Tchaikovsky's The Snow Maiden, released by Chandos Records. Before moving to Ann Arbor, Mr. Sheets was Associate Conductor of two prominent Southern California choruses, the William Hall Chorale and the Master Chorale of Orange County, both conducted by his mentor, the distinguished choral conductor William Hall. During that time, he assisted in preparing all the major choralorchestral works in the current international repertoire, in some instances for performances led by Robert Shaw, Jorge Mester, Joann Faletta and Michael Tilson Thomas. As chorusmaster in 1988 for Long Beach Opera's highly-celebrated American premiere of Szymanowski's King Roger, his efforts on behalf of the chorus received accolades from critics on four conti?nents. He was engaged in the same role in 1992 for that company's staging of Simon Boccanegra, where the chorus again received singular plaudits.
In the 1996-97 season, Mr. Sheets col?laborated with the University of Michigan's Dance Company, conducting four perfor?mances of Orff's Carmina Burana in which
dancers joined the established musical forces. During that season he made his debut with the Toledo Symphony i two performances of Bach's Mass in b minor., and also conducted per?formances of Handel's Messiah
with the Ann Arbor Symphony Orchestra and the Perrysburg (OH) Symphony. During the 1997-98 season, Mr. Sheets con?ducted the Choral Union and the Ann Arbor Symphony Orchestra in perfor?mances of Messiah and Mendelssohn's Elijah in Hill Auditorium. In the 1998-99 season, he conducted a performance of Bach's mon?umental St. Matthew Passion at the historic Fort Street Presbyterian Church of Detroit.
Thomas Sheets is a graduate of Chapman University and CSU Fullerton, and received the degree Doctor of Musical Arts from the University of Southern California. He has held appointments as Director of Choral Activities at several colleges and universities, serving now in that capacity at Oakland Community College in Farmington, Michigan. Dr. Sheets is a frequent conference leader and clinician; his editions of choral music are published by Augsburg-Fortress, and he is a regular contributor of articles on choral music performance.
This weekend's performances mark the sev?enth year that Thomas Sheets has conducted Messiah under UMS auspices.
American soprano Tamara Matthews has rapidly risen to the forefront of the interna?tional music scene through her outstanding performances on opera and concert stages around the world. A voice described as "worthy of the angels" brought her First Prize at the Musica Sacra Bach Vocal Competition and her acclaimed Carnegie Hall debut in 1994. In recent seasons, she has debuted as soloist with the Cleveland Orchestra (Beethoven's Mass in Cand Choral Fantasy), the Philadelphia Orchestra (Poulenc's Gloria), and the Ravinia, Blossom, Marlboro, Accademia per la Musica Antica, Hong Kong and Berkeley music festivals. She has worked with many esteemed conductors including Leonard Slatkin, Joseph Flummerfelt, Luis Biava, Robert Page, Paul Salamunovich, Richard Westenburg, and Joshua Rifkin.
Engagements during the 1999-2000 season include Ms. Matthews' operatic debut in France at the Festival Lyrique-Belle He en Mer (Antonia Les Contes d'Hoffmann), a Kennedy Center debut with the Bach Choir of Bethlehem (Bach's Mass in b minor), an Israeli debut as guest soloist in the opening concert of the Haifa Symphony Orchestra's fiftieth jubilee season (opera arias and Mahler's Symphony No.4), a concert tour of Spain with The Orchestra of New Spain, and a debut with the Houston Symphony Orchestra (Handel's Messiah). Though Tamara Matthews' experience in opera encompasses a wide variety of parts, she continues to be universally acclaimed for her extraordinary portrayals of Baroque, Mozart and R. Strauss leading ladies. Recently, she performed principal roles in two world premieres: Scarlatti's L'Aldimiro in San Francisco, and Thomas Whitman's The Black Swan (directed by Sarah Caldwell) in Philadelphia. Other recent operatic debuts include Donna Anna (Don Giovanni)
with OperaDelaware, Linfea and fiternitd in Cavalli's La Calisto in Chicago, and the title role in Handel's Alcina in New York. With over a dozen recordings to her credit, Ms. Matthews' discography continues to grow in both quantity and diversity. A recent Fanfare review stated, "Tamara Matthews' purity of tone and agility puts her ahead of the competition." Her impres?sive output in works by J.S. Bach includes recordings as soloist in the Mass in b
minor and the Christmas Oratorio (Bach Choir of Bethlehem, Dorian), the St. Matthew Passion (American Bach Soloists, Koch International Classics) and the St. John Passion (Pro Gloria Musicae). She has also been fea-
tured on recording's of Beethoven's Symphony No. 9, Haydn's Lord Nelson Mass, Italian solo pieces by Ristori, Fux and Lotti, the solo cantatas of Buxtehude, and music of William Byrd with the New York Consort of Viols (Lyrichord). Upcoming projects include Bach's solo cantatas, the Boccherini Stabat Mater, new works with Philadelphia's Orchestra 2001 and rarely heard Spanish Baroque music for Dorian.
Ms. Matthews is currently a member of the faculty of the Westminster Choir College as professor of voice.
This weekend's performances of Handel's Messiah mark Tamara Matthews' debut appearances under UMS auspices.
Beyond a distinctive voice of staggering range, agility and amplitude, the Polish contralto Ewa Podles brings profound emotional commitment and a lieder singer's sensitivity to text to every?thing she sings. As comfortable with Mahler and Prokofiev as with the breathtakingly florid music of Gluck, Handel, Vivaldi and
Rossini, she is a true original, a "Golden Age" singer for our time. Mme. Podles' 1999-2000 season promises five performances of Mahler's Das Lied von der Erde with Riccardo Chailly and the Philadelphia Orchestra (including one in New York's
Carnegie Hall); two performances of the Schoenberg chamber orchestra version of this same work with Mario Bernardi con?ducting Ottawa's National Arts Centre Orchestra; this same composer's Das Knaben Wunderhorn with Mto. Chailly and the Royal Concertgebouw Orchestra (perfor?mances in Paris, Amsterdam, London and Cologne, also a Decca recording); Kindertotenlieder with Leon Botstein and the American Symphony Orchestra; and Symphony No. 3 with Gerard Schwarz and the Seattle Symphony. In addition she gives recitals in Montreal, Philadelphia and at the Amsterdam Concertgebouw, and performs the title role of Handel's Giulio Cesare in Oviedo, Spain; and her first-ever Baba the Turk in Stravinsky's The Rake's Progress at Catania's Teatro Bellini. The 1998-99 season included a European tour (Paris, Birmingham, Vienna, Amsterdam) in the title role of Handel's Rinaldo with Christopher Hogwood and the Academy of Ancient Music; an extensive North
American recital tour (including Washington, DC, Cleveland, Toronto, Ann Arbor, and the opening of the "Art of the Song" series at Lincoln Center's Alice Tully Hall); five Alexander Nevskys with the San Francisco Symphony under Libor Peoek; a concert with Quebec's Les Violons du Roy under its Music Director Bernard Labadie; her celebrated Rossini Arias for Contralto program with the Edmonton Symphony and Moscow Chamber Orchestra, the latter her Carnegie Hall debut; and Bradamante in Handel's Alcina at Barcelona's Gran Teatre del Liceu.
Mme. Podles has sung her "signature" role of Rossini's Tancredi at La Scala and the Staatsoper Berlin (and on the Grammy-nominated Naxos recording); Arsace (Semiramide) at Venice's Teatro La Fenice; Handel's Rinaldo at New York's Metropolitan Opera and Paris' Theatre Chatelet; Dalila in Saint-Saens' Samson et Dalila at Paris' Opera Bastille; and Ulrica in Verdi's Un Ballo in Maschera at Madrid's Teatro Real. She has also sung principal roles at the Frankfurt Alte Oper, Deutsche Oper Berlin, Vienna State Opera, Naples' Teatro San Carlo, Warsaw's National Theatre, and the Rome, Budapest and Vancouver Operas. In addition she has been welcomed at the Aix-en-Provence, Flanders and Montpellier Festivals; as well as Canada's Festival International de Lanaudiere. She has appeared with the Pittsburgh and NHK Tokyo Symphonies, Hong Kong and Dresden Philharmonics, Maggio Musicale Fiorentino Orchestra, Orchestre de la Suisse Romande and National Orchestra of Spain, under such conductors as Lorin Maazel, David Atherton, Gianluigi Gelmetti, Myung-Whun Chung and Armin Jordan. Her many collaborations with Marc Minkowski and Les Musiciens du Louvre includes Polinesso in Handel's Ariodante, a Deutsche Grammophon recording that earned the
coveted Diapason d'Or. Other recent issues include A Treasury of Polish Songs with pianist Ewa Pobiocka, Respighi's Tramonto, the Berlioz version of Gluck's Orphee et Eurydice, Mahler's Symphony No. 2 and No. 3, Alexander Nevsky, and a unanimously acclaimed all-Rossini disc, awarded the presti?gious Preis der Deutschen Schallplatten Kritik.
An especially renowned interpreter of Russian song, her widely acclaimed Melodies Russes CD with pianist Graham Johnson earned the Grand Prix de L'Academie Francaise du Disque. An altogether riveting recitalist, Mme. Podles has offered programs at London's Wigmore Hall, Paris' Salle Gaveau, Theatre de l'Athenee and Theatre des Champs Elysees, Moscow's Bolshoi Theatre and San Francisco's Herbst Theater. Among the international publications in which she has been profiled are The New York Times, Orpheus, Opera News and The Wall Street Journal.
This weekends performances of Handel's Messiah mark Mme. Podles" third and fourth appearances under UMS auspices.
American tenor Glenn Siebert has proven his versatility as a concert and opera singer in a wide variety of repertoire from Baroque to twentieth-century literature and has been praised for his "fresh tenor voice and vivid stage pres?ence" (St. Louis Globe-Democrat).
Glenn Siebert's operatic credits include Count Almaviva in Barbiere di Siviglia with the Hamburg Opera; Baron Lummer in Intermezzo and Merkur in Die Liebe der Danae with the Santa Fe Opera; Ramiro in La Cenerentola with both the Washington Opera and the Florentine Opera; Rossini's Otello with the Flanders Festival in Belgium; Don Ottavio with both the Opera Theatre of St. Louis and the Minnesota Opera;
Ferrando in Cost fan tutte with Opera Colorado; Tonio in La Fille du Regiment in Oviedo, Spain; and Nemorino in L'Elisir d'Amore with the Atlanta Opera.
Mr. Siebert made his New York Philharmonic debut in 1996 in Carmina
Burana, conducted by Kurt Masur. He has also performed the Mozart Requiem and Bach's Magnificat with the Los Angeles Philharmonic and Nicholas McGegan; Schubert's Mass in E-flat with the Boston Symphony and Charles Dutoit; Rossini's Stabat Mater-with the Royal Flanders Philharmonic; Handel's Acts and Galatea with the Seattle Symphony; and Haydn's Harmoniemesse with the Baltimore Symphony. He has performed Messiah with the Philadelphia Orchestra, the Houston Symphony, Boston Baroque, the Saint Louis Symphony, the Pittsburgh Symphony, the Minnesota Orchestra, and the Oratorio Society of New York.
Highlights of Mr. Siebert's 1998-99 sea?son included performances of Messiah with both the Pacific Symphony and the Virginia Symphony; The Creation with the Canton Symphony; the Evangelist in St. Matthew Passion with the Charlotte Symphony; and Beethoven's Symphony No. 9 with Anima Aeterna in the Netherlands, Belgium, and Germany. In the summer of 1999 he sang Rossini's La gazza ladra at the Caramoor Festival; in 1999-2000 he will sing Carmina Burana with the Pasadena Symphony and Ernesto in Don Pasquale with the Greensboro Opera in addition to this performance of Messiah.
Glenn Siebert's recordings include Schubert's Mass in E-flat with the Atlanta Symphony and Robert Shaw (Telarc);
Handel's Acis and Galatea with the Seattle Symphony and Gerard Schwarz (Delos); Berlioz' Lelio with the Milwaukee Symphony (Koss); a CD of Virgil Thomson songs enti?tled Nothing Divine is Mundane (Albany Records), and the recently released record?ing on the Arabesque label of Mendelssohn's Paulus with the Royal Scottish National Orchestra.
This weekend's performances of Handel's Messiah mark Glenn Siebert's debut appear?ances under UMS auspices.
An exciting and commanding figure in opera houses and concert halls throughout the world, bass-baritone Andrew Wentzel has garnered praise for his "flexible but powerful voice" which has "vocal reserves to spare and total aban?don in his phrasing" (The Washington Times). His December 1997 performances of Bloch's Sacred Service with the Rochester Philharmonic Orchestra led the Rochester Democrat and Chronicle to exclaim, "Wentzel's performance of the demanding cantor's part was miraculous. His rich, even voice is ideal for the piece."
In the 1998-99 season Andrew Wentzel sang the title role in Mendelssohn's Elijah with the Pittsburgh Symphony and the Mendelssohn Choir of Pittsburgh; the title role in Don Giovanni with Knoxville Opera; Mephistopheles in Faust with the Chattanooga Symphony; the roles of Crespel, Luther, and Schlemil in Les Contes d'Hoffmann with the Florida Grand Opera; and Dvorak's Te Deum with Columbia Pro Cantare. In the 1997-1998 season Mr. Wentzel's engagements included performances of Figaro in Le Nozze di Figaro with the San Diego Opera and the San Antonio Symphony; Mr. Flint in Billy Budd with the Houston Grand Opera; and Olin Blitch in Susannah with both the Opera
Festival of New Jersey and the Chattanooga Symphony and Opera. He also sang Blitch with the Central City Opera in the summer of 1997.
Since his Metropolitan Opera debut in 1985, Mr. Wentzel has sung many roles with the company, in Romeo et Juliette, Billy Budd, I Puritani, Rigoletto, La Fanciulla del West, Turandot, Manon, and Les Contes d'Hoffmann. His other operatic credits include La Boheme with the Washington Opera; Norma with the Minnesota Opera; Collatinus in The Rape ofLucretia with the Opera Theatre of St. Louis; Don Alfonso in Cost fan tutte with Glimmerglass Opera; and Don Basilio in barbiere di Siviglia and Sparafucile in Rigoletto with the Boston Lyric Opera.
Andrew Wentzel's oratorio credits include Bach's Mass in b minor at the Kennedy Center; Berlioz' L'enfance du Christ with the Orchestre Symphonique de Montreal; Weill's Seven Deadly Sins
and the world pre?miere of Ned Rorem's Swords and Plowshares with the Boston Symphony Orchestra; Schumann's Szenen aus Goethes Faust with the Bard Festival at Lincoln Center; the title role in Eliiah with the
Jerusalem Symphony; and the world pre?miere of Shostakovich's Rayok with the National Symphony Orchestra, which was recorded by Erato Records. Mr. Wentzel's other recordings include Dvorak's Te Deum with the Milwaukee Symphony on Koss, and the role of Godoy in Menotti's Goya, record?ed live at the Festival dei Due Mondi in Spoleto, Italy, and available on Nuova Era. His performance of Shojo in the world premiere of Minoru Miki's Joruri with the
Opera Theatre of St. Louis is available on Videodisc and VHS.
This weekend's performances of Handel's Messiah mark Andrew Wentzel's debut appearances under UMS auspices.
Janice Beck's recital career has taken her from coast to coast in the US, and she is perhaps more widely known in Europe than any other active American organist. Words such as "olympian," "mesmerizing," "consummate," and "impec?cable" consistently appear in critical and pop?ular reviews of her performances and record?ing. Whether at home or abroad, her brilliant performances are routinely met with great audience enthusiasm and standing ovations.
Janice Beck's extensive recital tours have taken her to France, the United Kingdom, Germany, Poland, the Czech Republic, Slovakia and Hungary. Many of her recital appearances have been at international music festivals, including the Bury Music Festival at Bury St. Edmunds in England and the Kosice Interna?tional Organ Festival in Slovakia. She has performed in such noted venues as Catherdrale St. Maurice, Angers, France; Coventry Cathedral, St. David's Hall, Westminster Abbey, Lincoln Cathedral, and Cardiff in Great Britain; the Janacek Conservatory of Music in the Czech Republic; and the Matthias Church, Budapest. In North America, Ms. Beck has performed at the Morman Tabernacle in Salt Lake City, the National Shrine of the Immaculate Conception in Washington, DC, First Congregational Church, Los Angeles, Christ Church Cathedral, Ottawa, and the Duke University Chapel, to name but a few, in addition to performances at national con?ventions of the American Guild of Organists and the Organ Historical Society.
From very early in her career, Ms. Beck has been sought after to premiere new organ works. She gave the first performance of Jean Langlais' American Suite in recital in Paris.
Most recently, she gave the world pre?miere of Pamela Decker's Retablo III: Victimae Paschali in 1997 at the University of Michigan, and in May, 1999 pre?miered Ms. Decker's Three Tangos at the University of Arizona. In 1995 Janice
Beck recorded works of Marcel Dupre on the French label REM Editions. Earlier recordings include the six organ sonatas of Felix Mendelssohn and Organ Symphony, No. 6 of Louis Vierne on Arkay, and three recordings of American organ music on MHS. Her forthcoming CD of organ works of Pamela Decker, recorded in Hill Auditorium at the University of Michigan, will be issued on Albany. She has been heard on National Public Radio's Pipedreams and on the Canadian Broadcasting Corporation.
A native of Virginia, Janice Beck received her early organ training in Williamsburg. Her major organ study was completed at Rollins College with Catherine Crozier and the University of Michigan with Marilyn Mason. A Fulbright scholarship took her to Paris, where she studied with Jean Langlais and Nadia Boulanger. She is the recipient of the Algernon Sydney Sullivan Award, pre?sented by Rollins College, and in 1999 was honored again by Rollins College with an Alumni Achievement in Music Arts Award. In addition to her active recital and record?ing career, Ms. Beck is the organist of the First United Methodist Church in Ann Arbor, Michigan.
Janice Beck has performed in the annual UMS presentation of'Messiah since 1995. This weekend's performances of Handel's Messiah mark Ms. Beck's ninth and tenth appearances under UMS auspices.
Edward Parmentier, harpsi?chordist, has played concerts recently throughout the country of Estonia, for the Kalamazoo Bach Festival, for the University of Michigan Organ Conference, and for the Berkeley Early Music Festival. This fall, he
plays concerts at the Universities of Colorado, Montana and North Carolina. Last summer Mr. Parmentier per?formed at the Boston Early Music Festival, and will perform at the Berkeley, California, Early Music Festival in 2000. Mr.
Parmentier is Professor of Music (harpsi?chord, Early Music Ensemble) at the School of Music, University of Michigan.
Mr. Parmentier's new CD, The Portuguese Fortepiano, has just been released on Wildboar. Soon to be released will be J.S. Bach's English Suites. This past June, Mr. Parmentier recorded "Book I" of J.S. Bach's Well-tempered Clavier and will record "Book II" this upcoming February.
In addition to instrumental perfor?mance, Mr. Parmentier conducted the Windsor Symphony in November and will teach harpsichord workshops on Bach at the University of Michigan next summer. He will play organ and harpsichord for the upcoming UMS performances of Bach's St. Matthew Passion in April.
Edward Parmentier has performed in the annual UMS presentation oMessiah since 1995. This weekend's performances of Handel's Messiah mark Mr. Parmentier's ninth and tenth appearances under UMS auspices.
Please refer to UMS Annals, page 25, for biographical information on the UMS Choral Union.
The UMS Choral Union began performing in 1879 and has since presented Handel's Messiah in annual performances. This week?end's performances of Handel's Messiah mark their 375th and 376th appearances under UMS auspices.
UMS Choral Union
Thomas Sheets, Conductor Justin Rossow, Assistant Conductor Jean Schneider-Claytor, Accompanist Edith Ieavis Bookstein, Chorus Manager Kathleen Operhall, Co-Manager Donald Bryant, Conductor Emeritus
Sopranos
Edith Leavis Bookstein Debra Joy Brabenec Bonnie L. Brooks Ann Burke Susan E Campbell Young S. Cho Laura Christian Cheryl D. Clarkson Marie A. Davis Kathy Neufeld Dunn Kathryn Elliott -Hudson Laurie Erickson Patricia Forsberg-Smith Keiko Goto Deirdre Hamilton Meredyth Jones Heidi Laura Mary Kay Lawless Carolyn Leyh Loretta Lovalvo Melissa Hope Marin Linda Selig Marshall Marilyn Meeker Claire Molloy Margaret Peterson Sara Peth Julie Pierce Judith A. Premin Virginia Reese Mary A. Schieve Jeannine Scott Elizabeth Starr Sue Ellen Straub Barbara Hertz Wallgren Rachelle Barcus Warren Margaret Warrick Mary Wigton Linda Kaye Woodman Kathleen Young Denise Rae Zellner
Altos
Mary Jo Baynes Wendy Bethune Paula Brostrom Laura Clausen Joan Cooper Deborah Dowson
Jeanette Luton Faber Judy Fettman Marilyn Finkbeiner LeAnn Eriksson Guyton Hilary Haftel Nancy Ham Lisa Hills Wilma Hoch Carol Hohnke Mary Halbeisen Kerith Lee Jean Leverich Cynthia Lunan Beth McNally Carol Milstein Joan L. Morrison Holly Ann Muenchow Nancy L. Murphy Lisa Michiko Murray Kathleen Operhall Brooke Orozco Andrea Parciarelli Lynn Powell Carren Sandall Cindy Shindledecker Beverly N. Slater Cynthia Sorensen Gayle Stevens Elizabeth Suing Cheryl Utiger (Catherine Verdery Sandra K. Wiley
Tenors
Fr. Timothy J. Dombrowski
Philip Enns
Stephen Erickson
John W. Etsweiler III
Steve Fudge
Albert P. Girod Jr
Roy .Glover
Arthur Gulick
Robert Hamel
Steven J. Hansen
Stephen Heath
Knut Rosenkrands Hill
Derek Jackson
Douglas Keasal
Robert Klaffke
Gregor Koso John Mulcrone Mike Needham Steve Pierce Phillip Rodgers Matthew Rush Thomas Sheffer Scott Silveira Elizabeth Sklar Daniel Sonntag James Van Bochove
Basses
Nath Anderson Howard Bond Harry Bowen Daniel Burns Kee Man Chang George Dentel Robert Edwards Don Faber Philip Gorman Charles T. Hudson Michael Khoury Matthew Laura Mark Lindley George Lindquist Rod Little Lawrence Lohr Charles Lovelace Joseph D. McCadden John Middlebrooks Gerald Miller Michael Pratt William Premin Sheldon Sandweiss Curt Scott Michael Semaan John T. Sepp Fred Shure William Simpson Rodney Smith Jeff Spindler Robert Stawski Jayme Stayer Robert D. Strozier Jack L. Tocco Terril O. Tompkins
The Ann Arbor Symphony Orchestra (A2SO) has been a part of Ann Arbor's cultural life for much of this century. It was founded in 1928 by Joseph Maddy (founder of Interlochen Music Camp) as a "mom and pop" orchestra of committed and talented amateur musicians. Since 1986, the A2SO has been a fully pro?fessional orchestra, first under the baton of Carl St. Clair, and for the past seven seasons, under the leadership of Samuel Wong. During this 1999-2000 season, five distin?guished finalists who wish to succeed Maestro Wong are each conducting the orchestra. A new Music Director from among these five will be named at the April 2000 Season Finale concert.
