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UMS Concert Program, Sunday Jan. 09 To 17: University Musical Society: 1999-2000 Winter - Sunday Jan. 09 To 17 --

UMS Concert Program, Sunday Jan. 09 To 17: University Musical Society: 1999-2000 Winter - Sunday Jan. 09 To 17 --  image UMS Concert Program, Sunday Jan. 09 To 17: University Musical Society: 1999-2000 Winter - Sunday Jan. 09 To 17 --  image UMS Concert Program, Sunday Jan. 09 To 17: University Musical Society: 1999-2000 Winter - Sunday Jan. 09 To 17 --  image UMS Concert Program, Sunday Jan. 09 To 17: University Musical Society: 1999-2000 Winter - Sunday Jan. 09 To 17 --  image UMS Concert Program, Sunday Jan. 09 To 17: University Musical Society: 1999-2000 Winter - Sunday Jan. 09 To 17 --  image UMS Concert Program, Sunday Jan. 09 To 17: University Musical Society: 1999-2000 Winter - Sunday Jan. 09 To 17 --  image UMS Concert Program, Sunday Jan. 09 To 17: University Musical Society: 1999-2000 Winter - Sunday Jan. 09 To 17 --  image UMS Concert Program, Sunday Jan. 09 To 17: University Musical Society: 1999-2000 Winter - Sunday Jan. 09 To 17 --  image UMS Concert Program, Sunday Jan. 09 To 17: University Musical Society: 1999-2000 Winter - 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Day
9
Month
January
Year
2000
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Rights Held By
University Musical Society
OCR Text