During Maestro Wong's tenure, the stature of the orchestra has grown signifi?cantly. In recent years, audiences have been treated to thrilling performances of four Mahler symphonies, Bruckner's Symphony No. 8, Prokofiev's Symphony No. 5, Stravinsky's Firebird Suite, the Four Last Songs by Richard Strauss and the "Prelude" and "Liebestod" from Wagner's Tristan und Isolde. New works by Ann Arbor composer Bright Sheng and Music Director finalist Victoria Bond have filled the hall of the historic Michigan Theater. These orchestral powerhouses supplement the A2SO's already strong record with the standard classics from Beethoven, Brahms, Mozart (including a sold-out Requiem last season), Tchaikovsky and others.
Off-stage, the A2SO has also grown in stature. In-school educational programs and Youth Concerts reach over 13,000 area
students each year. This year the A2SO teams up with humanities specialists from area public schools and the University of Michigan to create a standard-setting youth-concert curriculum. Pre-concert lectures and broadcasts of our concerts on WGTE radio help all our audiences be life-long learners.
This season, six conductors come together to create one special season. Special guest artists, including world-renowned clarinet virtuoso Richard Stoltzman, grace our stage. The excellent musicians of the A2SO bring to life a stunning variety of music, including several works in celebration of the centennial of American composer Aaron Copland. The A2SO will perform the world premiere of a new work composed by Ann Arbor composer Gabriel Ian Gould. The new work, written for the A2SO and the University of Michigan Gamelan Ensemble, will be the State of Michigan's contribution to Continental Harmony, a national musical celebration of the Millennium which has provided for the commission of a new musical work in each of the fifty states.
Social and fund raising events such as Hearts for the Arts, and lunches with our Music Director candidates invite you to get to know the A2SO family better, and to join us as we enter a new millennium of "Music in the key of A2O."
The Ann Arbor Symphony Orchestra has per?formed in the annual UMS presentation of Messiah since 1988. This weekend's perfor?mances of Handel's Messiah mark the Ann Arbor Symphony Orchestra's thirtieth and thirty-first appearances under UMS auspices.
Ann Arbor Symphony Orchestra Mary Steffek Blaske, Executive Director
Violin I
Sabine Bretschneider, concertmaster
Adrienne Jacobs
Linda Etter
Beth Kirton
Afa Sadykhly
Anca Gavris
Violin II David Lamse John-Michael Muller Bryan Johnston Karen Land Katie Rowan Jackie Livesay
Viola
Kathleen Grimes Barbara Zmich Angelika Fiirrwangler Steven Ewer Carolyn Tarzia
Cello
Sarah Cleveland Vladimir Babin Alicia Rowe Margot Amrine
Bass
Gregg Emerson Powell Beshir Barakat Kenneth Marshall
Oboe
Lorelei Crawford
Judi Scramlin
Amy Kesler
Karl Shymanovitz
Bassoon
Roger Maki-Schramm
Trumpet
J. David Hunsicker
Steve Wenig
Timpani James Lancioni
UMS
and
Thomas B.
McMullen
Company
present
Boys Choir of Harlem
Dr. Walter J. Turnbull, Founder and Director
Xavier Davis, Piano Dwayne Broadnax, Drums Keith Burton, Piano Takashi Otsuka, Bass Daryl Smith, Guitar
Program
Claudio Monteverdi
J.S. Bach
Srul Irving Glick
arr. Moses Hogan arr. Moses Hogan arr. Robert L. Morris arr. Wendell Whalum arr. Moses Hogan
George Gershwin
Thursday Evening, December 9,1999 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Vespro della Beata Vergine (excerpt) Lauda, Jerusalem
Singet dem Herrn ein Neues Lied
(Sing unto the Lord a New Song)
Sing Unto the Lord a New Song
(Sheeru Ladonye Sheer Chadash)
0 Lord Open Our Lips
Come Let Us Sing Unto the Lord Let our Enemies be as Chaff Sing Unto the Lord a New Song
Five Spirituals
Go Down Moses Every Time I Feel The Spirit Children, Go Where I Send Thee Mary Was The Queen of Galilee
1 Can Tell the World
INTERMISSION
A Gershwin Medley
Rhapsody in Blue
Our Love is Here to Stay
I've Got Rhythm
Lady be Good
It Ain't Necessarily So
Edward Kennedy Ellington
arr. Tsepo Mokone CooperTwine
arr. BattleByrd
CahnStyne
arr. Mahoney, Beckton
TormeWells
arr. Holland and Battle
Don Sebesky
Onorati Davis
arr. M. Roger Holland
Victor Simonson Robert Mathais
Traditional
arr. M. Roger Holland
Traditional arr. Don Sebesky
Traditional
arr. M. Roger Holland
An Ellington Medley
Mood Indigo
Love you Madly
Azure Mood
It Don't Mean a Thing (If It Ain't Got that Swing)
Pride and Hope
Bayethe Mandela
We are Heroes
The Gumboot Dance
Choreographed and Conceived by Tsepo Mokone
Christmas Favorites
'Twas the Night Before Christmas
Poem by Clement Clarke Moore
Read by Frank Jones, Jr., Director of Counseling Services BCH
Let it Snow
The Christmas Song
Hooray for Christmas The Little Drummer Boy
Christmas Praise
I Will Give You All The Praise Hark, the Herald Angels Sing Kings Highway Medley
Amazing Grace O Holy Night
Thirty-sixth
Performance
of the 121st Season
The photographing or sound recording of this concert or Possession of any device for uch photographing or sound ?ecording is prohibited.
This performance is sponsored by Thomas B. McMullen Company.
Special thanks to Tom and Debby McMullen for their generous support of the University Musical Society.
A Heartland Arts Fund Program with the National Endowment for the Arts and the Michigan Council for Arts and Cultural Affairs.
Special thanks to Dr. Walter J. Turnbull and the U-M Center for Afroamerican and African Studies for their assistance with this residency.
The piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
This performance is made possible, in part, with public funding from the National Endowment of the Arts, the New York State Council on the Arts, and the New York City Department of Cultural Affairs.
The Boys Choir of Harlem's Thirtieth Anniversary Season Outreach and Replication activities are made possible, in part, by the National Endowment for the Arts Leadership Initiatives for the Millennium.
Synthesizers provided by Korg.
Dr. Walter J. Turnbull's performance wardrobe courtesy of Sak's Fifth Avenue. American Airlines is the airline of choice of The Boys Choir of Harlem, Inc. Footwear for the Boys Choir of Harlem compliments of LA. Gear and Jane Boyer.
Boys Choir of Harlem appears by arrangement with Columbia Artist Management, Inc.
Visit the Boys Choir of Harlem on the Internet at www.boyschoirofharlem.org
Large print programs are available upon request.
Vespro della Beata Vergine (excerpt) Lauda, Jerusalem
Claudio Monteverdi
Born May 15, 1567 in Cremona, Italy
Died November 29, 1643 in Venice
Lauda Jerusalem, Dominum:
lauda Deum tuum, Sion.
Quoniam confortavit seras portarum tuarum
benedixit filiis tuis in te.
Qui posuit finestuos pacem:
et adipe frumenti satiat te.
Qui emittit eloquium suum terrae:
velociter currit sermo eius.
Qui dat nivem socut lanam:
nebulum sicut cinerem spargit.
Mittit cristallum suum sicut buccellas:
ante faciem frigoris eius quis sustinebit
Emittet verbum suum et liquefaciet ea:
flabit spiritus eius, et fluent aquae.
Qui annuntiat verbum suum Jacob:
iustitias et iudicia sua Israel.
Non fecit taliter omni nationi:
et iudicia sua non manifestavit eis.
Gloria Patri, et Filio, et Spiritu Sancto.
Sicut erat in principio, et nunc et semper,
et in saecula saeculorum.
Amen.
Praise the Lord, O Jerusalem:
Praise thy God, O Zion.
For he hath strengthened the bars of the gates:
he hath blessed thy children within thee.
He makes peace in thy borders:
and fills thee with the finest of the wheat.
He sends forth his commandment upon earth:
his word runs very swiftly.
He gives snow like wool:
he scatters the hoarfrost like ashes.
He casts forth his ice like morsels:
who can stand before his cold
He sends out his word, and melts them:
he causes his wind to blow, and the waters
to flow. He shows his sword unto Jacob:
his statues and his judgements unto Israel. He hath not dealt so with any nation: and as for his judgements, they have not
known them.
Glory be to the father, and to the son and to the Holy Spirit. As it was in the beginning, is now and ever
shall be, world without end.
Amen.
Singet dem Herrn ein Neues Lied
(Sing unto the Lord a New Song)
J.S. Bach
Born March 21, 1685 in Eisenach
Died July 28, 1750 in Leipzig
Imagine the scene. Mozart enters the St. Thomaskirche in Leipzig in April 1789, immediately seeks the librarian and asks if any works of the elder Bach still remain in storage, even though it had been almost thirty years since the old man had died. It was a strange request, as this was well before the resurgence of interest in the music of Bach in the 1830s, and most of his music was still unknown. But Mozart had played and absorbed the keyboard works of Bach in his early youth, and knew that the last works of Bach were written while employed as Cantor of the Thomaskirche. The librari?an returned with the eight vocal parts of Singet dem Herrn, each written on separate pages, and gave them to Mozart. No full score was available, sorry. The account is clear of how Mozart dropped to his knees, spread the pages on the floor and spent hours combining them and internalizing the music in ecstatic joy. "Here at last is something from which you can learn." Later Mozart was honored by a special performance of the work and given a score made from those original parts, which still bear the words, in his own hand: "This ought to be scored for
a whole orchestra."
Unlike other Bach motets that were written for funeral services, it is thought that Singet dem Herrn was written either for a New Year celebration, or perhaps for the birthday of the Elector Freidrich August on May 12,1727. The first section, a setting of Psalm 149 (v. 1-3), is a richly scored prelude followed by an eight-part fugue with entries that cascade in grand style from the highest voice parts to lowest in the first choir then lowest to highest in the second choir, dou?bled by the first choir. The second part, both majestic and contemplative, is an interwo?ven aria and chorale, with a single chorale line terminating with one or more lines from the aria. The celebratory third section is cast, like the first as a prelude and fugue, with text for the prelude from Psalm 150 (v. 2 and the fugue Psalm 150, v. 6). Each generation turns to the music of Bach. Each generation feels the need to connect to it, so perfectly expressed by Mozart.
Program note by Jeffrey Johnson.
Singet dem Herrn ein Neues Lied
Singet dem Herrn ein neues Lied! Meine der Heilligen sollen ihn loben Israel freuet sich des, der ihn gemachts hat.
Die Kinder Zion sein Frolich iiber ihrem
Konige.
Sie sollen loben seinen Namen im Reigen mit Pauken und Harfen sollen sie ihn spielen.
Sing to the Lord a new song!
The congregation of saints shall praise Him.
Let Israel rejoice in Him that made Him.
The Children of Sion shall rejoice in their
king.
They shall praise His name with dancing and they shall play to Him with drums and
harps.
Sing Unto The Lord A New Song
Srul Irving Glick
Born September 18, 1934 in Toronto
0 Lord, open our lips that we may sing aloud, our hearts delight in Your praise.
Purge us with hyssop and we shall be clean, wash us until we be whiter than snow.
Let us hear gladness and joy.
Adonye s'fatye tifrach ufee yageed t'heelatecha.
II
Sing unto the Lord a new song. Let us praise with joy the rock of our salvation. Let us shout for joy unto Him with psalms. Come before His presence with thanksgiving.
L'chu n'ran 'na Lashem, nareea L'tzur
yishaynu.
N'Kadma fanav b'toda, bizmeerot nareea lo kee hu Elohaynu, vaanachnu am marceto kee hum Elokaynu, v'zton yado.
For He is our God,
and we the people of His pasture,
For He is our shepherd,
and we the flock of His hand.
Ill
Let our enemies be as chaff
before the wind.
Let their ways be dark and slippery.
Even in the secret corners the land is heavy
with their deceit.
They speak not peace,
nor is their quiet in the land.
Let our enemies be ashamed
O Lord, O Lord.
IV
Sheeru Ladonye sheer chadash, sheeru sheer
Chadash Laadonye kol haaretz
Let the heavens be glad, and let the earth
rejoice, ?
for great is the Lord and highly to be praised. Sing unto the Lord a new song. Sheeru Ladonye sheer chadash. O worship the Lord in the beauty of holiness, in the sweetness of song. O sing unto the Lord. Tremble before Him all the earth. Sing unto the Lord a new song.
Five Spirituals
The Black Spiritual, referred to as the Negro Spiritual before the 1950s, constitutes one of the largest single bodies of American folk song. The former slave and Black leader, Frederick Douglas (c. 1617-95) wrote of singing spirituals when a slave: "A keen observer might have detected in our repeat?ed singing of 'O Canaan, I am bound for the land of Canaan,' something more than a hope of reaching heaven."
The BCH incorporate the spiritual in its program as a learning tool for students and audiences. Therefore it is important to use modern day arrangements by such new arrangers as Robert Morris and Moses Hogan. With icons such as William Dawson and Wendell Whalem to round out the significance of the body of work known as the spiritual.
A Gershwin Medley
George Gershwin
Born September 26, 1898 in New York City
Died July 11, 1937 in Los Angeles
George Gershwin is considered along with Edward Kennedy "Duke" Ellington to be one of America's most prolific composers. Gershwin, who was born in Brooklyn, New York to a very poor family, has become one of the most well known composers of American music. The music in this medley is just a splash of his many wonderful melodies. Songs for the theater to selections from the opera Porgy and Bess, are repre?sented in this program.
An Ellington Medley Pride and Hope Christmas Favorites
Christmas Praise
The gospel genre is one that is an extension of the spiritual tradition in the Black com?munity. Forerunners, hymnody, spirituals and jazz, all come together in praise and celebration. John Newton's Amazing Grace, recognized all over the world, flows naturally into old-fashioned gospel, a song made famous by Mahalia Jackson, Come on Children Let's Sing.
Dr. Walter J. Turnbull has cel?ebrated thirty years as the leader of the internationally acclaimed Boys Choir of Harlem, Inc. With vision, determination and inspired leadership, he has taken the Boys Choir of Harlem from a small church choir to a world-renowned artistic and educational institution.
He has built an innovative program, which addresses the social, educational, and emotional needs of urban boys and girls and helps them transform their lives through music. The Boys Choir of Harlem, Inc. helps children achieve their creative potential, build self esteem, find positive role models, and develop a strong value system of discipline and hard work in preparation for the future as confident, motivated, productive adults.
A native of Greenville, Mississippi, Dr. Turnbull is an honors graduate of Tougaloo College, where his notable achievements earned him recognition in Who's Who in American Colleges and Universities. He received his Masters in Music and Doctor of Musical Arts degrees from the Manhattan School of Music. He graduated from the Institute for Non-Profit Management at the Columbia University School of Business and has received honorary degrees from California State University, Hofstra, Mannes College of Music, Muhlenberg College, Queens College, Skidmore and Tougaloo, which has named a scholarship in his honor for Boys Choir of Harlem graduates.
A talented performing artist in his own right, Dr. Turnbull made his operatic debut with the Houston Grand Opera in Scott Joplin's Treemonisha. He has performed in Carmen and Turandot with Opera South and created the role of Antonio in the world premiere of Roger Ames' opera Amistad. His other operatic roles include Alfredo in La Traviata and Tamino in Die Zauberflote, both with the Lake George Opera. He has
performed in carmina aurana with trie Alvin Ailey Dance Theatre and reprised his role in Joplin's Treemonisha on Broadway. He has appeared as a tenor soloist with the New York Philharmonic and the Philadelphia Orchestra and has also sung with the Godovsky Opera Theatre and Young Audiences, Inc. In addition to his role as Principal Conductor of the Boys Choir of Harlem, Dr. Turnbull gives recitals at Merkin Hall in New York City, holds master classes for artistic and educational organiza?tions throughout the country, and lectures frequently on education and the arts.
Dr. Turnbull is the recipient of numer?ous awards and recognitions, most recently the 1998 Heinz Award in the Arts and Humanities. The State of New York and the State of Mississippi have honored him. He has received the William M. Sullivan Award, the Eleanor Roosevelt Community Service Award, the Edwin Berry National Business and Professional Award, the Black Book Publishers Award, the Mayor's Voluntary Action Award, the New Yorker for New York Award and the National Association of Negro Musicians prize. He was awarded the President's Volunteer Action Award, the Intrepid Freedom Award, the Actors Equity Association LeNoire Award, Chase
Manhattan Humanitarian Recognition Award, and the NAACP Man of Action Award. He was named "One of the Fifteen Greatest Men on Earth" by McCall's Magazine. In 1997 Dr. Turnbull and the Boys Choir of Harlem were awarded the prestigious National Medal of Arts. In 1998 he received the Readers Digest American Heroes in Education Award, and was named one of the New York Black 100 by the Schomburg Center for Research in Black Culture.
Dr. Turnbull has been frequently pro?filed in the media. He has been featured on The Today Show, CBS This Morning, Good Morning, America, Nightline, 2020, 48 Hours, and 60 Minutes; as well as CNN, UPN News, and the Fox News Network. He has appeared on Amazing Grace with Bill Mores, Great Performances: Ellington and his Music and Pavarotti in Central Park. He is the author of a highly acclaimed book, Lift Every Voice: Expecting the Most and Getting the Best from All of God's Children.
Tonight's performance marks Dr. Walter }. Turnbull's third appearance under UMS auspices.
In the 1998-99 season, the Boys Choir of Harlem celebrated the thirtieth anniversary of its founding by Walter J. Turnbull in 1968. Today the Boys Choir of Harlem (BCH) is interna?tionally recognized for its virtuoso perfor?mances and its innovations in the thousand-year-old art of the boy choir. BCH is well known for the breadth of its repertoire, which ranges from staples of the European canon such as Haydn, Bach and Mozart through more modern composers such as Ginastera and Poulenc, to contemporary works from such artists as Bernstein and Hailstork. African-American spirituals, gospel, jazz, pop and hip-hop are choreo-
graphed to give the Choir a magnetic stage presence that has won critical and popular acclaim.
The Choir makes three or four national tours each year and averages 100 engage?ments in twenty-four states annually. Nine European tours have taken the Choir to some of Europe's most prestigious venues, such as London's Cathedral of St. Paul and Royal Albert Hall; Paris' St. Germain-des-Pres; and Amsterdam's Concertgebouw. Three Asian tours have included perfor?mances in Japan, Hong Kong and Singapore.
In addition to its regular schedule of performances, the Boys Choir of Harlem has helped to celebrate some of the late twentieth century's most significant mile?stones. The United Nations' Fiftieth Anniversary Concert at Avery Fisher Hall with the New York Philharmonic under the baton of Kurt Masur, the Centennial of the Statue of Liberty, Nelson Mandela's first visit to the US, the Quincentenary of Columbus' arrival, Pope John Paul II's Sunrise Mass in Central Park and the 1993 Presidential Inaugural have all featured appearances by the Choir. Stars from every genre of music have collaborated with BCH live and on video and audio recordings (including Pavarotti in Central Park, taped before a live audience of a half-million and broadcast into more than thirty-million American homes and forty-eight countries worldwide). BCH Up In Harlem, is the Choir's latest pop album.
The Choir has grown from a twenty-member church choir to an artistic and educational institution. Today the Boys Choir of Harlem, Inc. comprises a boys choir, a girls choir, the Choir Academy of Harlem (BCH, Inc.'s alternative college-preparatory public school), student and family support services, and a Summer Music Institute. The thirty-five to forty boys who appear in the boys' Performing Choir
are selected from the 250-member Concert Choir based on academic performance, attendance, and progress at rehearsals, as well as the vocal quality required for the chosen program. All 500-plus students at the Choir Academy of Harlem take daily classes in music history, theory, voice and an instrument.
Among BCH, Inc.'s recent accomplish?ments include the 1997 debut of the Girls Choir of Harlem at Alice Tully Hall (which was the following morning's New York Times lead story and featured on CBS' 60 Minutes); a campaign to replicate its program across the country, supported by the Kellogg Foundation and the National Endowment for the Arts; and President Clinton's 1997 bestowal of the National Medal of the Arts upon Dr. Turnbull and the Boys Choir of Harlem.
Tonight's performance marks the Boys Choir of Harlem's third appearance under UMS auspices.
Touring Staff
Hilda Cabrera, Company Manager
Dwight R. B. Cook, Production Manager
Pamela Hobson, Lighting Director
E. Kevin Jones, Sound Engineer
Frank Jones, Jr., Director of Counseling Services
Eamon Scannell, Road Manager
Thomas R. Selsey, Monitor Mixer
Joan Melendez, Wardrobe Mistress
SheRon Williams, Assistant Company Manager
UMS and
National City Bank
present
Frederica von Stade
Mezzo-Soprano Martin Katz, Piano
Program
Gabriel Faure
Robert Schumann
Claude Debussy
Friday Evening, December 10,1999 at 8:00 Lydia Mendelssohn Theatre, Ann Arbor, Michigan
Les roses d'Ispahan
Prison
Mandoline
Clair de lune
Le fee aux chansons
II
Frauenliebe und -leben, Op. 42
Seit ich ihn gesehen
Er, der Herrlichste von alien
Ich kann's nicht fassen, nicht glauben
Du Ring an meinem Finger
Helft mir, ihr Schwestern
Siifier Freund, du blickest
An meinem Herzen, an meiner Brust
Nun hast du mir den ersten Schmerz getan
INTERMISSION
III
Chansons de Bilitis
La flute de Pan
La chevelure
Le tombeau des naiades
Ned Rorem Charles Ives
Richard Hundley Leonard Bernstein Virgil Thomson Lee Hoiby
Traditional
arr. Aaron Copland
Thomas Pasatieri John Musto William Bolcom
IV
I Am Rose
Memories, No. 45
A. Very Pleasant
B. Rather Sad
Sweet Suffolk Owl
Greeting, from Arias and Barcarolles
St. Catherine of Sienna
The Serpent
The Little Horses
Vocal modesty
Litany
Amor
The audience is politely asked to withhold applause until the end of each group of songs. Please do not applaud after the individual songs within each group.
Thirty-seventh
Performance
of the 121st Season
Fifth Annual Song Recital 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 National City Bank.
Special thanks to Phillip Duryea of National City Bank for his generous support of the University Musical Society.
Additional support provided by media sponsor, WGTE.
Special thanks to Richard LeSueur for serving as this evening's Pre-Performance Educational Presentation speaker.
The piano used in this evening's performance is provided by Hammell Music, Inc., Livonia, Michigan.
Tonight's floral art is provided by Cherie Rehkopf and John Ozga of Fine Flowers, Ann Arbor.
Frederica von Stade appears by arrangement with Columbia Artists Management Inc.
Frederica von Stade records for CBS Masterworks, Deutsche Grammophon, Philips Classics, LondonDecca, EMIAngel, Erato, and BMG Classics.
Large print programs are available upon request.
If there is a common thread throughout tonight's program, it is that all thirteen com?posers particularly excel at song-writing. Yes, most of these gentlemen have written in many other genres, but it is in their songs that the secrets of their styles are to be found and most easily appreciated.
Faure may not be considered the Father of the French song Berlioz had already claimed that title but he certainly deserves our acknowledgement as indisputable master of this genre. Like his German colleague, Robert Schumann, Faure concentrated on songs and smaller works for piano; this avoidance of the orchestra and the theatre was to be a life-long preoccupation for both composers.
If we consider the ninety years of Faure's life and imagine what he heard, we can better appreciate his legacy. When he was born, Brahms had not written a note, and the ink was still wet on many a score of Berlioz; in 1924 he had lived long enough to hear the first works of Messaien as well as the new, amazing world of Berg's Wozzeck. But even more striking is how this evolution of music did not affect his own composition. He remained true to his own ideals, occasion?ally experimenting with the Impressionists' whole-tone scale or Wagner's chromaticism, but only momentarily. Faure's music is immediately identifiable as much for what it is not, as for the actual notes we hear. He forged a personal language which remained resistant to other trends swirling around him. This is not at all to suggest that he himself was mired in a single system of writing. His extraordinarily long life gave him plenty of room for development and change. Faure's song-writing can easily be divided into three periods, two of which are represented in this evening's selection. Initially, he inherited the romantic cloak from Gounod and Berlioz; the songs from this first period are more
decorative and laden with sweetness, senti?ment and charm. The exotic sensuality of Persia (Les Roses d'Ispahan) and the adorable picture of the song-fairy and her pupils {La fee aux chansons) would only appeal to the Faure of the 1870s and early 1880s, his first period of composition. Upon discovering the poetry of Verlaine, Faure entered a more sophisticated and elevated realm of expres?sion, and his musical vocabulary had to expand to accommodate this change. The central three songs in tonight's group are examples of this second period. Mandoline and Clair de lune evoke the elegance and formality of the eighteenth century. Both are aural representations of the visual world of Watteau and Fragonard. Formality and wit combine to offer us a highly poetic atmosphere. Prison is also part of this second Faure period, but Verlaine's bitter self-loathing has evoked a searing economy of style and gesture from the composer.
II
For Schumann, the year 1840 was a turning point both personally and professionally. Often called his "year of song," the flood of vocal masterworks produced between February and September of 1840 more than validates this epithet. Obstacles to his marriage to Clara Wieck were falling away, happiness was within reach, publishers were soliciting new scores daily, and the composer reacted to these joyous tidings with five significant song-cycles as well as innumerable individual expressions of lyricism. The Frauenliebe und -leben cycle of eight songs was composed in only two days' time. Schumann often exercised composer's license in omitting or altering poetry, and of Chamisso's nine poems, only eight were set to music here.
Much has been written of the unsuit-ability of the cycle's words for modern performances. Many a singer has eschewed
these old-fashioned, unliberated, anti-feminist lyrics in our century. Elizabeth Schwarzkopf first performed them during the last years of her career; Elly Ameling avoided the cycle until her farewell tour. The average twenti?eth-century woman cannot identify with the self-deprecating, ego-less texts of this French poet. But at the same time, one cannot deny the beauty and warmth of Schumann's music which these words inspired. Many a Schubert or Brahms song also ennobles questionable poetry with immortal music, and any singing actress need only access a nineteenth-century mentality to feel a kin?ship and empathy with these songs. They are the sincerest expressions of their era, and Schumann has responded with uncom?plicated, direct and highly romantic songs which mark the milestones in the life of any woman of that century.
Listen carefully to the first song, mark?ing the heroine's first sight of her beloved. The music proceeds insecurely temporary "blindness" being its inspiration. An assertive tune forms the basis for song two, as the man's virtues are trumpeted to all who will listen. Breathlessness in song three at being loved in return is quickly followed by the fourth song's serene hymn to the engagement ring. The actual wedding day is captured in the hysterical anxiety of "Helft mir," and we cannot help but notice the piano's postlude to this song: a march in b-flat, bearing no resemblance to the song proper. Wagner's Lohengrin was ten years in the future, and yet one hears the germ of its Bridal Chorus clearly in Schumann's song. After five songs in flat keys, the composer shifts to sharps for songs six and seven. "Siifier Freund" is the core of the cycle, and Schumann introduces chromaticism and his own brand of impressionism to paint the intimacy and vulnerability of the situation. The nursery antics of song seven are clearly heard as Schumann waxes sing-song and childish. The young mother's giddiness is
a perfect foil to the last song when sudden tragedy overwhelms the happy family. Only recitative will suffice for the bleak emptiness melody would be too beautiful, too inappropriate. As our singer withdraws into herself, Schumann's favorite device, the postlude for piano solo, forms the denoue?ment of the story. The cycle's naive opening song is reiterated in entirety albeit with slight alterations as the widow silently remembers her joy of long ago.
Ill
Debussy's songs are not as numerous as Faure's, but then the impressionist was also occupied with symphonic tone-poems and his operatic masterwork, Pelleas et Melisande. Writing for voice and piano was a habit for Debussy since his teenage years, when he earned his spending money accom?panying lessons for the vocal pedagogue most in demand, Mme. Vasnier. His early songs seem mere copies of Massenet's idiom, and Debussy was not consistently careful in his choice of poetry. In 1888, however, all of this was to change as he took up the lyrics of Baudelaire and Verlaine. His immediate response to the perfumed eroti?cism and symbolism of these giants is clear?ly evident, and from this point on, Debussy finds his own voice, imitating no one. Ten years later, with the first act of Pelleas fin?ished, he selected these three prose poems of Pierre Louys for his triptych-cycle which we hear tonight. The poet had created quite the scandal in the salons of Paris, for originally he claimed to have found these twenty-six ancient Greek lyrics and simply translated the first-person accounts of the young Bilitis into French. Soon it was discovered howev?er, that Louys was actually the author of these sensuous feminine sentiments. This shocking revelation did not at all discourage the book's success, (quite the opposite in
fact!), nor did Debussy lack an audience for their musical settings.
Debussy treats the relationship of voice and piano as an equal partnership, and if he strays from this course, it is in the direction of lyricism for the keyboard and one-note declamation for the singer. The antique Greek fantasyland is established immediate?ly in the first song, with modality and spe?cific directions to avoid any strict rhythm. The seductive invitations of the flute are heard alone, and then braided into the singing of the adolescent Bilitis. Debussy has rarely surpassed the breathless subtlety of this initiation into the world of sensuality. (We must remember that Hellenic panthe?ism had a very different moral code from our own Judeo-Christian society.) In the second song, the lovers are at the summit of their union, and Debussy asks for "passion?ate and concentrated tone" as Bilitis relates her lover's erotic dream. No declamation is used here, rather a sweeping bel canto melody for both performers, surrounded with ninth, eleventh and thirteenth chords which are, of course, staples in the impres?sionist kitchen. Love does not last, and the joyous spirits of song give way abruptly to the austere, ice-world of the last song. Relentless walking motion in the piano shows us Bilitis' physical and emotional fatigue. Her lover's voice is low and lacking in melodic shape. As with any short song cycle, much happens between the songs, and it is challenging for the singer to present the whole story of Bilitis' Awakening, Flowering, and Abandonment in such a short time.
IV
The last song group of tonight's recital is a partial survey of twentieth-century America's songwriters. Everyone included is both indispensable and irreplaceable in our vocal repertoire. Ms. von Stade has rarely performed
a concert without including songs of her own country, even commissioning works herself on occasion; she has been regarded by American composers as a constant cham?pion of their many diverse voices through?out her career.
Enjoying this bouquet of songs requires no program notes close your books, open your ears and hear the amazing variety of textures, sounds, and responses to texts which the last hundred years have produced. If you'd like a bit of extra information, here is a quick list of facts to walk you through:
1 Ned Rorem's catalogue is ninety percent songs, and he is able to change styles as the poet and the context demand. This is a four-sentence bit of Gertrude Stein fluff which requires longer to read about than to experi?ence.
2 Charles Ives published his songs at his own expense, being a successful insurance agent. As with Rorem, it is impossible to speak of an "Ives' style." One of his favorite subjects is homespun Americana, as these two songs stitched together would attest.
3 New Yorker Richard Hundley is a great friend to America's singers, and writes only songs. While usually very lyrical, he can also select wry and amusing poems like this silly, anonymous sixteenth-century verse.
4 "Greeting" is from Bernstein's last work, a song-cycle for four singers and two pianists. This simple utterance, reminiscent of Mass (1971), has lyrics by the composer himself and is dedicated to his two children.
5 Capturing the inflection of words, finding the perfect rhythm for our speech patterns: these were the life-long preoccupation of Virgil Thomson, composer and critic. While the piano's chords are remarkably simple triads, usually in root position, the singer's declamation requires a complex notation in order to sound natural.
6 Rorem and Hundley have also set this delightful Roethke text to music, but it is Lee Hoiby's song, written for Leontyne Price, which has proved to be the most pop?ular. Hoiby is another composer who has written more songs than anything else.
7 Copland's Little Horses is the only folk?song performed tonight. (Ms. von Stade's last UMS appearance featured no less than eighty percent folk music.) In the two volumes of Old American Songs, Copland has gathered traditional tunes from all regions and limned them with colorful accompaniments right out of Appalachian Spring or Billy the Kid. Written for piano or orchestra, these songs have never left the active repertoire since their composition half-a-century ago.
8 Thomas Pasatieri has written two cycles and an operatic role specifically for Frederica von Stade. A student of Menotti, Pasatieri has now become a highly successful film-score composer in Hollywood. This "unim?portant" little waltz from his youth features lyrics which could constitute a narcissistic credo. How well those of us associated with singers understand these sentiments!
9 The son of a jazz trumpeter, pianist and composer, John Musto appeared in Ann Arbor only last season as part of the New York Festival of Song Gershwin tribute. He often incorporates the blues into his serious music, dedicating many of his songs to his wife, soprano, Amy Burton. This haunting setting of Langston Hughes' words is on its way to becoming an American art-song classic.
10 William Bolcom needs no introduction for Ann Arbor audiences he is a part of our own community. His three volumes of Cabaret Songs achieve a wonderful blend of classic, jazz, and pop.. .and not without considerable humor.
Program notes by Martin Katz.
Described by the New York Times as "one of America's finest artists and singers," Frederica von Stade is in the midst of the third decade of an extraordinary career and continues to reign as one of the music world's most beloved figures.
Ms. von Stade's career has taken her to the stages of the world's great opera houses and concert halls. She began at the top, when she received a contract from Sir Rudolf Bing during the Metropolitan Opera Auditions, and since her debut in 1970 she has sung nearly all of her great roles with that company. In January 2000, the compa?ny celebrates the thirtieth anniversary of her debut with a new production of The Merry Widow specifically for her, and in 1995, as a celebration of her twenty-fifth anniversary, the Metropolitan Opera created for her a new production of Pelleas et Melisande. In addition, Ms. von Stade has appeared with every leading American opera company, including San Francisco Opera, Lyric Opera of Chicago and Los Angeles Music Center Opera. Her career in Europe has been no less spectacular, with new productions mounted for her at Teatro alia Scala, Covent Garden, the Vienna State Opera, and the Paris Opera. She is invited regularly by the world's finest conductors, among them Claudio Abbado, Charles Dutoit, James Levine, Kurt Masur, Riccardo Muti, Seiji Ozawa, Andre Previn, Leonard Slatkin, and Michael Tilson Thomas, to appear in con?cert with the world's leading orchestras, including the Boston Symphony, Chicago Symphony, Cleveland Orchestra, New York Philharmonic, Philadelphia Orchestra, San Francisco Symphony, London Symphony, Washington's National Symphony and the Orchestra of La Scala.
With impressive versatility, she has effortlessly traversed an ever-broadening spectrum of musical styles and dramatic
characterizations. A noted bel canto special?ist, she excelled as the heroines of Rossini's La cenerentola and barbiere di Siviglia and Bellini's La sonnambula. She is an unmatched stylist in the French repertoire; a delectable Mignon or Perichole, a regal Marguerite in Berlioz' La damnation de Faust, and, in one critic's words, "the Melisande of one's dreams." Her elegant figure and keen imagination have made her the world's favorite interpreter of the great trouser roles, from Strauss' Octavian and Composer to Mozart's Sextus, Idamante and Cherubino. Ms. von Stade's artistry has inspired the revival of neglected works such as Massenet's Cherubin, Thomas' Mignon, Rameau's Dardanus, and Monteverdi's ritorno d'Ulisse in patria. Her ability as a singing actress has allowed her to portray wonderful works in operetta and musical theater including the title role in The Merry Widow and Desiree Armfeltt in A Little Night Music. Her repertoire is continually expanding with the works of contemporary composers. She created the role of Tina in Dallas Opera's world-premiere production of Dominick Argento's The Aspern Papers (a work written for her) and the role of Madame de Merteuil in the world premiere of Conrad Susa's Dangerous Liaisons for San Francisco Opera.
Frederica von Stade's orchestral reper?toire is equally broad, embracing works from the Baroque to that of today's com?posers. She has garnered critical and popu?lar acclaim in her vast French repertoire as one of the world's finest interpreters of Ravel's Sheherazade, Berlioz' Les nuits d'ete, and Canteloube's Les chants d'Auvergne. She is continually in demand for the symphonic works of the great Austrian and German composers including Mozart and Mahler, as well as the new works of American com?posers.
It was the American composer, Richard Danielpour, who in 1998 helped Frederica
von Stade to realize an artistic and personal dream when he wrote Elegies. The work, scored for orchestra, mezzo-sopra?no and bari?tone, is a trib?ute to Ms. von Stade's father,
Charles von Stade, who was killed in the final days of World War II, and is based on the text of letters Mr. von Stade sent to his wife during the war. It is through these let?ters that Frederica von Stade came to know her father, who died two months before her birth. In January 1998 the Jacksonville Symphony, led by Roger Nierenberg, offered the world premiere of Elegies with perfor?mances in Florida and in New York's Carnegie Hall. Elegies was recorded by Sony Classical in 1998 and will be performed throughout North America and Europe in coming seasons.
Unparalleled in her artistry as a recital-ist, Ms. von Stade combines her expressive vocalism and exceptional musicianship with a rare gift for communication, enriching audiences throughout the world. Here, too, her repertoire encompasses an expansive scope, from the classical style of Mozart and Haydn to the popular songs of Broadway's greatest musicals; from the Italian "Arie antiche" to the songs of contempory com?posers who compose especially for her -such as Dominick Argento and Jake Heggie.
She has made over three dozen recordings with every major label, including complete operas, aria albums, symphonic works, solo recital programs, and popular crossover albums. Her recordings have garnered six Grammy nominations, two Grand Prix du
Disc awards, the Deutsche Schallplattenpreis, Italy's Premio della Critica Discografica, and "Best of the Year" citations by Stereo Review and Opera News. She has enjoyed the dis?tinction of holding simultaneously the first-and second-places on national sales charts for AngelEMI's Show Boat and Telarc's The Sound of Music.
Ms. von Stade appears regularly on television, through numerous PBS and other broadcasts, including a gala concert for the San Francisco Symphony which opened the 1998-99 season at New York's Carnegie Hall and a Live from Lincoln Center televi?sion event which opened the 1999 season of the Mostly Mozart Festival. She can be seen in Live from the Met performances as Cherubino, Hansel and Idamante, and through PBS broadcasts of her celebration of the art of American song with Thomas Hampson, Marilyn Home, Dawn Upshaw and Jerry Hadley in a program at New
York's Town Hall titled Hear America Singing, as well as a program with Tyne Daly which included arias, art songs and popular crossover material. Also seen on PBS were a holiday special, Christmas with Flicka, shot on location in Salzburg, and an evening of operatic and musical theater selections with Samuel Ramey and Jerry Hadley titled Flicka and Friends. Her recent portrayals in Dangerous Liaisons and The Aspern Papers were broadcast throughout North America. She can also be seen in the Unitel film of the classic Jean-Pierre Ponnelle production of La cenerentola.
Frederica von Stade's 1999-2000 season begins with a series of concerts and recitals. She opens the season for the Colorado Symphony before she joins Chanticleer, a thirteen voice a capella male vocal ensemble, in a tour of unique programs featuring Ms. von Stade as soloist with the ensemble. In addition to her appearance in the title role in The Merry Widow, Ms. von Stade opens the season for Dallas Opera as Sesto in La clemenza di Tito. Soon after, she tours the US in recital, culminating in two appearances in New York City at Alice Tully Hall in a celebration of the music of Jake Heggie, and at Carnegie Hall in a program of American music with Samuel Ramey. Ms. von Stade and Mr. Ramey join again to tour in concert together with performances at the Ravinia Festival, the Hollywood Bowl and the Brevard Festival. In concert, Frederica von Stade appears with the London Philharmonia, under the direction of Leonard Slatkin, as well as the Milwaukee Symphony and the Louisville Orchestra.
Frederica von Stade is the holder of honorary doctorates from Yale University, Boston University, the Georgetown University School of Medicine, and her alma mater, the Mannes School of Music. In 1998, Ms. von Stade was awarded France's highest honor in the Arts, when
she was appointed as an officer of L'Ordre des Arts et des Lettres, and in 1983 she was honored with an award given at The White House by former President Ronald Reagan in recognition of her significant contribu?tion to the arts.
This evening's recital marks Frederica von Stade's second appearance under UMS auspices.
Martin Katz must surely be considered the dean of collaborative pianists," said the Los Angeles Times after a concert this season. One of the world's busiest collaborators, he finds himself in constant demand by many of the most celebrated vocal soloists in recital. His partnership with Frederica von Stade is now twenty-six years old. In addition, he has appeared regularly with Marilyn Home, Kiri Te Kanawa, Kathleen Battle, Cecilia Bartoli, Sylvia McNair, and Jose Carreras in both concerts and recordings.
Season after sea?son, the world's musical capitals figure prominently in his schedule. His many appear?ances at New York's Carnegie Hall, Washington's Kennedy Center, Milan's La Scala, Vienna's
Musikverein and Buenos Aires' Teatro Colon have been lauded by audiences and critics alike. He has more than a dozen recordings to his credit for the BMG, CBS, Sony, Decca, Phillips, RCA, and FonitCetra labels.
Martin Katz is a native of California, where he began piano studies at the age of
five. He attended the University of Southern California as a scholarship student and studied the specialized field of accompany?ing with its pioneer teacher, Gwendolyn Koldofsky. While yet a student, he was given the unique opportunity of accompanying the master classes of such luminaries as Lotte Lehmann, Jascha Heifetz, Pierre Bernac and Gregor Piatigorsky. Following his formal education, he held the position of pianist for the US Army Chorus in Washington, DC, before moving to New York and beginning his international career in earnest.
In recent years, invitations to conduct orchestral evenings have come with increas?ing frequency. Mr. Katz has partnered sever?al of his soloists on the podium for the orchestras of B.B.C., Houston, Washington, DC, Tokyo, New Haven and Miami. His appearances in the opera house have includ?ed Don Pasquale, Don Giovanni, Hansel and Gretel and Dialogues des Carmelites in recent years. His editions of works by Handel and Rossini have been presented by the Metropolitan, Houston Grand Opera and the National Arts Centre in Ottawa.
The professional profile of Martin Katz is completed with his commitment to teach?ing. For many years, he has been Professor in charge of accompanying and chamber music at the University of Michigan, and has played a pivotal role in the training of countless young artists who are now work?ing all over the world. The University of Michigan School of Music recently named him the Arthur Schnabel Professor of Music. He is also a frequent guest for master classes here and abroad, regularly visiting institutions such as the Manhattan School of Music, The Juilliard School, Tanglewood Music Center, UCLA and the Santa Fe Opera.
This evening's recital marks Martin Katz' twenty-third appearance under UMS auspices.
UMS
presents
Gabrieli Consort & Players
Paul McCreesh, Director
Joined by members of the UMS Choral Union Thomas Sheets, Director
Zum Eingang
Christum wir sollen loben schon, Der reinen Magd Marien Sohn, So weit die liebe Sonne leucht, Und an aller Welt Ende reicht.
Der selig Schopfer aller Ding, Zog an eins Knechtes Leib gering, DaG er das Fleisch durch Fleisch erwerb, Und sein Geschopf nicht als verderb.
Die gottlich Gnad vom Himmel grofi Sich in die keusche Mutter gofi, Ein Magdlein trug ein heimlich Pfand, Das der Natur war unbekand.
Des Himmels Chor sich freuen drob, Und die Engel singen Gott lob, Den armen Hirten wird vermelt, Der Hirt und Schopfer aller Welt.
Lob, Ehr und Dank sei dir gesagt, Christ geborn von der reinen Magd, Mit Vater und dem heilgen Geist, Von nun an bis in Ewigkeit.
Processional
We now must praise Christ Son of the spotless Virgin Mary, as far as the fair sun shines and reaches to the world's end.
The blessed Creator of all things assumed the lowly body of a boy so that he might gain flesh through flesh and his creation not be destroyed.
The divine grace of great heaven was enshrined in the chaste mother: a virgin bore a secret pledge unknown to Nature.
The heavenly choir rejoices therat
and the angels sing praise of God;
the poor shepherds are informed
of the Shepherd and Creator of all the world.
Praise, glory and thanks be given to thee, Christ, born of a spotless maid, and to the Father and the Holy Ghost now and for evermore.
Introitus
Puer natus in Bethlehem Unde gaudet Hierusalem Alleluia.
Singet, jubiliret, triumphiret
Unserm Herren dem Konig der Ehren.
Reges de Saba veniunt, Aurum, thus, myrrham offerunt. Alleluia. Singet, etc
Hie jacet in praesepio Qui regnat sine termino. Alleluia. Singet, etc
Mein Herzenskindlein, Mein liebstes Freundlein, O Jesu.
Ein Kind geborn zu Bethlehem, Des freuet sich Jerusalem, Alleluja.
Die Kong aus Saba kamen dar,
Gold, Weihrauch, Myrrhen brachtn sie dar,
Alleluja
Hie leit es in dem Krippelein, Ohn Ende ist die Herrschaft sein, Alleluja.
In hoc natali gaudio Benedicamus Domino. Alleluia. Singet, etc
Laudetur sancta Trinitas, Deo dicamus gratias, Alleluia. Singet, etc
Introit
A boy is born in Bethlehem, whence Jerusalem rejoices, Alleluia.
Sing, rejoice, triumph,
all honour to our Lord, the king.
The kings came there from Sheba,
bringing gold, incense and myrrh,
Alleluia.
Sing, rejoice, etc
Here lies in the little crib
he whose reign is without end.
Alleluia.
Sing, rejoice, etc
Child of my heart, my dearest little friend, O Jesu.
A child is born in Bethlehem, whence Jerusalem rejoices, Alleluia.
The kings came there from Sheba, bringing gold, incense and myrrh, Alleluia.
Here lies in the little crib
he whose reign is without end.
Alleluia.
For this time of such grace
God be praised in all eternity.
Alleluia.
Sing, rejoice, etc
Praise be to the holy Trinity,
now and for evermore,
Alleluia.
Sing, rejoice, etc
Mein Herzenskindlein, Mein liebstes Freundlein, O Jesu.
Fiir solche gnadenreiche Zeit, Sei Gott gelobt in Ewigkeit, Alleluja.
Lob sei der heilgen Dreifaltgkeit. Nun und in alle Ewigkeit, Alleluja.
Kyrie
Kyrie eleison. Herr erbarme dich.
Christe eleison. Christe erbarme dich.
Kyrie eleison.
Herr erbarm dich iiber uns.
Gloria
Ehre sei Gott in der Hohe und auf Erden Fried den Menschen ein Wohlgefallen. Wir loben dich, wir beten dich an, wir preisen dich, wir sagen dir Dank um deiner groEen Ehre willen. Herr Gott, himmlischer Konig, Gott, allmachtiger Vater. Herr, Allerhochster, Herr Gott, Lamm Gottes, ein Sohn des Vaters, der du hinnimmst die Siinde der Welt, erbarme dich unser. Der du hinnimmst die Siinde der Welt, nimm an unser Gebet. Der du sitzest zu der Rechten des Vaters, erbarme dich unser. Denn du bist allein heilig, du bist allein der Herr, du bist allein der Hochste, Jesu Christe, samt dem heiligen Geist in der Herrlichkeit Gott des Vaters.
Amen.
Child of my heart, my dearest little friend, O Jesu.
For this time of such grace God be praised in all eternity, Alleluia.
Praise be to the holy Trinity, now and for evermore, Alleluia.
Kyrie
Lord, have mercy. Lord, have mercy.
Christ, have mercy. Christ, have mercy.
Lord, have mercy. Lord have mercy on us.
Gloria
Glory to God in the highest, and on earth peace to men of goodwill. We praise Thee, we bless Thee, we adore Thee, we glorify Thee, we give thanks to Thee for Thy great glory. O Lord God, heavenly King, God the Father almighty. O Lord, the only-begotten Son, Jesus Christ, the most high, Lord God, Lamb of God, Son of the Father, who takest away the sins of the world, have mercy upon us. Thou who takest away the sins of the world, receive our prayer. Thou who sittest at the right hand of the Father, have mercy upon us. For Thou only art holy, Thou only, Jesus Christ, are most high, with the Holy Ghost in the glory of God the Father.
Amen.
Tagesgebet
V: Der Herr sei mit euch. R: Und mit deinem Geiste. V: LaBt uns beten. Hilf, lieber Herr Gott, dafi wir der neuen lieblichen Geburt teilhaftig werden und bleiben und von uns'rer alten siindlichen Geburt erledigt werden durch denselbigen deinen Sohn Jesum Christum, unsern Herren.
R: Amen.
Praambulum
Orgelvorspiel
Graduallied
Vom Himmel hoch da komm ich her, Ich bring euch gute neue Mar, Der guten Mar bring ich so viel, Davon ich singn und sagen will.
Euch ist ein Kindlein heut geborn, Von einer Jungfrau auserkorn, Ein Kindelein so zart und fein, Das soil eur Freud und Wonne sein.
Es ist der Herr Christ, unser Gott, Der will euch fuhrn aus aller Not, Er will eur Heiland selber sein, Von alien Siinden machen rein.
Er bringt euch alle Seligkeit, Die Gott, der Vater hat bereit't, Dafi ihr mit uns im Himmelreich, Sollt leben nun und ewiglich.
So merket nun das Zeichen recht, Die Krippen, Windelein so schlecht, Da findet ihr das Kind gelegt, Das alle Welt erhalt und tragt.
Collect
V: The Lord be with you
R: And with thy spirit.
V: Let us pray. Help us, dear Lord God,
to be blessed by the lovely new birth and
so remain, and to be removed from our
old sinful birth, through thy son Jesus
Christ, our Lord
R: Amen.
Praeambulum
Organ prelude
Gradual hymn
From heaven on high I come hither, bringing you good news; so much good news do I bring that of it I will sing and speak.
Today a little child is born to you
by a chosen virgin,
a child so tender and fine
who shall be your joy and delight.
He is the Lord Christ, our God, who will lead you out of all distress: he will be your Saviour himself, cleansing you from all sin.
He brings to you all the bliss that God the Father has prepared, so that you shall live with us in the kingdom of heaven now and for evermore.
So mark now the sign aright, the crib, the wretched swaddling clothes, there you will find the child lying who will preserve and sustain the whole world.
Des lafit uns alle frohlich sein, Und mit den Hirten gehn hinein, Zu sehn, was Gott uns hat beschert, Mit seinem liebsten Sohn verehrt.
Ach, mein herzliebes Jesulein, Mach dir ein rein sanft' Bettelein, Zu ruh'n in meines Herzensschrein, DaS ich nimmer vergesse dein.
Davon ich all' Zeit frolich sei, Zu springen, singen immer frei Das rechte Susaninne schon, Mit Herzen Lust den siifien Ton. Lob, Ehr sei Gott im hochsten Thron,
Der uns schenkt seinen eingen Sohn, Des freuet sich der Engel Schar, Und singen uns solch neues Jahr.
Credo
Wir glauben all an einen Gott, Schopfer Himmels und der Erden, Der sich zum Vater geben hat, DaB wir seine Kinder werden. Er will uns allzeit ernahren, Leib und Seel auch wohl bewahren, Allem Unfall will er wehren, Kein Leid soil uns widerfahren. Er sorget fur uns, hut und wacht, Es steht alles in seiner Macht.
Wir glauben auch an Jesum Christ, Seinen Sohn und unsern Herren, Der ewig bei dem Vater ist, Gleicher Gott von Macht und Ehren. Von Maria, der Jungfrauen, Ist ein wahrer Mensch geboren Durch den Heilgen Geist im Glauben, Fiir uns, die wir warn verloren, Am Kreuz gestorben und vom Tod Wieder auferstanden durch Gott.
Then let us all be joyful and go in with the shepherds to see what God has granted us, presented us with his dearest son.
Ah, my dear little Jesus, make yourself a clean soft cot to rest in my heart's shrine, that I may never forget you.
Thereby let me be joyful at all times,
ever free to leap and sing
the sweet notes of apt lullabies
with heartfelt joy.
Praise and glory be to God on his highest
throne
who bestows on us his only son, at which the host of angels rejoices and sings to us such a new year.
Credo
We all believe in one God,
Creator of heaven and earth,
who has acted as a father,
that we might be his children.
He will always support us,
also well guard body and soul,
he will shield us from all mishap,
no harm shall befall us.
He cares for us, guards and protects us;
everything is within his power.
We also believe in Jesus Christ,
his Son and our Lord,
who is forever beside the Father,
likewise God of might and glory.
From Mary, the Virgin,
a real man is born
through the Holy Ghost in faith;
for us, who were lost
he died on the Cross, and through God
rose again from the death.
Wir glauben an den Heilgen Geist, Gott mit Vater und dem Sohne, Der aller Bloden Troster heifit Und mit Gaben zieret schone. Die ganz Christenheit auf Erden Halt in einem Sinn gar eben, Hie all Siind vergeben werden, Das Fleisch soil auch wiederleben. Nach diesem Elend is bereit' Uns ein Leben in Ewigkeit.
Amen.
Resonet in laudibus
Orgelvorspiel
Kanzellied
Quern pastores laudavere, Quibus Angeli dixere: Absit vobis iam timere, Natus est Rex gloriae.
Den die Hirten lobeten sehre, Und die Engel noch viel mehre, Fiircht euch furbaS nimmermehre, Euch ist gborn ein Konig der Ehrn. Heut sind die lieben Engelein Im hellen Schein Erschienen bei der Nachte. Den Hirten so ihr Schafelein Beim Mondenschein in weitem Feld
bewachten.
Grofie Freud und gute Mar Wolln wir euch offenbaren, Die euch und aller Welt soil widerfahren. Gottes Sohn ist Mensch-geborn, Hat versohnt des Vaters Zorn.
Ad quern Magi ambulant, Aurum, thus, myrrham portabant, Immolabant haec sincere Leoni victoriae.
We believe in the Holy Ghost,
God with the Father and the Son,
who is called comforter of all the foolish
and adorns them with beauteous gifts.
He holds all Christendom on earth
quite evenly in one spirit;
here all sins are forgiven,
flesh shall also live again.
After this misery, a life
is prepared for us in eternity.
Amen.
Resonet in laudibus
Organ prelude
Pulpit hymn
He whom the shepherds greatly praised and the angels still more cried: Henceforth fear no more! To you is born the king of glory.
He whom the shepherds greatly praised
and the angels still more cried:
"Henceforth fear no more!
To you is born the king of glory.
Today the dear angels
have appeared in a bright light
in the night.
Shepherds watching your flocks
by moonlight in the broad field,
we wish to reveal to you
great joy and good tidings
which shall befall you and all the world.
The Son of God is born of man
and has appeased his Father's wrath."
To whom the wise men came, bringing with them gold, incense and myrrh: they offered these things sincerely to the lion of victory.
Zu dem die Weisen kamen geritten Gold, Weihrauch, Myrrhen brachten sie
mitte,
Sie fielen nieder auf ihr Knie. Gelobt seist du Herr allhie. Ein Sohn die Gottlich Majestat Euch geben hat
Und einen Mensch la'n werden, Ein Jungfrau ihn geboren hat in Davids Stadt, Da ihr ihn finden werdet. Liegend in eim Krippelein, Nackend, blofi und elende, DaS er euer Elend von sich soil wenden.
Gottes Sohn ist Mensch-geborn, Hat versohnt des Vaters Zorn.
Christo Regi Deo nato, Per Mariam nobis dato, Merito resonat vere Laus, honor et gloria.
Lobet alle Menschen gleiche
Gottes Sohn vom Himmelreiche,
Uns zu Trost ist er geboren.
Lob und Preis sei Gott dem Herrn.
Die Hirten sprachen nun wohlan,
So lafit uns gahn
Und diese Ding erfahren,
Die uns der Herr hat kundgetan,
Er wird indes
Unser Vieh wohl bewahren.
Da findn sie das Kindelein
In Tiichelein gehullet,
DaS alle Welt mit seiner Gnad er rullet
Gottes Sohn ist Mensch-geborn Hat versohnt des Vaters Zorn.
Padouana a 5 Johann Schein Sonate
To whom the wise men came riding, bringing with them gold, incense and myrrh,
they fell down on their knees.
Praise be to thee here, Lord!
Divine majesty has given you
a Son who will become
a man.
A virgin bore him
in the city of David,
where you will find him
lying in a manger
naked, bare and wretched,
so that he may take your misery upon
himself.
The Son of God is born of man and has appeased his Father's wrath.
To Christ, born a king and god, granted us through Mary, let praise, honour and glory truly and deservedly resound.
Let all men alike praise
God's Son from the realm of heaven,
who is born to bring us solace.
Praise and glory be to God the Lord.
The shepherds now spoke up:
"Then let us go
and see this thing
of which the Lord has told us.
He will meanwhile
guard our cattle well."
There they will find the babe
wrapped in a small cloth,
that all the world might be filled with
his grace.
The Son of God is born of man and has appeased his father's wrath.
Padouana a 5 Johann Scheirt Sonata
Sanctus
Jesaja dem Propheten das geschah, Dafi er im Geist den Herren sitzen sah Auf einem hohen Thron im hellen Glanz, Seines Kleides Saum den Chor fiillet ganz. Es stunden zwen Seraph bei ihm daran, Sechs Fliigel sah er einen jeden han. Mit zwen verborgen sie ihr Antlitz klar, Mit zwen bedeckten sie die FiiSe gar, Und mit den andern zwen sie flogen frei, Gegnander ruften sie mit groBem Geschrei: Heilig ist Gott der Herre Zebaoth, Sein Ehr die ganze Welt erfullet hat. Von dem Geschrei zittert Schwell und
Balken gar, Das Haus auch ganz voll Rauchs und
Nebels war.
Wie schon leuchtet der Morgenstern
Samuel Scheldt Orgelvorspiel
Zum Abend ma h 1
Wie schon leuchtet der Morgenstern
Voll Gnad und Wahrheit von dem Herrn,
Du sufie Wurzel Jesse.
Du Sohn Davids aus Jakobs Stamm,
Mein Konig und mein Brautigam,
Hast mir mein Herz besessen;
Lieblich, freundlich, schon und herrlich,
GroB und ehrlich,
Reich an Gaben,
Hoch und sehr prachtig erhaben.
Uns ist ein Kindlein heut geborn, Von einer Jungfraun auserkorn, Ein wahrer Mensch und wahrer Gott, Dafi er uns helf aus aller Not, Sein Nam ist Wunderbar und Rat, Durch ihn haben wir funden Gnad.
Sanctus motet
It befell to Isaiah the prophet that in spirit he saw the Lord sitting on a lofty throne in brilliant splendour, the hem of his robe quite filling the choir. Two seraphs stood beside him; He saw that each had six wings. With two they hid their bright faces with two they quite covered their feet, and with the other two they flew free, calling to each other with great cries, "Holy is God the Lord of Sabaoth, his glory has filled the whole world". Threshold and rafters shake with the cry,
the house was also full of smoke and haze.
How brightly shines the morning star
Samuel Scheidt Organ prelude
Communion motet
How brightly shines the morning star
full of grace and truth before the Lord,
the sweet root of Jesse!
Son of David from Jacob's stock,
my king and my bridegroom,
thou hast taken possession of my heart
sweetly, kindly, beautiful and mighty,
great and upright,
rich in gifts,
high and exalted in great splendour.
To us this day a babe is born
of a chosen Virgin,
a true man and true God,
to help us out of all distress.
His name is Wonderful and Counsellor:
through him we have found grace.
Was hatt uns Gott mehr konnen tun, Denn daS er uns schenkt seinen Sohn, Der von uns weggenommen hat, All unser Siind und Missetat, Erlost uns von der Siind und Pein, Darein wir sollten ewig sein.
Freu dich du werte Christenheit,
Und dank es Gott in Ewigkeit,
Hass aber alle Siind und List,
Davon du teur erloset bist,
Sei fortan gottfurchtig und rein,
Zu Ehrn dem neugbornen Kindelein.
Blessing
Post-Communion
V: Der Herr sei mit euch. R: Und mit deinem Geiste. V: LaSt uns beten. Wir danken dir, allmachtiger Gott, dafi du uns durch diese heilsame Gabe hast erquicket, und bitten deine Barmherzigkeit, dafi du uns solches gedeihen lassest zu starken Glauben gegen dich und zu brunstiger Liebe unter uns alien um Jesu Christi, unsers Herren willen.
R: Amen.
Segen
V: Der Herr segne dich und behiite dich. Der Herr erleuchte sein Angesicht iiber dir und sei dir gnadig. Der Herr hebe sein Angesicht auf dich und gebe dir Frieden.
R: Amen
What more could God have done for us
than send us his Son,
who from us has taken away
all our sins and misdeeds,
rescued us from the sin and pain
in which we should have remained forever.
Rejoice, O worthy Christendom,
and thank God into all eternity;
but hate all sin and guile,
from which you have been dearly saved.
Henceforth be God-fearing and pure
to honour the newborn babe.
Post-Communion
V: The Lord be with you. R: And with your spirit. V: Let us pray. We thank thee, Almighty God, for having invigorated us with this healing gift, and plead for thy compassion to leave us such progress towards firm faith in thee and heartfelt love along us all, for the sake of Jesus Christ, our Lord.
R: Amen.
Benediction
V: The Lord bless you and keep you. May the Lord shine his countenance upon you and be merciful unto you. May the Lord turn his face to you and give you peace.
R: Amen.
SchluGlied
Puer nobis nascitur, Rector angelorum, In hoc mundo pascitur Dominus Dominorum.
Uns ist gborn ein Kindelein, Von einer Jungfraun reine, Marie ist die Mutter sein, Sein Vater Gott alleine.
In praesepe ponitur, Faeno juvencorum, Cognoverunt Dominum, Christum regem coelorum.
In ein Kripp ward er gelegt, Der all Ding regieret, Das Ochslein und Eselein Erkannten Gott den Herren.
Hinc Herodes timuit Magno cum tremore, Infantes et pueros Occidit cum dolore.
Kon'g Herodes das verdroS, Viel Kindlein liefi er toten, Er wiit't und tobt ohn all Ma6, Des ist er nun in Noten. Qui natus ex Maria Die hodierna Perducat nos cum gratia Ad gaudia superna.
Der von Maria ward geborn, An diesm heutgen Tage, Der wolle sein liebs Himmelreich Uns nimmermehr versagen.
Nos de tali gaudio Cantemus in choro, In chordis et organo Benedicamus Domino.
Final Hymn
To us is born a child, guardian of the angels, in this world lives the Lord of Lords.
To us is born a child of a spotless virgin; Mary is his mother, his father God alone.
In a manger was he laid, in the hay of oxen: they recognized the Lord, Christ the king of heaven.
In a manger was he laid, he who reigns over all things; the ox and ass recognised God the Lord.
This made King Herod afraid, with great trembling he killed in his wrath many babes and children.
This galled King Herod,
who had many children killed;
he raged and raved beyond all measure
for he was now in a plight.
He who was born of Mary
on this very day
would never deny us
his dear heavenly realm.
He who was born of Mary on this very day would lead us by his grace to heavenly joy.
Of such joy let us sing together, with strings and organ let us praise the Lord.
Drum seid frohlich allermeist, Lobsingt und jubilieret, Gott Vatr, Sohn und heilgen Geist, Dem sei Preis, Dank und Ehre.
Nun lob mein Seel
Orgen
Zum Auszug
In dulci jubilo
Nun singet und seid froh:
Unsers Herzens Wonne
Leit in praesepio
Und leuchtet als die Sonne
Matris in gremio
Alpha es et O.
O Jesu parvule, Nach dir ist mir so weh; Trost mir mein Gemute, O puer optime; Durch alle deine Giite, O princeps gloriae, Trahe me post te.
O Patris caritas,
O nati lenitas,
Wir waren all verloren
Per nostra crimina,
So hat er uns erworben
Coelorum gaudia.
Eya waren wir da!
Ubi sunt gaudia,
Nirgends mehr denn da.
Da die Engel singen
Nova cantica
Und die Schellen klingen
In regis curia.
Eya warn wir da!
Therfore be exceeding joyful,
sing praises and exult
to God the Father, Son and Holy Ghost,
to whom be praise, thanks and glory.
Nun lob mein Seel
Organ voluntary
Recessional
In sweet jubilation now sing and rejoice our heart's delight lies in a manger and shine like the sun in his mother's bosom You are the first and last.
0 little Jesus,
1 so long for you; comfort my soul, O best boy;
by all your good, O prince of glory, draw me after you.
O love of the Father, O mildness of the Son! We were all lost through our sins until you gained for us the joys of heaven: O that we were there!
Where are joys
Nowhere more than there.
There the angels sing
new songs
and the bells ring
in the court of the king:
O that we were there!
UMS
presents
Gabrieli Consort & Players
Paul McCreesh, Director
Joined by members of the UMS Choral Union Thomas Sheets, Director
Program
Michael Praetorius
Processional
Introit
Kyrie
Gloria
Collect
Organ prelude
Gradual hymn
Credo
Organ prelude
Pulpit hymn
Tuesday Evening, December 14,1999 at 8:00
St. Francis of Assisi Catholic Church, Ann Arbor, Michigan
!A Lutheran Christmas Celebration (c. 1620)
Christum wir sollen loben schon
Puer natus in Bethlehem
Missa gantz Teudsch
Missa gantz Teudsch
Chant
Praeambulum
Vom Himmel hoch da komm ich her
Wir glauben all an einen Gott
Resonet in laudibus
Quern pastores laudavere
INTERMISSION
fohann Schein Sonata
Sanctus motet
Samuel Scheidt Organ prelude
Communion motet Blessing Final hymn Organ voluntary Recessional
Padouana a 5
Jesaja dem Propheten das geschah
Wie schon leuchtet der Morgenstern
Wie schon leuchtet der Morgenstern
Chant
Puer nobis nascitur
Nun lob mein Seel
In dulci jubilo
Thirty-eighth
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.
Special thanks to Father James McDougal, David Barrera, and Janelle O'Malley of St. Francis for their hospitality and support of these Divine Expressions Series concerts.
Thanks to Dr. Thomas Sheets and the UMS Choral Union for their participation in this concert.
Large print programs are available upon request.
Christmas Mass
Michael Praetorius
Born February 15, 1571 in Kreuzbergan
der Werra, Thuringia Died February 15, 1621 in Wolfenbuttel
Michael Praetorius was the most influential, multi-faceted and prolific German composer of his generation. Over some fifteen years in the early seventeenth century he produced an enormous amount of sacred music which soon became the basic repertoire for Lutheran churches in northern Germany. Almost as astonishing as the quantity of his output is its variety of forms, which range in truly encyclopedic fashion from the simplest of congregational hymns to massive poly-choral motets.
Born into a strict Lutheran family, Praetorius studied at Frankfurt an der Oder and settled in Wolfenbuttel around 1592. By 1595 he had entered the service of Duke Heinrich Julius of Brunswick Wolfenbuttel as organist. In 1604 he was appointed court Kapellmeister, a position he held until shortly before his death. He spent two years in Dresden between 1613 and 1615, where he met Schutz and was introduced to many of the latest Italian musical developments which were to influence his later works. Renowned as an organist, Praetorius also designed organs and wrote the most important musical treatise of the early Baroque, his monumental Syntagma musicum.
This evening's concert presents a selec?tion of Praetorius's music as it might have been heard at a Lutheran mass for Christmas morning, celebrated at one of the major churches in central Germany around 1620. Although it generally follows the structure of the Roman mass, the Lutheran mass is more flexible, allowing for more congrega?tional participation.
As in the Roman rite, the mass begins
with an Introit, the Kyrie and the Gloria, after which the Collect (the prayer of the feast) is intoned by the celebrant. The Epistle would then be sung in German; the Gradual hymn would precede the Gospel for Christmas Day, which was then followed by the Credo. The preacher then mounted the pulpit to deliver the sermon (usually an hour long), which was followed by the Confession and Absolution in effect divid?ing the service into two parts.
Those intending to receive Communion would move up to the chancel area of the church. On major feasts the Preface was intoned in Latin, beginning with the ancient dialogue Sursam corda, and leading to the Sanctus, again in Latin. However, the Sanctus was often transferred to a position at the beginning of the Communion, especially when most of the mass was sung in German. The celebrant, facing the altar, would intone the Lord's Prayer and the Words of Institution. Communion was celebrated and was followed by the Postcommunion prayer and the Benediction.
Central to any Lutheran service was the congregational chorale, which was featured at several climactic points in the mass. Especially important was the Graduallied between the Epistle and Gradual, and the Kanzellied, sung as the preacher mounts the pulpit. Traditionally these chorales were sung unaccompanied, but in the early years of the seventeenth century, organ accompa?niment became more widespread.
Praetorius's music stems from a tradi?tion of congregational involvement which is at the core of Lutheranism. Although his output includes some of the most elaborate sacred repertoire of the time, most of it is skillfully written to allow for the inclusion of the various musical groups that took part in music within the church: town waits, school children, the Collegium Musicum of amateur musicians, and the professional Kantorei. Praetorius frequently encourages
the most imaginative approach for musical and liturgical effect furnishing a wealth of information in the prefaces of his publica?tions, in elaborate remarks printed above the scores, and also the third volume of his treatise Syntagma musicum. To consider per?forming his music in terms of an Urtext is to miss the point: it demands much creative input from interpreters, not only as regards the usual questions of instrumental and vocal scoring in seventeenth-century music, but also in the form and structure of the works themselves, which are open to consid?erable variations.
Traditionally, chorales were often sung alternatim, verse by verse (or line by line) between congregational (choraliter) and vocalinstrumental choirs (figuraliter), sometimes in different languages. In his prefaces, Praetorius suggests many possible modifications of this Wechselgesang (exchange-song) scheme, especially when using polychoral versions for several choirs. The underlying intention, however, is always to create the greatest possible variety of color and musical experience. The music may look vast on the page, but a dozen or so flexible layers (four-part consorts of reedswind, cornetssackbuts and violins or viols) are more than enough for perfor?mance; the inclusion of a large continuo section of several organs, regals and plucked instruments is, however, a great advantage. The core of the ensemble, Praetorius's cap-pella fidicinia, comprises strings, plucked instruments and keyboard instruments. In addition, Praetorius offers advice regarding the displacement of the musicians, who were frequently positioned around the church, especially in galleries. This basic polychorality allows the music to envelop the congregation in the act of worship.
Instrumental ensemble music seems to have had only a modest role in Lutheran services: here a solemn pavan by Johann Schein introduces the second half of the
service as the communicants move towards the altar. The organ had a vital role, however, especially in the "preluding" of the chorales, but very few examples survive of what was essentially an improvised tradition. Although dating from as late as 1650, the famous Liineburg organ tablature from which two preludes are taken seems to be a retrospective collection of typical, functional and mainly anonymous pieces. Each has been treated quite freely, as a starting-point for further improvisation. The variations on Nun lob mein Seel are one of only eight extant organ works by Praetorius. It is not a Christmas chorale but was often sung as a thanksgiving chorale at Eucharistic services. With its flamboyant cascades of figuration over an ostinato phrase, it gives a tantalizing glimpse of Praetorius the virtuoso performer.
The Kyrie and Gloria, drawn from Praetorius's most spectacular collection, the Polyhymnia caduceatrix et panegyrica of 1619, are subtitled Missa gantz Teudsch (Mass, completely in German). The style of the Kyrie, with its echo effects and constant jollity, says much about the Lutheran approach to worship. The Gloria is scored for six choirs: eight soloists in two choirs, a choir of three obbligato instruments and three optional supplementary groups (two vocal, one instrumental). It is conceived on the broadest scale, with constantly changing sonorities and virtuoso Italianate writing for voices and violins.
The text of the Credo is the expanded metrical German version by Luther (Wir glauben all an einen Gott). The outer verses are sung choraliter and unaccompanied, their supple flowing melody a testament to Luther's musical skills of adaptation: the original melody is an early fifteenth-century folk-hymn. The central verse is sung figuraliter, accompanied by organ with Samuel Scheidt's expressive harmony.
The Sanctus is also sung in German, to Luther's magnificent paraphrase in rhymed
couplets, Jesaja dem Propheten, in a setting for five choirs (flutes, trombones, strings, lutes and voices). For all its harmonic sim?plicity, the angels' paen and the apocalyptic vision of the trembling earth are vividly depicted.
All the remaining vocal music is more directly related to the congregational song or chorale. One of the loveliest of all Christmas hymns, Christum wir wollen loben schon, is Luther's translation of A solis ortu cardine, sung at Lauds on Christmas day. The subtle harmony of alternate verses is taken from a 1586 hymnbook of Lucas Osiander.
The fourteenth-century hymn Puer natus in Bethlehem circulated in both Latin and German versions in pre-Reformation times. The main setting, found in the Polyhymnia caduceatrix, is scored for three solo voices and strings and troped (interspersed) with a ritornello for full ensemble ("Singet, jubiliret, triumphiret"). Praetorius suggests that the congregation should sing verses in a simple setting at the end of each part; as usual, the text is given in two languages.
Luther's famous chorale Von Himmel hoch, with its folksong-like melody, provides the gradual hymn. The settings come from Musae Sioniae Vand Urania, both simple enough to allow the congregation to join in alternate verses, with the scoring of the choral verses constantly varied. The pulpit hymn is another fourteenth-century folk-hymn Quern pastores laudavere, which was traditionally sung line-by-line by four boys placed high in galleries to represent the heavenly host of angels on Christmas night. The earthly congregation replies with two carols Nunc angelorum and Gottes Sohn is Mensch-geborn.
For the communion, Wie schon leuchtet der Morgenstern is sung: this would have been a comparatively modern chorale in 1620; the text by Philip Nicolai first appeared in print in 1599. Although not
written for the Nativity, it very soon became part of the Lutheran Christmas repertoire. Praetorius ingeniously takes the five solo voices and instruments through a kaleido?scope of changing textures simply by silenc?ing different members of the ensemble. The whole work is closely based on the chorale melody, the solo sections being punctuated by a refrain with an additional four-part vocal andor instrumental cappella. The final chorale is the fifteenth-century Puer nobis nascitur from Musae Sioniae VI, performed in a straightforward choraliterfiguraliter style with Latin and German verses alternating.
Last of all comes the fourteenth-century macaronic hymn In dulci jubilo, probably the most famous of all carols. The setting is a sumptuous and spectacular polychoral version from the Polyhymnia caduceatrix scored for four choirs with trumpets and drums. Tonight's performance presents a new re-working of the material tailored pre?cisely to our touring ensemble taking at face value the composer's invitation to rearrange the musical material. Town or court trum?peters would have joined the church ensem?ble for special occasions: ever the pragma-tist, Praetorius advises the Kapellmeister that they are best placed at a very great distance, or even outside the church!
Program notes by Paul McCreesh and Robin A. Leaver.
Paul McCreesh is among the most pre-eminent and versatile British conductors of the younger generation and has an outstand?ing international reputation for his work in renaissance and baroque music, most notably with the Gabrieli Consort & Players which he founded in 1982.
With his ensemble he has performed in concert, radio and on television in most of Europe's international festivals and
concert halls including the BBC Proms, Vienna Konzerthaus, Bergen Festival, Glasgow Mayfest, Lucerne Festival, Cite de la Musique in Paris, Bremen Musikfest, Covent Garden Festival, Accademia Santa
Cecilia Roma, the South Bank Centre, Jerusalem Festival, Polish Radio, Styriate Graz, the Palau de la Musica Barcelona, Flanders Festival, Utrecht Festival, Ludwigsburger Schlossfestspicle, and the Handelfestspiele in Halle.
As well as conducting established mas?terpieces by Monteverdi, Handel, Bach and Purcell he is especially renowned for his imaginative programming, often calling upon the very latest research and placing music within the framework of great his?toric events and ceremonies.
Since 1993, Paul McCreesh has enjoyed an exclusive recording contract with Deutsche Grammophon Archiv Produktion. His recorded repertoire includes music by Gabrieli, Monteverdi, Purcell, Praetorius, Palestrina, Josquin, Victoria and Morales, and forthcoming recordings of Bach and Handel. These recordings, including video productions, have scooped most of the major international recording prizes, including two Gramophone Awards, the Diapason D'Or, the Deutschen Schallplatten Preis and two Edisons.
Away from his own ensemble, Paul McCreesh is noted for the breadth of his interests in later repertoire. He has per?formed Bruckner for the BBC and City of London Festival, Stravinsky, Haydn, Elgar and Faure with the Northern Sinfonia in Newcastle, and has appeared with the Orchestra Regionale Toscana in Florence,
with the Netherlands Bach Society and the Netherlands Chamber Choir. He has also enjoyed conducting opera and stage produc?tions in the UK, France, Holland and the US.
Tonight's performance marks Paul McCreesh's second appearance under UMS auspices.
Since its founding by Paul McCreesh in 1982, the Gabrieli Consort & Players have gained an international reputation for their performances of Renaissance and Baroque music. The ensemble is best known for its extraordinary reconstructions of famous sixteenthand seventeenth-century musical events. Much of this success can be attributed to the extensive research by Paul McCreesh in preparation for each project.
In 1989 the Consort & Players undertook their first historical reconstruction with A Venetian Coronation, 1595. Specifically, this consisted of music by Andrea and Giovanni Gabrieli performed at the coronation of Doge Marino Grimani at San Marco in Venice. This mixture of High Mass and grand ceremonial caught the imagination of a public unfamiliar with much of the music, and has proved largely popular. In 1991 the recording received Gramophone's Award for "Best Early Music Recording," the Edison Award, and the ABC Award.
Subsequent reconstructions have been similarly successful: Venetian Vespers (ves?pers as it might have been in 1640's Venice), Christmas in Rome (Palestrina's Missa Hodie Christus Natus Est at Santa Maria Maggiore, Rome: filmed for T.V., video and laser disc in 1992), and A Lutheran Christmas Mass (c. 1620) by Michael Praetorius, with its colorful range of renaissance instruments and massed choirs. The latest project of this kind took place recently at the Scuola di San Rocco in Venice, where Paul McCreesh ful?filled a long-held ambition by recreating
and recording in sound and vision, on the 700th anniversary of the birth of San Rocco, a concert given at the Scuola in August 1608. Entitled Music at San Rocco, this extraordinary event features fifty-two per?formers, among them seven organists, and includes Giovanni Gabrieli's most majestic polychoral pieces, culminating in the monu-
mental Magnificat for seven choirs. It was shown on European TV in 1996.
Paul McCreesh and the Gabrieli Consort & Players have extended their inter?national concert, broadcasting, and record?ing activity. They often record for BBC Radio 3 and perform throughout the UK, appearing at the BBC Proms, the South Bank, and at festivals including Oxford, Glasgow, York, Birmingham, Covent Garden, and Spitalfields. Along with critical?ly acclaimed performances at the BBC Proms, Vienna's Konzerthaus, and Cite de la Musique in Paris, they are regular guests at such leading European festivals as Lyon, Beaune, La Chaise Dieu, Flanders, and Utrecht.
In the field of music-theatre Paul McCreesh and the ensemble made an origi-
nal and well-received debut with a semi-staged production of Handel's Saul at the 1994 Covent Garden Festival in London. In 1995, Purcell's centenary year, they per?formed his dramatic masterpieces, King Arthur, The Fairy Queen, and Dido and Eneas throughout Europe.
In 1997, the Gabrieli Consort & Players
joined Musica Antiqua Koln in a spectacular perfor?mance of Biber's Salzburger Messe, which was presented and recorded by Deutsche
Gramophon's Archiv label to celebrate its fiftieth anniversary. Archiv also recorded the ensemble's fresh take on Handel's Messiah as a special anniversary release. Last fall, the Gabrieli Consort & Players toured the US with
their Venetian Vespers program to great critical acclaim.
Paul McCreesh and the Gabrieli Consort & Players record exclusively for Archiv Produktion.
Tonight's performance marks the Gabrieli Consort & Players' second appearance under UMS auspices.
Please refer to UMS Annals, page 25, for biographical information on the UMS Choral Union.
Tonight's performance marks the UMS Choral Union's 377th appearance under UMS auspices.
Members of the UMS Choral Union
Thomas Sheets, Conductor Justin Rossow, Assistant Conductor Jean Schneider-Claytor, Accompanist Edith Leavis Bookstein, Chorus Manager Kathleen Operhall, Co-Manager Donald Bryant, Conductor Emeritus
Soprano Debbie Brabenec Cheryl Clarkson Marie Davis Meridyth Jones Caroline Leyh Linda Marshall Marilyn Meeker Sara Peth Judith Premin Virginia Reese Mary Schieve Jeannine Scott Liz Starr Margie Warrick
Alto
Paula Brostrom Laura Clausen Deb Dowson Jeanette Faber
Judy Fettman Hilary Haftel Nancy Ham Jean Leverich Cynthia Lunan Beth McNally Carol Milstein Joan Morrison Lisa Murray Nancy Murphy Kathy Operhall Lynn Powell Cynthia Sorenson Elizabeth Suing
Tenor
Fr. Timothy Dombrowski
John Etsweiler III
Steven Fudge
Robert Hamel
Derek Jackson
Bob Klaffke Phil Rogers Matthew Rush Elizabeth Sklar
Bass
Harry Bowen Daniel Burns Robert Edwards Don Faber Philip Gorman Charles Hudson George Lindquist Lawrence Lohr Gerald Miller Michael Pratt Curt Scott John Sepp Fred Shure Terril Tompkins
UMS
Experience
THE 1999-2000 UMS SEASON
All educational activities are free and open to the public unless otherwise noted ($). For more infor?mation on educational activities, call the UMS Education Office at 734.647.6712 or the UMS Box Office at 734.764.2538. Activities are also posted on the UMS Website at www.ums.org.
UMS Co-Commission Laurie Anderson Songs and Stories from Moby Dick
Thursday, September 30, 8 p.m. Friday, October 1, 8 p.m. Saturday, October 2, 8 p.m. Power Center
Video Screening of Laurie Anderson's Home of the Brave (1986) hosted by Linda Kendall, Technologist for the U-M Media Union. Wednesday, September 29,6:30 p.m., Ann Arbor District Library, Main Branch, Multipurpose Room, Lower Level. Master of Arts Interview with Laurie Anderson. Interviewed by Stephen Rush, Professor of MusicDance Technology. Friday, October 1,12 noon, Power Center. In conjunction with the Stamps' Visiting Arts Program of the U-M School of Art and Design, and the Institute for Research on Women and Gender, and the U-M Museum of Art.
Meet the Artist Post-performance dialogue from the stage. Friday and Saturday, October 1-2. Media sponsors WDET and Metro Times.
Detroit Symphony Orchestra
Neeme Jarvi, conductor Sergei Leiferkus, bass-baritone Estonian National Male Choir UMS Choral Union Sunday, October 3,4 p.m. Hill Auditorium Sponsored by Bank One, Michigan. Media sponsor WGTE.
Andrea Marcovicci
Sunday, October 3, 6:30 p.m. Season Opening Dinner Michigan League Ballroom Please call 734.936.6837 for reser?vations and more information.
Amalia Hernandez'
Ballet Folklorico de Mexico
Tuesday, October 5, 8 p.m. Wednesday, October 6, 7 p.m. Power Center
Family Project Make a Mexican Skull Rattle at the Ann Arbor Art Center, Sunday, October 3. Call 734.994.8004 for more information ($). PREP "An Introduction to Mexican Folklore and Folkloric Dance" by Gregorio Luke, Director of the Latin American Museum of Los Angeles. Tuesday, October 5,7 p.m., Michigan League, Vandenberg Room, 2nd Floor. Sponsored by Comerica, Inc. with support from AAA Micliigan. 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 Wilhetm Kast and Friends of the Berlin Philharmonic Orchestra. Media sponsor WGTE.
Moondrunk
Da Camera of Houston Conceived by Sarah Rothenberg ChoreographyStage Direction
by John Kelly Lucy Shelton, soprano Friday, October 22, 8 p.m. Power Center
The King's Singers and Evelyn Glennie, percussion
Saturday, October 23, 8 p.m. Hill Auditorium Co-sponsored by O'Neal Construction, Inc. and Elastizell. Media sponsor WDET.
Schoenberg and His Kind Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music Sunday, October 24, 4 p.m. Rackham Auditorium Complimentary Admission
SankaiJuku
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
presents
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 Surovell Realtors.
American String Quartet
Beethoven the Contemporary Sunday, November 7,4 p.m. Rackham Auditorium Media sponsor Michigan Radio.
Les Arts Florissants Henry Purcell's King Arthur
William Christie, conductor
Wednesday, November 10, 8 p.m.
Hill Auditorium
PREP "Purcell's Music for the Stage"
with Ellwood Derr, U-M Professor of
Music. Wednesday, November 10,7 p.m.,
Michigan League, Vandenberg Room,
2nd Floor.
Presented with the generous support of
Maurice and Linda Binkow. Media
sponsor WGTE.
Theatre of Voices
Paul Hillier, director
Friday, November 12, 8 p.m.
St. Francis of Assisi Catholic
Church
Presented with the generous support of
Robert and Pearson Macek.
Paco de Lucia and Septet
Friday, November 19, 8 p.m. Hill Auditorium Sponsored by Parke-Davis Pharmaceutical Research. Media spon?sors WEMU and Metro Times.
KREMERata BALTICA
Gidon Kremer, violin Sunday, November 21,4 p.m. Rackham Auditorium
Sponsored by Deloitle & Touche.
The Harlem Nutcracker Donald ByrdThe Group
Friday, November 26-Sunday, December 5 Detroit Opera House Co-presented with the Detroit Opera House and The Arts League of Michigan and presented with support from the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network.
Handel's Messiah UMS Choral Union Ann Arbor Symphony Orchestra
Tamara Matthews, soprano Ewa Podles, contralto Glenn Siebert, tenor Andrew Wentzel, bass-baritone Thomas Sheets, conductor Saturday, December 4, 8 p.m. Sunday, December 5, 2 p.m. Hill Auditorium Presented with the generous support of Jim and Millie Irwin.
Boys Choir of Harlem
Thursday, December 9, 8 p.m. Hill Auditorium Sponsored by Thomas B. McMullen Co. A Heartland Arts Fund Program with the National Endowment for the Arts and the Michigan Council for Arts and Cultural Affairs.
Frederica von Stade, mezzo-soprano
Martin Katz, piano Friday, December 10, 8 p.m. Lydia Mendelssohn Theatre PREP with Richard LeSueur, Vocal Arts Information Services. Friday, December 10, 7 p.m., Michigan League, Koessler Library, 3rd Floor. Sponsored by National City Bank. Media sponsor WGTE.
A Lutheran Christmas
Celebration (c. 1620) Gabrieli Consort & Players
UMS Choral Union Paul McCreesh, director Tuesday, December 14, 8 p.m. St. Francis of Assisi Catholic Church
The Romeros
Sunday, January 9, 4 p.m. Rackham Auditorium
Bebe Miller Company
Saturday, January 15, 8 p.m. Power Center
Master of Arts Interview with Bebe Miller, choreographer, and showing of Three, a film by Isaac Julien featuring Bebe Miller and Ralph Lemon. Friday, January 14,7 p.m., Betty Pease Studio, 2nd Floor, U-M Dance Department. In conjunction with the Institute for Research on Women and Gender, Center for Afroamerican and African Studies, Center for Education of Women, and U-M Department of Dance. Dance Master Class Saturday, January 15,10:30 a.m., U-M Dance Department, Studio A.
PREP "Identity and Process in Bebe Miller's Choreography" by Kate Rumen, UMS Education and Audience Development Manager. Saturday, lanuary 15,7 p.m., Michigan League, Koessler Library, 3rd Floor. Meet the Artist Post-performance dialogue from the stage. Dance Department Mini Course "Four Women of the Dance:" a mini-course based on the UMS sponsored performances of four major American women choreographers" taught by Gay Delanghe, U-M Professor of Dance. Winter Term, 2000. Mass Meeting, Saturday, January 8,12 noon. For infor?mation, delanghe@umich.edu or call U-M Department of Dance, 734.763.5460. Media sponsors WDET and Metro Times.
Take 6
Monday, January 17, 8 p.m. Hill Auditorium Sponsored by Butzcl Long Attorneys with support from Republic Bank. Media sponsors WEMU and WDET. Co-presented with the U-M Office of Academic Multicultural Initiatives.
Yo-Yo Ma, cello Kathryn Stott, piano Thursday, January 20, 8 p.m. Hill Auditorium Sponsored by Forest Health Services. Media sponsor WGTE.
American String Quartet
Beethoven the Contemporary Sunday, January 23, 4 p.m. Rackham Auditorium Media sponsor Michigan Radio.
Russian National Orchestra
Mikhail Pletnev, conductor Francesko Schlime, piano UMS Choral Union Monday, January 24, 8 p.m. Hill Auditorium
Center for Russian and Eastern European Studies Symposium
"Scriabin and the End of Time" Sunday, January 23, Rackham Auditorium and Media Union. Full schedule at http:www-personal.umich. eduagreenesymposium.html or call 734.764.0351.
CREES Mini-Course on Fin de Siecle Russian Culture with Arthur Greene, Professor of Music and Michael Makin, Professor of Slavic Languages and Literature. Winter Term, 2000. For information, http:www-personal.umkh. eduagreenesymposium.html or call 734.764.0351.
Sponsored by Charla Breton Associates. Media sponsor WGTE.
Barbara Hendricks, soprano
Staffan Scheja, piano Saturday, January 29, 8 p.m. Lydia Mendelssohn Theatre PREP with Naomi Andre, U-M Professor of Music and Musicology. Saturday, January 29, 7 p.m., Michigan League, Koessler Library, 3rd Floor. Media sponsor WGTE.
Mozart and Friends --
A Birthday Celebration Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music Elwood Derr, director Sunday, January 30,4 p.m. Rackham Auditorium Complimentary Admission
Jazz at Lincoln Center Sextet
Friday, February 4, 8 p.m. Saturday, February 5, 2 p.m. (One-Hour Family Performance) Michigan Theater
Jazz Combo Master Classes with the Jazz at Lincoln Center Sextet. Thursday, February 3,7 p.m., U-M School of Music.
Sponsored by Blue Nile Restaurant with support from Hudson's and the Lila Wallace-Reader's Digest Audiences for the Performing Arts Neftvork. 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
WGTE.
Estonian Philharmonic Chamber Choir
Tonu Kaljuste, director Sunday, February 13, 8 p.m. St. Francis of Assisi Catholic Church
Murray Perahia, piano
Wednesday, February 16, 8 p.m. Hill Auditorium
Master of Arts Interview of Murray Perahia by Susan Isaacs Nisbett, music and dance writer for the Ann Arbor Navs. Tuesday, February 15, 7 p.m., U-M School of Music Recital Hall. Sponsored by CFI Group. Media sponsor WGTE.
New York City Opera National Company Rossini's The Barber of Seville
Thursday, February 17, 8 p.m. Friday, February 18, 8 p.m. Saturday, February 19, 2 p.m. (One-Hour Family Performance)
Saturday, February 19, 8 p.m.
Power Center
PREP "Opera 101 for Adults" with
Helen Siedel, UMS Education
Specialist. Friday, February 18,6:45
p.m., Michigan League, Hussey Room,
2nd Floor.
"PREP for Kids" with Helen Siedel,
UMS Education Specialist. Saturday,
February 19,1 p.m., Michigan League,
Koessler Library, 3rd Floor.
Sponsored by Parke-Davis Pharmaceutical
Research.
Christian Tetzlaff, violin Sunday, February 20, 8 p.m. St. Francis of Assisi Catholic Church
The Chieftains
Wednesday, March 8, 8 p.m. Hill Auditorium Sponsored by Bank of Ann Arbor. Media sponsor WDET.
Ballet d'Afrique Noire The Mand'tnka Epic
Jean Pierre Leurs, director
Thursday, March 9, 8 p.m.
Friday, March 10, 8 p.m.
Power Center
Master Classes Saturday, March 11
at Washtenaw Community College and
U-M Dance Department. Please call
734.647.6712 for times.
Sponsored by Detroit Edison Foundation.
Media sponsors WEMU and Metro
Times.
The English Concert Trevor Pinnock, conductor harpsichord
Saturday, March 11,8 p.m. Hill Auditorium PREP with Steven Whiting, U-M Professor of Musicology. Saturday, March 11,7 p.m., Michigan League, Hussey Room, 2nd Floor. Sponsored by Miller, Canfield, Paddock and Stone. Media sponsor WGTE.
Maestro AN Akbar Khan
accompanied by
Zakir Hussain
Friday, March 17, 8 p.m.
Hill Auditorium
Sponsored by Megasys Software Services,
Inc. Media sponsor WDET.
Oscar Peterson Quartet
Saturday, March 18, 8 p.m. Hill Auditorium PREP with Linda Yohn, Programming Director of WEMU. Saturday, March 18,7 p.m. Michigan League, Hussey Room, 2nd Floor.
Master of Arts Interview with Oscar Peterson, jazz piano. Saturday, March 18,12 noon, Kerrytown Concerthouse, 415 N. Fourth Avenue, Ann Arbor. In conjunction with Kerrytown Concert House, U-M Department of Jazz Studies, and Southeastern Michigan Jazz Association, and the Center for Afroamerican and African Studies. Sposored by Arbor TemporariesPersonnel Systems, Inc.Arbor Technical Staffing. Media sponsor WEMU.
American String Quartet
Beethoven the Contemporary Sunday, March 19, 4 p.m. Rackham Auditorium Meet the Artist Post-performance dia?logue from the stage. Media sponsor Michigan Radio.
Thomas QuasthofF, baritone
Justus Zeyen, piano Monday, March 20, 8 p.m. Lydia Mendelssohn Theatre PREP with Richard LeSueur, Vocal Arts Information Service. Monday, March 20, 7 p.m., Michigan League, Koessler Room, 3rd Floor. Meet the Artist Post-performance dialogue from the stage. Media sponsor WGTE.
J.S. Bach Birthday Celebration Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music Wednesday, March 22, 8 p.m. Rackham Auditroium Complimentary Admission
Forgiveness
Chen Shi-Zheng, director Friday, March 24, 8 p.m. Michigan Theater Presented with the generous support of Dr. Herbert Sloan.
Mammas
A Mediterranean Women's
Music Summit
Saturday, March 25, 8 p.m. Michigan Theater Sponsored by Ideation.
Beaux Arts Trio
Sunday, March 26, 4 p.m. Rackham Auditorium Sponsored by Dow Automotive.
Moscow Virtuosi Vladimir Spivakov, conductor Inva Mula, soprano Friday, March 31, 8 p.m. Rackham Auditorium Sponsored by Edward Surovell Realtors.
Czech Philharmonic Orchestra
Vladimir Ashkenazy, conductor Saturday, April 1, 8 p.m. Hill Auditorium Sponsored by Pepper Hamilton LLP. Media sponsor WGTE.
The Watts Prophets
with special guest Toni Blackman Saturday, April 8, 8 p.m. Michigan Theater Open Rehearsal at the Michigan Theater.
Hip-Hop Panel Discussion with the Watts Prophets, Toni Blackman, and Detroit Hip-Hop artists. Wednesday, April 5. In conjunction with the Center for Afroamerican and African Studies and the Institute for Research on Women and Gender, and the King 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
Orchestra
Ann Arbor Youth Chorale Thomas Sheets, conductor Sunday, April 16,4 p.m. Hill Auditorium PREP Sunday, April 16,3 p.m., Michigan League, Koessler Library, 3rd Floor.
Presented with the generous support of Carl and Isabelle Brauer.
Lincoln Center Jazz Orchestra Dance Tour
with Wynton Marsalis Saturday, April 22, 8 p.m. EMU Convocation Center Swing Dance Lesson with the Lincoln Center Jazz Orchestra Dancers. Saturday, April 22,6:30 p.m., Eastern Michigan University Convocation Hall. Sponsored by Hudson's Project Imagine. Presented with support from the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network. Media sponsor WEMU.
ord Honors Program Honorees
Cliburn
1997
Jessye
Norman
1998 Garrick Ohlsson
1999 The
Canadian Brass
The Ford Honors Program is made possible by a generous grant from the Ford Motor Company Fund and benefits the UMS Education Program.
Each year, UMS honors a world-renowned artist or ensemble with whom we have maintained a long-standing and significant relationship. In one evening, UMS pays tribute to and presents the artist with the UMS Distinguished Artist Award,
and hosts a dinner and party in the artist's honor This season's Ford Honors Program will be held on Friday, May 5, 2000. The recipient of the 2000 UMS Distinguished Artist Award will be announced in January.
EDUCATION & AUDIENCE DEVELOPMENT
In the past several seasons, UMS' Education and Audience Development program has grown significantly. With a goal of deepening the understanding of the importance of the live performing arts and the major impact the arts can have in the community, UMS now seeks out active and dynamic collabora?tions and partnerships to reach into the many diverse communities it serves.
Family Performances
For many years, UMS has been committed to providing the opportunity for families to enjoy the arts together.
This season's special, one-hour Family Performances include:
? Amalia Hernandez' Ballet Folklorico de Mexico
? Boys Choir of Harlem
Jazz at Lincoln Center Sextet
New York City Opera National Company: The Barber of Seville
Specially designed for family participation that creates an environment where both chil?dren and adults can learn together, the UMS Family Performances are a great way to spend quality time with your children.
Master of Arts Interview Series
Now entering its fourth year, this series is an opportunity to showcase and engage our artists in academic, yet informal, dialogues about their art form, their body of work and their upcoming performances.
This year's series includes interviews with:
Laurie Anderson
Bebe Miller
Meredith Monk Doudou D'Diaye Rose
Martha Clarke
Murray Perahia
Trisha Brown
PREPs (Performance-Related Educational Presentations)
This series of pre-performance presentations features talks, demonstrations and workshops designed to provide context and insight into the performance. All PREPs are open to the public and usually begin one hour before curtain time.
Meet the Artists: Post-Performance Dialogues
The Meet the Artist Series provides a special opportunity for patrons who attend perform?ances to gain additional understanding about the artist, performance and art form. Each Meet the Artist event occurs immediately after the performance, and the question-and-answer session takes place from the stage.
Residency Activities
UMS residencies cover a diverse spectrum of artistic interaction, providing more insight and greater contact with the artists. Residency activities include interviews, open rehearsals, lecturedemonstrations, in-class visits, master classes, participatory workshops, clinics, visit?ing scholars, seminars, community projects, symposia, panel discussions, art installations and exhibits. Most activities are free and open to the public and occur around the date of the artist's performance.
Major residencies for the 19992000 season are with:
? Lyon Opera Ballet
American String Quartet
? Russian National Orchestra
Jazz at Lincoln Center Sextet
Chen Shi-Zheng's Forgiveness
The Watts Prophets
Trisha Brown Company
ATTENTION TEACHERS AND EDUCATORS!
Youth Performances
These performances are hour-long or full length, specially designed, teacherand stu?dent-friendly live matinee performances.
The 19992000 Youth Performance Series includes:
Amalia Hernandez' Ballet Folklorico de Mexico
The Harlem Nutcracker
Boys Choir of Harlem
New York City Opera National Company: The Barber of Seville
Ballet d'Afrique Noire: The Mandinka Epic
Trisha Brown Company
Teachers who wish to be added to the youth performance mailing list should call 734.615.0122.
The Youth Education Program is sponsored by
Teacher Workshop Series
This series of workshops for all K-12 teachers is a part of UMS' efforts to provide school?teachers with professional development oppor?tunities and to encourage ongoing efforts to incorporate the arts in the curriculum.
This year's Kennedy Center Workshops are:
"Developing Literacy Skills Through Music"
"Bringing Literature to Life"
"Making History Come Alive"
? "Reaching the Kinesthetic Learner Through Movement"
Workshops focusing on the UMS youth performances are:
"Opera in the Classroom"
"African Drumming in the Classroom"
"Jazz in the Classroom" with the Jazz at
Lincoln Center Sextet
"Modem Dance in the Classroom"
For information and registration, please call 734.615.0122.
The Kennedy Center Partnership
The University Musical Society and Ann Arbor Public Schools are members of the Performing Arts Centers and Schools: Partners in Education Program of the John F. Kennedy Center for the Performing Arts. Selected because of its demonstrated com?mitment to the improvement of education in and through the arts, the partnership team participates in collaborative efforts to make the arts integral to education and creates a multitude of professional development opportunities for teachers and educators.
Special Discounts for Teachers and Students to Public Performances
UMS offers special discounts to school groups attending our world-class evening and weekend performances. Please call the Group Sales Office at 734.763.3100 for more infor?mation about discounts for student and youth groups.
DINING EXPERIENCES
UMS Camerata Dinners
Hosted by members of the UMS Board of Directors, Camerata dinners are a delicious and convenient beginning to your concert evening and are welcome to all. Our dinner buffet is open from 6:00 to 7:30 p.m. offering you the perfect opportunity to arrive early, park with ease, and dine in a relaxed setting with friends and fellow patrons. All dinners are held in the Alumni Center unless otherwise noted below. Dinner is $25 per person. Reservations can be made by calling 734.647.8009. UMS members receive reservation priority.
Wednesday, October 20
Berlin Philharmonic Orchestra
Saturday, October 23
The King's Singers and Evelyn Glennie This dinner will be held in the Stearns' Room in Hill Auditorium. ' Wednesday, November 10 Les Arts Florissants Henry Purcell's King Arthur
Thursday, January 20
Yo-Yo Ma
Monday, January 24
Russian National Orchestra
Saturday, February 5
Gothenburg Symphony Orchestra
Saturday, February 12
Anne-Sophie Mutter
Wednesday, February 16
Murray Perahia ? Saturday, March 11 The English Concert
Saturday, April 1
Czech Philharmonic Orchestra
Please Note: All dinners are scheduled prior to performances on the Choral Union Series except for the Saturday, October 23 dinner prior to The King's Singers. This performance is part of the Ann Arbor Favorites Series.
RESTAURANT & LODGING PACKAGES
Celebrate in style with dinner and a show or stay overnight and relax in comfort! A delicious meal followed by priority, reserved seating at a performance by world-class artists makes an elegant evening -add luxury accommodations to the package and make it a complete get-a-way. The University Musical Society is pleased to announce its cooperative ventures with the following local establishments:
The Artful Lodger Bed & Breakfast
1547 Washtenaw Avenue 734.769.0653 for reservations Join Ann Arbor's most theatrical host and hostess, Fred & Edith Leavis Bookstein, for a weekend in their massive stone house built in the mid-1800s for U-M President Henry Simmons Frieze. This historic house, located just minutes from the performance halls, has been comfortably restored and furnished with contemporary art and performance memorabilia. The Bed & Breakfast for Music and Theater Lovers!
Package price ranges from $200 to $225 per couple depending upon performance (subject to availability) and includes two nights stay, breakfast, high tea and two prior?ity reserved tickets to the performance.
The Bell Tower Hotel & Escoffier Restaurant
300 South Thayer
734.769.3010 for reservations and prices Fine dining and elegant accommodations, along with priority seating to see some of the world's most distinguished performing artists, add up to a perfect overnight holiday. Reserve space now for a European-style guest room within walking distance of the per?formance halls and downtown shopping, a special performance dinner menu at the
Escoffier restaurant located within the Bell Tower Hotel, and priority reserved "A" seats to the show. All events are at 8 p.m. with dinner prior to the performance.
Sat. Jan. 15 Bebe Miller Company Sat. Jan. 29 Barbara Hendricks, soprano Fri. Feb. 4 Jazz at Lincoln Center Sextet
Sat. Feb. 5 Gothenburg Symphony Orchestra
Sat. Feb. 12 Anne Sophie Mutter, violin Sat. Feb. 19 New York City Opera National
Company: The Barber of Seville Fri. Mar. 10 Ballet d'Afrique Noire:
The Mandinka Epic
Fri. Mar. 17 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 Gonzalez y su Grupo
Fri. Nov. 19 Paco de Lucia and Septet
Sun. Dec. 5 Handel's Messiah
(post-performance dinner)
Mon. Jan. 17 Take 6
Fri. Feb. 18 New York City Opera National Company: The Barber of Seville
Sat. Mar. 18 Oscar Peterson Quartet
Sat. Apr. 1 Czech Philharmonic Orchestra
Pre-performance dinner Package includes guaranteed reservations for a preor post-performance dinner (choose any selection from the special package menu plus a non-alcoholic beverage) and reserved "A" seats on the main floor at the performance.
THE UMS PREFERRED RESTAURANT PROGRAM
Visit and enjoy these fine restaurants. Join us in thanking them for their generous support of UMS this season.
Azure
625 Briarwood Circle 734.747.9500 Experience the culture of fourteen Mediterranean countries with our authentic cuisine and cerulean bar. Reservations accepted for preand post-UMS performances. Visit us at www.azureusa.com.
Bella Ciao Trattoria
118 West Liberty 734.995.2107 Known for discreet dining with an air of casual elegance, providing simple and elabo?rate regional Italian dishes for you and your guests' pleasure. Reservations accepted.
Blue Nile
221 East Washington Street 734.998.4746 Join us for an authentic dining adventure to be shared and long remembered. Specializing in poultry, beef, lamb and vegetarian specialties. Outstanding wine and beer list.
Cafe Marie
1759 Plymouth Road 734.662.2272 Distinct and delicious breakfast and lunch dishes, creative weekly specials. Fresh-squeezed juice and captivating cappuccinos! A sunny, casual, smoke-free atmosphere. Take out available.
The Chop House
322 South Main Street 734.669.9977 Ann Arbor's newest taste temptation. An elite American Chop House featuring U.S.D.A. prime beef, the finest in Midwestern grain-fed meat, and exceptional premium wines in a refined, elegant setting. Open nightly, call for reservations.
The Original Cottage Inn
512 East William 734.663.3379 An Ann Arbor tradition for more than 50 years. Featuring Ann Arbor's favorite pizza, a full Italian menu, banquet facilities and cater?ing services.
D'Amato's Neighborhood Restaurant
102 South First Street 734.623.7400 Casual dining, serving wonderful home style Italian cuisine; many entrees changed daily. Featuring 35 wines by the glass, banquet seat?ing, and moderate prices. Rated '4 Stars' by the Detroit Free Pressl Reservations welcome.
The 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.
Gratzi
326 South Main Street 734.663.5555 Celebrated, award-winning Italian cuisine served with flair and excitement. Sidewalk and balcony seating. Open for lunch and dinner. Reservations accepted.
The Kerrytown Bistro
At the comer of Fourth Ave and Kingsley in Kerrytown 734.994.6424 The Kerrytown Bistro specializes in fine French Provincial inspired cuisine, excellent wines and gracious service in a relaxed, inti?mate atmosphere. Hours vary, reservations accepted.
La Dolce Vita
322 South Main Street 734.669.9977 Offering the finest in after-dinner pleasures. Indulge in the delightful sophistication of gourmet desserts, fancy pastries, cheeses, fine wines, ports, sherries, martinis, rare scotches, hand-rolled cigars and much more. Open nightly.
Miki
106 South First Street 734.665.8226 Award-winning classic Japanese food based on the freshest ingredients. Dinner reserva?tions suggested. Open for weekday lunch and dinner every day until 10 p.m. and 11 p.m. on Friday and Saturday.
The Moveable Feast
326 West Liberty 734.663.3278 Located just west of Main Street in the restored Brehm estate. Fine American cuisine with a global fare. Full service catering, bakery, wedding cakes.
Palio
347 South Main Street 734.930.6100 Zestful country Italian cooking, fresh flavors inspired daily. Featuring the best rooftop seating in town. Open for dinner nightly. Reservations accepted, large group space available.
Real Seafood Company
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.
Zanzibar
216 South State Street 734.994.7777 Contemporary American food with Mediterranean & Asian influences. Full bar featuring classic and neo-classic cocktails, thoughtfully chosen wines and an excellent selection of draft beer. Spectacular desserts. Space for private and semi-private gatherings up to 120. Smoke-free. Reservations encour?aged.
UMS
Support
UMS Volunteers are an integral part of the success of our organization. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome you to the UMS family and involve you in our exciting programming and activities. We rely on volunteers for a vast array of activities, including staffing the education residency activities, assisting in artist services and mailings, escorting students for our popular youth performances and a host of other projects. Call 734.763.0611 to request more information.
ADVISORY COMMITTEE
Now forty-two members strong, the UMS Advisory Committee serves an integral function within the organization, supporting UMS with a volunteer corps and assisting in fundraising. Through an annual auction, season opening events, and the Ford Honors Program gala, the Advisory Committee has pledged to donate $250,000 to UMS this sea?son. Additionally, the Committee's hard work will be in evidence this fall when it publishes BRAVO!, a cookbook that traces the history of UMS through the past 120 years, with recipes submitted by artists who have per?formed under our auspices. If you would like to become involved in this dynamic group,
call 734.936.6837 for more information.
The Advisory Committee also seeks people to help with activities such as escorting students at our popular youth performances, assisting with mailings, and setting up for special events. Please call 734.936.6837 if you would like to volunteer for a project.
SPONSORSHIP & ADVERTISING
Advertising in the UMS program book or sponsoring UMS performances will enable you to reach 130,000 of southeastern Michigan's most loyal concertgoers.
Advertising
When you advertise in the UMS program book you gain season-long visibility, while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descriptions that are so important to performance experi?ences. Call 734.764.6833 to learn how your business can benefit from advertising in the UMS program book.
Sponsorship
As a UMS corporate sponsor, your organiza?tion comes to the attention of an educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treasures. And there are numerous benefits
join Us
Because Music Matters
UMS members have helped to make possible this 121st season of distinctive concerts. Ticket revenue covers only 61 of our costs. The generous gifts from our contributors continue to make the dif?ference. Cast yourself in a starring role--become a UMS member. In return, you'll receive a variety 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
Internships with UMS provide experience in performing arts administration, marketing, publicity, promotion, production and arts education. Semesterand year-long intern?ships are available in many of the University Musical Society's departments. For more information, please call 734.763.0611.
COLLEGE WORK-STUDY
Students working for UMS as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, event planning and production. If you are a college student who receives work-study financial aid and who is interest?ed in working UMS, please call 734.763.0611.
USHERS
Without the dedicated service of UMS' Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing program books and pro?viding that personal touch which sets UMS events above others.
The UMS Usher Corps comprises 275 indi?viduals who volunteer their time to make your concert-going experience more pleasant and efficient. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific venue (Hill, Power Center, or Rackham) for the entire concert season.
If you would like information about joining the UMS Usher Corps, leave a message for our front of house coordinator at 734.913.9696.
MEMBERSHIP
Great performances--the best in music, theater and dance --are presented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, members of the Society. fo The list below represents names of current donors as of July 31, 1999. If there has been an error or omission, we apologize and would appreciate a call at 734.647.1178 so that we can correct it right away. UMS would also like to thank those generous donors who wish to remain anonymous.
SOLOISTS
Individuals
Carl and Isabelle Brauer Dr. Kathleen G. Charla Dr. and Mrs. James Irwin The Lohr Family Charlotte McGeoch Randall and Mary Pittman Herbert Sloan and several anonymous donors
Businesses
Aetna Corporation
Bank One
Brauer Investments
Ford Motor Company Fund
Forest Health Services
Corporation Hudson's Parke-Davis Pharmaceutical
Research Office of the Provost,
University of Michigan
Foundations
Arts Midwest
The Ford Foundation
John S. and James L. Knight
Foundation Lila Wallace Reader's
Digest Audiences for the
Performing Arts Network Lila Wallace Reader's Digest
Arts Partners Program Michigan Council for Arts and
Cultural Affairs National Endowment for the Arts
MAESTROS
Individuals
Herb and Carol Amster Ronnie and Sheila Cresswell Robert and
Janice DiRomualdo Charles N. Hall Roger and Coco Newton Prudence and
Amnon Rosenthal Edward Surovell and
Natalie Lacy Ronald and Eileen Weiser
Businesses
Arbor Temporaries Personnel SystemsArbor Technical Staffing, Inc.
Comerica Deloitte & Touche Elastizell Corp of America I. B. M. KeyBank
Masco Corporation McKinley Associates Mechanical Dynamics Mervyn's California National City Corporation NSK Corporation Edward Surovell Realtors
Foundations
Benard L. Maas Foundation Mid-America Arts Alliance
VIRTUOSI
Individuals
Thomas B. and
Deborah McMullen
Businesses
Beacon Investment Company Holnam, Inc. Thomas B. McMullen Company
CONCERTMASTERS
Individuals
Maurice and Linda Binkow Douglas Crary Ken and Penny Fischer Beverley and Gerson Geltner Sun-Chien and Betty Hsiao F. Bruce Kulp and Ronna
Romney David G. Loesel Sally and Bill Martin Natalie Matovinovic Joe and Karen Koykka O'Neal John and Dorothy Reed Loretta M. Skewes Carol and Irving Smokier Marina and Robert Whitman
Businesses
Bank of Ann Arbor
Butzel Long Attorneys
Cafe Marie
CFI Group
Chelsea Milling Company
Dow Automotive
Miller, Canfield, Paddock,
and Stone
O'Neal Construction Visteon
Foundations
Chamber Music America Institute for Social Research THE MOSAIC FOUNDATION (ofR. &P. Heydon)
LEADERS
Individuals
Martha and Bob Ause Bradford and Lydia Bates Raymond and Janet Bernreuter Joan A. Binkow Jim Botsford and Janice Stevens Botsford
Mr. and Mrs. William Brannan Dr. Barbara Everitt Bryant Dr. and Mrs. James P. Byrne Kathleen and Dennis Cantwell Edwin and Judith Carlson Mr. Ralph Conger Katharine and Jon Cosovich Jack and Alice Dobson Jim and Patsy Donahey Mr. and Mrs. Thomas C. Evans John and Esther Floyd Otto and Lourdes E. Gago Debbie and Norman Herbert Keki and Alice Irani Robert and Pearson Macek Robert and Ann Meredith George and Barbara Mrkonic Murray Pitt John Psarouthakis Don and Judy Dow Rumelhart Professor Thomas J. and
Ann Sneed Schriber Susan B. Ullrich Don and Carol Van Curler Richard E. and
Laura A. Van House Mrs. Francis V.Viola III John Wagner Marion T. Wirick and
James N. Morgan
Businesses
Alcan Automotive Products
AAA Michigan
Blue NUe
Joseph Curtin Studios
Dennis Dahlmann, Inc.
ERIM International Inc
Ideation, Inc.
Megasys Software Services, Inc.
Pepper, Hamilton & Scheetz
Republic Bank Ann Arbor
Sesi Investment
Target Stores
Foundations
Ann Arbor Area Community Foundation
PRINCIPALS
Individuals
Dr. and Mrs. Gerald Abrams
Mrs. Gardner Ackley
Jim and Barbara Adams
Bernard and Raquel Agranoff
Dr. and Mrs. Robert G. Aldrich
Alf Studios
Lloyd and Ted St. Antoine
Max K. Aupperle
Emily W. Bandera, M.D.
Peter and Paulett Banks
A. J. and Anne Bartoletto
Karen and Karl Bartscht
Kathy Benton and Robert Brown
L. S. Berlin
Philip C. Berry
Suzanne A. and Frederick J. Beutler
Lee C. Bollinger and Jean
Magnano Bollinger Howard and Margaret Bond Bob and Sue Bonfield Laurence and Grace Boxer Jeannine and Robert Buchanan John T. Buck
Lawrence and Valerie Bullen Mr. and Mrs. Richard J. Burstein Letitia J. Byrd Betty Byrne
Edward and Mary Cady Kathleen and Dennis Cantwell Bruce and Jean Carlson Jean and Kenneth Casey Janet and Bill Cassebaum George and Patricia Chatas Don and Betts Chisholm Mr. and Mrs. John Alden Clark David and Pat Clyde Leon and Heidi Cohan Howard J. Cooper Mary K. Cordes Peter and Susan Darrow Molly and Bill Dobson Elizabeth A. Doman Mr. and Mrs. John R. Edman Dr. and Mrs. S.M. Farhat David and Jo-Anna Featherman Adrienne and Robert Z. Feldstein Ray and Patricia Fitzgerald David C. and Linda L. Flanigan Robben and Sally Fleming James and Anne Ford Ilene H. Forsyth Michael and Sara Frank Edward P. Frohlich
Principals, continued
Marilyn G. Gallatin James and Cathie Gibson William and Ruth Gilkey Drs. Sid Gilman and Carol
Barbour
Sue and Carl Gingles Alvia G. Golden and
Carroll Smith-Rosenberg Norm Gottlieb and
Vivian Sosna Gottlieb Linda and Richard
Greene Frances Greer Alice Berberian
Haidostian
Taraneh and Carl Haske Anne and Harold Haugh David and Phyllis Herzig Bertram Herzog Julian and Diane Hoff Janet Woods Hoobler Robert M. and Joan F.
Howe John and Patricia
Huntingdon
Stuart and Maureen Isaac Mercy and Stephen Kasle Herbert Katz Richard and Sylvia
Kaufman Thomas and Shirley
Kauper
Bethany and Bill Klinke Charles and
Linda Koopmann Michael and
Phyllis Korybalski Dimitri and
Suzanne Kosacheff Barbara and
Michael Kusisto Lee E. Landes Mr. and Mrs. Henry M. Lee Leo and Kathy Legatski Evie and Allen Lichter Mrs. Frances M. Lohr Dean and Gwen Louis John and Cheryl MacKrell Judy and Roger Maugh Paul and Ruth McCracken Joseph McCune and
Georgiana Sanders Rebecca McGowan and
Michael B. Staebler Hattie and Ted McOmber Dr. and Mrs.
Donald A. Meier
Dr. H. Dean and
Dolores Millard Andrew and
Candice Mitchell Lester and Jeanne Monts Grant W. Moore Dr. and Mrs. Joe D. Morris Cruse W. and
Virginia Patton Moss Eva L. Mueller Mr. and Mrs. Homer Neal M. Haskell and
Jan Barney Newman William and
Deanna Newman Mrs. Marvin Niehuss Marylen and
Harold Oberman Bill and Marguerite Oliver Gilbert Omenn and
Martha Darling Constance L. and
David W. Osier Mrs. Charles Overberger William C. Parkinson Dory and John D. Paul John M. Paulson Maxine and
Wilbur K. Pierpont Eleanor and Peter Pollack Donald H. Regan and
Elizabeth Axelson Ray and Ginny Reilly Maria and Rusty Restuccia Ken Robinson Barbara A. Anderson and
John H. Romani Gustave and
Jacqueline Rosseels Dr. Nathaniel H. Rowe Dick and Norma Sams Maya Savarino Mrs. Richard C. Schneider Rosalie and
David Schottenfeld Robert Sears and
Lisa M. Waits Joseph and Patricia Settimi Janet and Mike Shatusky Helen and George Siedel J. Barry and
Barbara M. Sloat Steve and Cynny Spencer Judy and Paul Spradlin Mr. and Mrs.
John C. Stegeman Victor and
Marlene Stoeffler Lois A. Theis
Dr. Isaac Thomas III
and Dr. Toni Hoover Jerrold G. Utsler Charlotte Van Curler Mary Vanden Belt Ellen C. Wagner Elise and Jerry Weisbach Roy and JoAn Wetzel Paul and Elizabeth Yhouse
Businesses
Consulate Gen. of the
Federal Republic of
Germany General Automotive
Corporation Pan Tropical, LTD Red Hawk Bar and
GrillZanzibar Shar Music Company Standard Federal Bank STM Inc.
Foundations
J. F. Ervin Foundation Harold and Jean
Grossman Family
Foundation
The Lebensfeld Foundation Montague Foundation The Power Foundation
BENEFACTORS
Individuals
M. Bernard Aidinoff Robert P. Ainsworth Michael and Su.m Alexander Carlene and Peter Aliferis Dr. and Mrs. Rudi Ansbacher Catherine S. Arcure Jennifer Arcure and Eric
Potoker
Janet and Arnold Aronoff James R. Baker, Jr., M.D.
and Lisa Baker Gary and Cheryl Balint Norman E. Barnett Mason and Helen Barr Robert and Wanda Bartlett Kathleen Beck Neal Bedford and Gerlinda
Melchiori Henry J. Bednarz Ralph P. Beebe Harry and Betty Benford Ruth Ann and Stuart J.
Bergstein John Blankley and
Maureen Foley
Jane M. Bloom Elizabeth and Giles G. Bole Charles and Linda Borgsdorf Professor and
Mrs. Dale E. Briggs David and Sharon Brooks June and Donald R. Brown Douglas and Marilyn Campbell Jean W. Campbell George R. Carignan Jim and Priscilla Carlson Mrs. Raymond S. Chase James S. Chen Janice A. Clark John and Nancy Clark Jim and Connie Cook Susan and Arnold Coran H. Richard Crane Alice B. Crawford Mary R. and John G. Curtis Mr. and Mrs.
William H. Damon III John and Jean Debbink James M. Deimen Delia DiPietro and
Jack Wagoner, M.D. Dr. and Mrs.
Stephen W. Director Mr. and Mrs.
Raymond D. Dornbusch Charles and Julia Eisendrath Dr. Alan S. Eiser David 1 klu ml and Jeff Green Stefan S. and Ruth S. Fajans Claudine Farrand and
Daniel Moerman Dr. and Mrs. John A. Faulkner Dede and Oscar Feldman Ronda and Ron Ferber Sidney and Jean Fine Susan Goldsmith and
Spencer Ford Phyllis W. Foster Paula L. Bockenstedt and
David A. Fox Bernard and Enid Galler Drs. Steve Geiringer and
Karen Bantel
Thomas and Barbara Gelehrter Beverly Gershowitz Elmer G. Gilbert and
Lois M. Verbrugge Joyce and Fred M. Ginsberg Paul and Anne Glendon Susie and Gene Goodson Dr. Alexander Gotz Cozette Grabb
Dr. and Mrs. William A. Grade Elizabeth Needham Graham Dr. John and Renee M. Greden John and Helen Griffith Leslie and Mary Ellen Guinn Helen C. Hall
Mr. and Mrs. Elmer F. Hamel William Hann Susan Harris Paul Hysen and
Jeanne Harrison Clifford and Alice Hart
Mr. and Mrs. E. Jan Hartmann
Anne Vance Hatcher
Nina E. Hauser
leannine and Gary Hayden
Fred and Joyce Hershenson
Mrs. W.A. Hiltner
Mr. and Mrs. William B.
Holmes
David and Dolores Humes Ronald R. and
Gaye H. Humphrey ohn 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 (ill 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 lohn 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 Ara Paul Margaret and Jack Petersen Lorraine B. Phillips William and Betty Pierce Stephen and Bettina Pollock
Richard L. Prager and
Lauren O'Keefe Richard H. and Mary B. Price V. Charleen Price Bradley and Susan Pritts Mrs. Gardner C. Quarton William and Diane Rado Mrs. Joseph S. Radom Jim and leva Rasmussen )im and Bonnie Reece La Vonne and Gary Reed Rudolph and Sue Reichert Mary R. Romig-deYoung Mrs. Irving Rose Dr. Susan M. Rose Jeri Rosenberg and
Victor Strecher Ronald and Donna Santo Sarah Savarino Peter C. Schaberg and
Norma J. Amrhein David and Marcia Schmidt Meeyung and Charles
Schmitter
Edward and Jane Schulak Dr. John J. H. Schwarz Julianne and Michael Shea Howard and Aliza Shevrin Frances U. and Scott K.
Simonds
Scott and Joan Singer George and
Mary Elizabeth Smith Dr. Elaine R. Soller Cynthia J. Sorensen Gus and Andrea Stager Mrs. Ralph L. Steffek Dr. and Mrs. Jeoffrey K. Stross Nancy Bielby Sudia Charlotte B. Sundelson Brian and Lee Talbot Bob and Betsy Teeter James L. and Ann S. Telfer John D. Tennant and
Barbara Campbell Scott Bennett Terrill 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
Businesses
The Barfield CompanyBartech Detroit and Canada Tunnel
Corporation
Detroit Swedish Council, Inc. Edwards Brothers, Inc. Guardian Industries
Corporation Quinn EvansArchitects Charles Reinhart Company Rosebud Solutions Stirling Thermal Motors, Inc. Swedish Club
Foundations
The Kennedy Center for the Performing Arts
ASSOCIATES
Individuals
Anastasios Alexiou Mike Allemang and
Denise Boulange Christine Webb Alvey Dr. and Mrs. David G. Anderson David and Katie Andrea Harlene and Henry Appclman Jeff and Deborah Ash Mr. and Mrs. Arthur ). Ashe, III Mr. and Mrs. Dan E. Atkins III Jim and Patsy Auiler Jonathan and Marlene Ayers Dr. and Mrs. Daniel R. Balbach Lesli and Christopher Ballard Cy and Anne Barnes Gail Davis Barnes Victoria and Robin Baron Leslie and Anita Bassett Scott Beaman Astrid B. Beck and
David Noel Frecdman Linda and Ronald Benson Robert Hunt Berry Sheldon and Barbara Berry Ronald J. Bienkowski Mary Steffek Blaske and
Thomas Blaske Cathie and Tom Bloem Paula L. Bockenstedt and
David A. Fox
Ron and Mimi Bogdasarian Harold and Rebecca Bonnell Roger and Polly Bookwalter Dr. and Mrs. C. Paul Bradley lames and 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. Cut leannette 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 . 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 oe and Nan Decker Penny and Laurence B. Deitch Pauline and lay 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 I mil 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 lay 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 J. Goldstein and
Marty Mayo Enid M. Gosling Lila and Bob Green Dr. and Mrs. Lazar J. 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. Haefner and
Cynthia J. Stewart Susan and John Halloran Robert and Jean Harris Naomi Gottlieb Harrison and
Theodore Harrison DDS Thomas and Connie HefTner J. Lawrence and Jacqueline
Stearns Henkel Carl and Charlene Herstein Russell and Elizabeth Hines Peter G. Hinman 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 Hunsche
Thomas and Kathryn Huntzicker Eileen and Saul Hymans Robert B. lngling Carol and John Isles Harold and Jean Jacobson Wallic and Janet Jeffries James and Elaine (ensen 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 Denise 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 Krchbiel 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 lean Manis
Marcovitz Family
Nancy and Philip Margolis
Geraldine and Sheldon Market
Invin 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 Deanna Relyea and
Piotr Michalowski Prof, and Mrs. Douglas Miller Jcanette and lack 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 Quackenbush Anthony L. Reffells and
Elaine A. Bennett
Carol P. Richardson lack 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 Kimm 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 lari Smith Radlcy and Sandra Smith Mrs. Robert W. Smith lorge 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. loan 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
Businesses
The Ann Arbor District Library
Atlas Tool, Inc.
Bella Ciao Trattoria
Coffee Express Co.
Dupuis & Ryden P.C.
Jenny Lind Club of Michigan,
Inc.
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
Foundations
ShifTman Foundation Trust
(Richard Levey) The Sneed Foundation, Inc.
ADVOCATES
Individuals
John R. Adams Tim and Leah Adams K.iu and Nobuko Akitomo Gordon and Carol Allardycc James and Catherine Allen Richard and Bettye 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
Cathlccn Culotta-Andonian Timothy and Caroline Andrescn Dr. and Mrs. Dennis L. Angellis Barbara T. Appelman Patricia and Bruce Arden Bert and Pat Armstrong Thomas and Mary Armstrong Gaard and Ellen Arneson Mr. and Mrs. Lawrence E. Arnett Rudolf and Mary Arnhcim Elaine and Richard Aron Dwight Ashley Eric M. and Nancy Aupperle
ohn and Rosemary Austgen Erik and Linda Lee Austin Shirley and Don Axon Virginia and lerald Bachman lane Bagchi Chris and Heidi Bailey Prof, and Mrs. J. Albert Bailey Richard W. Bailey and
Julia Huttar Bailey Doris 1. 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. Jere Bauer
Mr. and Mrs. Gilbert M. Bazil, Jr. Kenneth C. Beachlcr James and Margaret Bean Mr. and Mrs. John C. Bcatty James M. Beck and
Robert J. McGranaghan Mr. and Mrs. Steven R. Beckert Robert Becklcy and Jytte Dinesen Robert B. Beers Steve and Judy Bemis Walter and Antje Benenson
Merete and
Erling Blondal Bengtsson Joan andRodney Bentz Mr. and Mrs. Ib Bentzen-Bilkvist Dr. Rosemary R. Berardi Jim Bergman and Penny Hommel Abraham and Thelma Bcrman Harvey and
Rochclle Kovacs Berman Pearl Bernstein Gene and Kay Bcrrodin Andrew H. Berry, D.O. Harvey Bertcher Mark Bertz
Narcn and Nishta Bhatia Bharat C. Bhushan John and Marge Biancke Dan and Irene Biber Eric and Doris Billcs William and Ucnc 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 I. 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 Bratcr Robert and Jacqueline Brce Patricia A. Bridges Patrick and Kyoko Brodcrick ! or ii.i Brodtkorb Linda Brown and Joel Goldberg Susan S. and Wesley M. Brown Cindy Browne
Mr. and Mrs. John M. Brueger Mrs. Webster Brumbaugh Elizabeth A. Buckner
Isabel Buckncr
Dr. Frances E. Bull
Robert and Carolyn Burack
Marilyn Burhop
Tony and lane 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. Ccrny K. M. Chan
Bill and Susan Chandler Joan and Mark Chcsler Tim Cholyway
Edward and Rebecca Chudacoff Sallie 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 CorTey Alice S. Cohen Hubert and Ellen Cohen Hilary and Michael Cohen Mike and Tedi Collier Matthew and Kathryn Collins Ed and Cathy Colone Carolyn and L. Thomas Conlin Patriot 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 Townlcy and Joann Culbertson Jean Cunningham Richard J. Cunningham Dolores Nachman Curiel Roderick and Mary Ann Daane Mr. and Mrs. John R. Dale Mary Ice Dalton Mr. and Mrs. Norman Dancy Mildred and William B. Darnton Jane and Gawaine Dart Stephen Darwall and
Roscmaric Hester Sunil and Mcrial 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 DeTuIlio and
Stephen Wiseman Don and Pam Devine Elizabeth P.W. DeVine 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 Norrene M. Dreffs Dale R. and Betty Berg Drew Cecilia and Allan Dreyfuss lanet Driver and Daniel Hyde lohn Dryden and Diana Raimi Ronald and Patricia Due Rhetaugh G. Dumas Robert and Connie Dunlap Richard F. Dunn lean and Russell Dunnaback Peter and Grace Duren Edmund and Mary Durfee lohn W. Durstine George C. and Roberta R. Earl Charlotte K. Eaton lacquelynne S. Eccles Morgan H. and Sara O. Edwards Rebecca Eisenberg and
Judah Garbcr Judge and Mrs. S. I. Elden Sol and Judith Elkin Julie and Charles Ellis Ethel and Sheldon Ellis James Ellis and lean 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, Ir. Mark and Karen Falahee EUy and Harvey Falit Thomas and lulia Falk Phil and Phyllis Fcllin Larry and Andra Ferguson
Dr. and Mrs. lames Ferrara Yi-tsi M. and Albert Feucrwcrkcr
Susan Filipiak
Swing City Dance Studio
Clay Finkbeiner
Marilvn Finkbeiner
Davio 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
lason I. Fox
William and Beatrice Fox
Lynn A. Freeland
Lucia and Doug Frceth
Sophia L. French
Marilyn Friedman
Gail Fromes
Mr. and Mrs. Charles C. Froning
Icrry Frost
Philip And Rencc Frost
Bartley R. Frueh, MD
Joseph E. Fugerc and Marianne C. Mussett
Lois W. Gage
Jane Galantowicz
Dr. Thomas H. Galantowicz
Mrs. Don Gargaro
Jack J. and Helen Garris
C. Louise Garrison
Janet and Charles Garvin
Allan and Harriet Gclfond
Mrs. Jutta Gerber
Deborah and Henry Gerst
Michael Gerstenberger
W. Scott Gerstenberger and Elizabeth A. Sweet
Paul and Suzanne Gikas
Beverly leannc Giltrow
Gary and Rachel Glick
Robert and Barbara Gockel
Vlbert L Goldberg :d and Mona Goldman iteve and Nancy Goldstein Vryl and Davia Goldsweig Vlrs. Eszter Gombosi Vlitch and Barb Goodkin lesse and Anitra Gordon Charles Goss
lames W. and Maria f. GoussefT Michael L. Gowing Britt-Marie Graham Christopher and Elaine Graham Mr. and 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. Atlee Grillot Marshall J. and Ann C. Grimm Marguerite M. Gritcnas Betty and Chuck Gross Laurie Gross
Richard and Marion Gross Frederick and Iris Gruhl David and Kay Gugala Mr. and Mrs. Lionel 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
Stepnen G. and Mary Anna Harper Doug Harris and Deb Peery Laurelynne Daniels and
George P. Harris Ed Saratn 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 Heiningcr 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 Hilbcrt Herb and Dec Hildebrandt Lorna and Mark Hildebrandt Lynn M. Hill Ms. Teresa Hirth James and Ann Marie Hitchcock Louise Hodgson Jane and Dick Hoerner Anne Hoffand George Villcc Robert and Frances Hoffman Robert and Claire Hogikyan John and Donna Hollowell Howard L. and Pamela Holmes Hisato and Yukiko Honda Arthur G. Horner, Jr. Dave and Susan Horvath George M. Houchens and
Caroline Richardson Mr. and Mrs. F. B. House James and Wendy Fisher House Jeffrey and Allison Housner Helga 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 Winkleman Hulce Kenneth Hulsing Joyce M. Hunter Mr. and Mrs. David Hunting Mr. and Mrs. Jacob Hurwitz Bailie, Brenda and
Jason Pro user Imber Diane C. Imredy Edward C. Ingraham Margaret and Eugene Ingram Ann K. Irish Sid and Harriet Israel Mr. and Mrs. Donald E. Jahncke Marilyn G. Jeffs
Professor and Mrs. Jerome Jelinek Keith and Kay Jensen Lennart and Karin Johansson Elizabeth Judson 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 Allvm and Sherri Kantor Paul Kantor and
Virginia Weckstrom Kantor Helen and Irving Kao Mr. and Mrs. Wilfred Kaplan Alex and Phyllis Kato Barbara Kaye and John Hogikyan Julia and Philip Kearney William and Gail Keenan Frank and Karen Keescckcr Robert and Frances Keiser Janice Keller James A. Kelly and
Mariam C. Noland John B. Kennard 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 Gcraldine Kruse Danielle and George Kuper Dr. and Mrs. Richard A. Kutcipal William and Marie Kuykendall Christine A. LaBelle Mr. and Mrs. Seymour Lampert Henry and Alice Landau Pamela and Stephen Landau Janet Landsberg LaVonne Lang Patricia M. Lang Joan Larsen 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-LeFauve Diane and Jeffrey Lehman Richard and Barbara Leite Ron and Leona Leonard Sue Leong
Margaret E. Leslie
David E. Levine
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. Livesay
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 Ludolph Cynthia Lunan Elizabeth L. Lutton Susan E. Macias Marilyn MacLean Walter Allen Maddox Hans and lackie 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 EC and Robert G. Marks Frederick and Deborah Marshall Rhoda and William Mattel Vincent and Margot Massey litn 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. McConncll Dores M. McCree Dr. and Mrs. James L. McGauley Cornelius and Suzanne McGinn Michael G. McGuire Bruce H. and Natalie A. Mclntyrc Mary and Norman Mclver Bill and Ginny McKcachie 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 McDonoujjh and
Greg Mernman Russ and Brigette Merz Julie and Scott Merz Henry D. Messer Carl A. House Robert and Bettie Metcalf Lisa A. Mets
Professor and Mrs. Donald Meyer Suzanne and Henry . Meyer Shirley and Bill Meyers Helen M. Michaels Carmen and Jack Miller John Mills
Bob and Carol Milstein Dr. and Mrs. fames B. Miner Olga A. Moir
Dr. and Mrs. William G. Moller, fr. 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
Pceter and Judith Muhlberg
Tom and Hedi Mulford
Bcrnhard and Donna Muller
Marci Mulligan and Katie Mulligan
Lora G. Myers
Rosemarie Nagcl
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
Cherie M. Olsen
Joan and Bill Olsen
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. Patchcn 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. Jeffjavowiaz and Ann Marie Pctach Roger and Grace Peterson Frank and Nelly Petrock Douglas and Gwendolyn Phclps 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 1 .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 Raikhcl Jeanne Raislcr and
Jonathan Allen Cohn Patricia Randle and James Eng Alfred and Jacqueline Raphelson Dr. and Mrs. Robert Rapp Mr. and Mrs. Robert H. Rasmusscn Michael Ready Gabriel M. Rcbeiz Mr. and Mrs. Richard W. Redman Dr. and Mrs. James W. Reese Mr. and Mrs. Stanislav Rehak Anne and Fred Remlcy Glcnda Rcnwick Molly Resnik and John Martin John and Nancy Reynolds Alice Rhodes
James and Helen Richards Elizabeth G. Richart Kurt and Lori Rieggcr Thomas and Ellen Riggs Mary Ann Ritter Kathleen Roelofs Roberts
Dave and Joan Robinson H. James Robinson land K. Robinson, Ph.D. Jonathan and Ana!a Rodgers Mary Ann and Willard Rodgers Thomas and Catherine Rodzicwicz Mary F. Loefflcr and
Richard K. Rohrcr Borje and Nancy Rosaen Elizabeth A. Rose Bernard and Barbara Rosen William and Elinor Rosenberg Richard Z. and Edic W. Rosenfcld 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 Sameroffand Susan
McDonough Miriam S. Joffe Samson Tito and Yvonne Sanchez Daren and Maryjo Sandberg Mike and Christi Savitski Gary and Arlenc Saxonhouse Hclga and Jochen Schacht Jerry Schafcr
Chuck and Mary Schmidt Courtland and Inga Schmidt Elizabeth L. Schmitt Gary and Claudia Schnitker Susan G. Schooner Thomas H. Schopmcyer Carol Schreck Ailcen 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 Segel
Janet C. Sell
Louis and Sherry L. Senunas
Erik and Carol Serr
George H. and Mary M. Sexton
Matthew Shapiro and Susan Garetz
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 Sidcrs Dr. Bruce M. Siegan Mr. and Mrs. Barry J. Siegcl Milton and Gloria Sicgel Drs. Dorit Adler and Terry Silver
F. Silverstein
Carl Simon and Bobbi Low
Alan and Eleanor Singer
Donald and Susan Sinta
Irma J. Sklenar
Beverly N. Slater
Tad Slawecki
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 Spafford
Juanita and Joseph Spallina
Tom Sparks
Mrs. Herbert W. Spendlove (Anne)
Jim Spevak
Gretta Spier and Jonathan Rubin
Scott Sproat
Charles E. Sproger Edmund Sprunger Mary Stadel 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. Staudacher Mr. and Mrs. William C. Stcbbins Barbara and Michael Steer Ron and Kay Stcfanski Virginia ana Eric Stein Ronald R. Stempien Thorn and Ann Sterling Deb Odom Stem and David T. Stem William and Georginc Steude James and Gayle Stevens Barbara and Bruce Stevenson Harold and Nancy Stevenson Steve and Gayle Stewart John and Beryl Stimson James L. Stoddard Wolfgang Stolpcr lohn 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 Sugerman Richard and Diane Sullivan Alfred Sussman Ronald and Ruth Sutton Eric and Natalie Svaan Earl and Phyllis Swain Rebecca Sweet and Roland Loup John and Ida Swigart Mr. and Mrs. Michael W. Taft Jim and Sally Tamm Larry and Roberta Tankanow Jerry 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 Jackie Tonks Sara Trinkaus Ken and Sandy Trosien Donald F. and Leslie Tucker Jeff and Lisa Tulin-Silver 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 Morclla Urbina Emmanuel-George Vakalo Paul and Marcia Valcnstein Madeleine Vallier Carl and Sue Van Appledorn Rebecca Van Dyke Mr. and Mrs.
Douglas Van Houweling IH .mi and Lia van Leer Fred and Carole van Reesema J. Kevin and Lisa Vasconi Phyllis Vegter Sy and Florence Veniar Katherine Verdery Elizabeth Vetter Jack and Peg Vczina Martha Vicinus and Bca Nergaard Alice and Joseph Vining Mr. and Mrs. Theodore R. Vogt John and Jane Voorhorst
Jerry Waldcn 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. Weber Mr. and Mrs. Roy Weber Jack and Jerry Weidenbach Carolyn J. Weigle Dr. Neal Weinberg Gerane and Gabriel Weinreich Lawrence A, Weis David and Jacki Weisman Donna G. Weisman Barbara Weiss John, Carol and Ian Welsch John and Joanne Werner Helen Michael West Tim and Mim Westerdale Ken and Cherry Westerman Paul E. Duffy and
Marilyn L. Wheaton lames B. and Mary F. White Iris and Fred Whitehouse Mr. and Mrs. Nathaniel Whiteside Ms. Nancy Wiernik William and Cristina Wilcox Ann and Clayton Wilhite 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 Ian 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 Woronon 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 Zeisler Alexandre and Natalya Zorin Ronald W. Zorney David S. and Susan H. Zurvalec
Businesses
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 Jewelers Mundus & Mundus, Inc. Organizational Designs SeloShcvcl Gallery Staples Building Company SWEA Inc.
University of Michigan Credit Union University Microfilms International
Foundations
Peace Neighborhood Center Schwartz Family Foundation
MEDIA SPONSORS
Hour Detroit Magazine
Metro Times
WDET
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WMXD
WUOM
UMS CHAIR CAMPAIGN CONTRIBUTORS
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 Bartlett
Karen and Karl Bartscht
Bradford and Lydia Bates
Anne S. Benninghoff
Joan A. Binkow
Jim Botsford and
Janice Stevens Botsford Melvin W. and Ethel F. Brandt Carl and Isabellc Brauer Barbara Everitt Bryant Isabel Buckner
Michael and Patricia Campbell Bruce and Jean Carlson Edwin and Judith Carlson Jean and Kenneth Casey Janet and Bill Casscbaum 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 Crcsswel! 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 Featherman Dede and Oscar Fcldman Ken and Penny Fischer Michael and Sara Frank Sophia L. French Professor and Mrs.
David M. Gates
Thomas and Barbara Gelehrter Bcverley and Gcrson Geltner Beverly Gershowitz Drs. Sid Gilman and Carol Barbour James W. and Maria J. Gousscflf Mrs. William Grabb Arthur W. Gulick
Alice Berberian Haidostian Helen C. Hall Dorothy I. Hastings Debbie and Norman Herbert Peter G. Hinman and
Elizabeth A. Young Ken and Joyce Holmes Jack and Davetta Homer Keki and Alice Irani Stuart and Maureen Isaac Mr. and Mrs. Donald E. lahncke Wallic and Janet Jeffries Tim and Jo Wiese Johnson Dortc Junker and Mike Rodemer Robert L. and Beatrice H. Kahn Mercy and Stephen Kasle Herbert Katz Jim and Carolyn Knake Dimitri and Suzanne Kosacheff Barbara and Charles Krause Barbara and Michael Kusisto Ted and Wendy Lawrence Laurie and Robert LaZebnik Leo and Kathy Legatski Mrs. Paul H. Lemon Richard LeSueur Dean and Gwcn Louis Charles and Judy Lucas Karen Ludema Cynthia Lunan Suzanne and Jay Mahler Hans and Jackie Maier Natalie Matovinovic Mary and Chandler Matthews Richard and Florence McBrien Paul and Ruth McCracken Joseph McCune and
Georgiana Sanders Rebecca McGowan and
Michael B. Staeblcr Thomas B. and Deborah McMullen Helen Metzner
Prof, and Mrs. Douglas Miller Carmen and Jack Miller Lester and Jeanne Monts Michael Moran and Shary Brown Carole Moranty
William Bolcom and Joan Morris Gavin Eadie and Barbara Murphy Dr. and Mrs. Gunder A. Myran Edward and Nancy Naszradi Mrs. Marvin Nichuss Karen Koykka O'Neal and
Joe O'Neal
Mark and Susan Orringer Shirley and Ara Paul Randall and Mary Pittman Eleanor and Peter Pollack Cynthia and Roger Postmus Mary Alice Power Dr. Allen D. Price V. Charleen Price Walter A. Prochnow Jim and Bonnie Recce John and Dorothy Reed Maria and Rusty Restuccia Dr. Susan M. Rose Prudence and Amnon Rosenthal Gustave and Jacqueline Rosseels 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. Steffek Nancy Bielby Sudia John and Ida Swigart Lois A. Thcis Paul Thielking Angie and Bob Trinka Marilyn Tsao and Steve Gao Susan B. Ullrich Dr. and Mrs. Samuel C. Ursu Don and Carol Van Curler Richard E. and Laura A. Van House
Chair Campaign, continued
Mary Vanden Belt Mrs. Francis V. Viola III Willes and Kathleen Weber Marina and Robert Whitman Helen M. Wilkinson Marion T. Wirick and James N. Morgan David and April Wright Paul and Elizabeth Yhouse Mr. and Mrs. Edwin H. Young Ann and Ralph Youngren
BURTON TOWER SOCIETY
The Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important support to continue the great tra?ditions of the Society in the future.
Carol and Herb Amster
Mr. Neil P. Anderson
Catherine S. Arcure
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. Edwin Goldring
Mr. Seymour Greenstone
Mr. and Mrs. Richard Ives
Marilyn Jeffs
Thomas C. and
Constance M. Kinnear Charlotte McGeoch Dr. Eva Mueller Len and Nancy 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
MEMORIALS
Harlan N. Bloomer
John H. Bryant
Margaret Crary
Mary Crawford
James A. Davies
Alice Kelsey Dunn
George R. Hunsche
Alexander Krezcl, Sr.
Kathcrine Mabarak
Frederick C. Matthaei, Sr.
Glenn D. McGeoch
Miriam McPherson
Dr. David Peters
Emerson and Gwendolyn Powrie
Steffi Reiss
Frank Rudcsill
Ralph L. Steffck
Clarence Stoddard
William Swank
Charles R. Tieman
John F. Ullrich
Ronald VandenBelt
Francis Viola III
Norman Wait
Carl H. Wilmot
Peter Holdcrness Woods
Helen Ziegler
IN-KIND GIFTS
Bernard and Ricky Agranoff
Gregg All
MariAnn Aplcy
Arbor Hills Hair & Body Salon
Catherine Arcure
Atys
Bella La Vie Kathleen Benton Maury and Linda Binkow Bob Caron's Golf Shop Edith Lcavis Bookstcln &
The Artful Lodger Janice Stevens Botsford The Boychoir of Ann Arbor Barbara Evcritt Bryant leanninc Buchanan Butzel 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 Gandy Dancer Gates Au Sable Lodge Beverly and Gcrson Geltner Generations for Children Georgetown Gifts Joyce and Fred Ginsberg Anne and Paul Glendon The Great Frame Up Great Harvest Bread Company Gregg Alf Studios Jeanne Harrison Debbie and Norman Herbert Terry Hirth and Bodywise
Therapeutic Massage Dan 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 Romncy Kulp Laky's Salon Bern ice Lamey Maxinc Larrouy Carole Lasscr Learning Express Kathleen Letts Letty's Ltd. Doni Lystra Stephanie Lord Esther Martin Mary Matthews Elizabeth McLeary Jeanne and Ernest Merlanti Michigan Car Services, Inc. Moc 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 Lorctta Skcwcs Herbert Sloan
George Smilic and Marysia (Matin Irving and Carol Smolder Steve and Cynny Spencer Edward Surovcll Sweet Lorraine's Bengt and Elaine Swenson Raymond Tanter
TIRA's Kitchen
Tom Thompson Flowers
Susan Ullrich
Mary Vandenbelt
Andrea Van Houweling
Voila
Eric Wapnick
Emil Weddige 8t the Craig Gallery
West End Grill
Robert and Marina Whitman
The Window Design Studio
Elizabeth Yhousc
BUSINESS LEADERSHIP CIRCLE
AAA Michigan
Alf Studios
Alcan Automotive Products
Allen & Kwan Commercial
Ann Arbor Acura
Arbor TemporariesPersonnel
SystemsArbor Technical
Staffing, Inc. AT&T Wireless Services Austin & Warburton Bank of Ann Arbor Bank One
Barfield CompanyBartech Beacon Investment Company Blue Nile Restaurant Braucr Investments Briarwood Mall Butzel Long Attorneys CF1 Group Charles Reinhart Company
Realtors
Chelsea Milling Company Comcrica, Inc. Joseph Curtin Studios Deloitte & Touche Detroit Edison Foundation Dow Automotive Elastizell 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
Research
Pepper, Hamilton & Scheetz Republic Bank Sesi Lincoln Mercury Shar Products Company Standard Federal Bank STM Inc. Swedish Office of Science
and Technology Target Stores The Edward Surovell
Company Realtors Thomas B. McMullen Company Visteon Weber's Inn
GIVING LEVELS
Soloists $25,000 or mort
Maestro $10,000-24,999
Virtuosi $7,500 9,999
Concertmaster $5,000 7,499
Leader $2,500 4,999
Principal $1,000-2,499
Benefactor $500 999
Associate $250 499
Advocate $100-249
Friend $50 99
Youth $25
UMS ADVERTISERS
44 Aikido Yoshokai Association
12 Ann Arbor Reproductive
Medicine
44 Ann Arbor Symphony
6 Ann Arbor Tax Service
8 Archeo Design
12 Bank of Ann Arbor
6 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-McOmbcr Agency, Inc.
FC Ford Motor Company
44 Foto 1
10 Fraleigh's Nursery
40 Glacier Hills
44 Greenstones
8 Harmony House
40 Howard Cooper Imports
8 IATSE
BC KeyBank
40 King's Keyboard
38 Lewis Jewelers
8 Littleficld and Sons Furniture
22 Michigan League
24 Miller, Canfield, Paddock, and Stone
8 Mundus and Mundus
8 Nina Howard Studio
42 Performance Network
24 SKR Classical
10 Swcetwaters Cafe
8 Ufer & Co. Insurance
6 University Productions
6 Washington Street Gallery
16 WEMU
38 WGTE
18 Whole Foods
34 WUOM
42 WDET