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

University Musical Society
2000 Wl NTER SEASON
University Musical Society of the University of Michigan. Ann Arbor
Mb
University Musical Society
WINTER SEASON of the University of Michigan, Ann Arbor
UMSLeadetsiua
sident
4 Letter from the Chair
5 Corporate LeadersFoundations 13 UMS Board of Directors
13 UMS Senate
15 UMS Staff
15 Advisory Committees
UMSSmaces
19 19 19 21 21
L_J.XJ
On the Cover Clockwise from upper left Dancers from Bebe Miller Company Arvo Part
Anne-Sophie Mutter The Great Wall of China McDonald
luck cover
Performer from Forgiveness IS. Bach
viadimir Ashkcnazy
Oscar Peterson
Take6
35 37 37 39 41
45 45
47
48 56
Tickets
Group Tickets Gift Certificates UMS Card
http:jvww.ums.org
History
25 UMS Choral Union
26 t Auditoria & Burton Memorial Tower
Season
Education & Audience Development Dining Experiences BRAVO!
Restaurant & Lodging Packages uMS Preferred Restaurant Program
Advisory Committ Sponsorship and Advertising InternshipsWork-study
Membership UMS Advertisers
staurant Frogram
Support
UMS
Leadership
LETTER FROM THE PRESIDENT
Thank you for attending this UMS performance and for supporting the performing arts in our community. I hope I'll see you at some of the remain?ing UMS events this season. You'll find a list?ing beginning on page 29.
I want to introduce you to UMS' Administrative Director John Kennard, who is celebrating his tenth anniversary with UMS this season and his twenty-fourth overall with the University of Michigan. John over?sees UMS finances, human resources, and
other administrative matters. He has played a major role in bringing UMS to its stable financial situation and is highly regarded by his finan?cial colleagues both in and outside the University of Michigan for the quality of his work. A native of Ann Arbor, John is married and the father of five children. When he's not listening to recordings of his beloved Elvis, you'll find him hitting pars and birdies on the golf course.
Congratulations, John, for your outstanding contributions to UMS over the past decade.
We have had an exciting season thus far with memorable performances by Buena Vista Social Club, Les Arts Florissants, Sankai Juku, Paco de Lucia, Emerson String Quartet, and Laurie Anderson. Clearly one of the highlights of the fall was the performance of the Berlin Philharmonic Orchestra on October 20. Ann Arbor was the smallest city on the international tour the others were
Ken Fischer (I) and John Kennard
Moscow, Bonn, London, Paris, Washington, New York, Boston, and Chicago but we produced the largest single-evening audience exceeding 4,000. Over 1000 were students. U-M President Lee Bollinger and Jean Magnano Bollinger hosted a wonderful post-concert reception for Claudio Abbado, mem?bers of the orchestra, and UMS members. Orchestra members were high in their praise for the community of Ann Arbor, for the acoustics of Hill Auditorium, and for the enthusiastic response of the audience. They made it clear that they want to return!
Another highlight of the fall was the launching of Bravo! This 224-page book of recipes, legends, and lore from 120 years of UMS is the result of nearly three years of work by more than 100 UMS volunteers. We are very proud of this book and of the great response it is receiving all over the country. For information on obtaining a copy, see the notice on page 37.
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 concert-going experience the best possi?ble. Look for me in the lobby. If we don't connect there, feel free to 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 CHAI
-
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 Technical StaffingPersonnel Systems, 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, Bank One, 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 support an organization that provides 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 & 7bucie"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"lt 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 partners with the University Musical Society for the 1999-2000 season as they present programs to enrich, educate and energize our diverse community."
William S. Hann
President, KeyBank "Music is Key to keeping our society vibrant, and Key is proud to support the cultural institution rated number one by Key Private Bank clients."
Richard A. Manoogian Chairman and CEO, Masco Corporation "We at Masco applaud the University Musical Society's contribution to diversity in arts programming and your efforts to enhance the quality of life in our community."
Ronald Weiser Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud to support the University Musical Society and the cultural contribution it makes to the community."
Michael E. Korybalski
President, Mechanical Dynamics "Beverly Sills, one of our truly great performers, once said that 'art is the signature of civiliza?tion.' We believe that to be true, and Mechanical Dynamics is proud to assist the University Musical Society in making its mark -with a flourish."
Erik H. Serr Principal, Miller, Canfield, Paddock and Stone, P.L.C. "Miller, Canfield, Paddock and Stone is particularly pleased to support the University Musical Society and the won?derful cultural events it brings to our community."
continued on page 9
Charies 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 "Natiorfil 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."
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."
Peter B. Corr, 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."
Thomas B. McMullen
President, Thomas B. McMullen Co., Inc. "I used to feel that a U-M Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational entertainment."
Dr. James R. Irwin Chairman and CEO, The Irwin Group of Companies. President, Wolverine Temporaries, Inc. "Wolverine Temporaries began its support of the University Musical Society in 1984, believing that a commitment to such high quality is good for all con?cerned. We extend our best wishes to UMS as it continues to culturally enrich the people of our community."
We also extend our gratitude to several other anonymous companies.
"OUNDATION UNDERWRITERS GOVERNMENT AGENCIES
David. E. Engelbert Hiram A. Dorfrnan
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 Februa'ry 4, 1896 May 13, 1984."
We at UMS gratefully acknowledge the support of the following foundations and government agencies:
Ann Arbor Area Community Foundation Arts Midwest
Benard L. Maas Foundation Chamber Music America
Community Foundation for
Southeastern Michigan DaimlerChrysler
Corporation Fund The Ford Foundation The Heartland Arts Fund TheJ.F. Ervin Foundation 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 Lester P. Monts,
Vice-Chair Len Niehoff,
Secretary David Featherman,
Treasurer
Lee C. Bollinger Janice Stevens Botsford Paul C. Boylan Barbara Everitt Bryant Kathleen G. Charla Jill A. Corr Peter B. Corr Robert F. DiRomualdo Deborah S. Herbert Alice Davis Irani
Gloria James Kerry Leo A. Legatski Earl Lewis Helen B. Love Alberto Nacif Jan Barney Newman Gilbert S. Omenn Joe E. O'Neal Randall Pittman Rossi Ray-Taylor
Prudence L. Rosenthal Maya Savarino Herbert Sloan Timothy P. Slottow Peter Sparling James L. Telfer Marina v.N. Whitman Elizabeth Yhouse
UMS SENATE
(former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Carl A. Brauer Allen P. Britton Letitia J. Byrd 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 Stuart A. Isaac Thomas E. Kauper David B. Kennedy Richard L. Kennedy
Thomas C. Kinnear F. Bruce Kulp 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 Susan B. Ullrich 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 Group
Sales
Choral Union
Thomas Sheets,
Conductor Edith Leavis Bookstein,
Co-Manager Kathleen Operhall,
Co-Manager Donald Bryant,
Conductor Emeritus
Development
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, Administrative Assistant
EducationAudience Development
Ben Johnson, Director Kate Remen Wait,
Manager Susan Ratdiffe,
Coordinator
MarketingPublic Relations
Sara Billmann, Director Aubrey Alter, Marketing
and Advertising
Coordinator Maria Mikheyenko,
Marketing Assistant
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 Paul Jomantas, Usher
Supervisor Bruce Oshaben, Usher
Supervisor Ken Holmes, Assistant
Usher Supervisor Brian Roddy, Assistant
Usher Supervisor
Programming
Michael J. Kondziolka,
Director Mark Jacobson,
Coordinator
Work-Study
Karen Abrashkin Nadine Balbeisi Erika Banks Megan Besley Rebekah Camm
Patricia Cheng Mark Craig Patrick Elkins Mariela Flambury David Her Benjamin Huisman Jennifer Johnson Carolyn Kahl Laura Kiesler Jean Kim Un Jung Kim Fredline LeBrun Dawn Low Kathleen Meyer Amy Pierchala Beverly Schneider Cara Talaska
Interns
Helene Blatter Lindsay Calhoun Steven Dimos Bree Doody Aviva Gibbs Steven Jarvi Brooke McDaniel
President Emeritus Gail W. Rector
ADVISORY COMMITTEE
Dody Viola, Chair Robert Morris,
Vice-Chair Sara Frank,
SecretaryTreasu rer
Martha Ause Barbara Bach Lois H.it u Kathleen Benton Barbara Busch Phil Cole Patrick Conhn Erie Cook Juanita Cox Mary Ann Daane Norma Kircher Davis Lori Director Betty Edman Michael Endres
Nancy Ferrario Penny Fischer Anne Glcndon Maryanna Graves Linda Greene Karen Gundersen Jadon Hartsuff Nina E. Hauser Debbie Herbert Mercy Kasle Steve Kasle Anne Kloack Maxine Larrouy Beth UVoie Stephanie Lord Esther Martin Ingrid Merikoski Ernest Merlanti liMimc Merlanti Candice Mitchell
Nancy Niehoff Mary Pittman leva Rasmussen Eliy Rose Penny Schreiber Sue Schroeder Meg Kennedy Shaw Morrine Silverman Maria Simonte Loretta Skewes Cynny Spencer Sally Stegeman Louise Townley Bryan Ungard Suzette Ungard Wendy Woods
TEACHER ADVISORY COMMITTEE
Fran Ampey Gail Davis Barnes Alana Barter Elaine Bennett Lynda Berg Yvette Blackburn Barbara Boyce Letitia J. Byrd Nancy Cooper Naomi Corera Gail Dybdahl Keisha Ferguson Doreen Fryling Carolyn Hanum Vickey Holley Foster Taylor Jacobsen Callie Jefferson Deborah Katz Deb Kirkland Rosalie Koenig
David A. Leach
Rebecca Logie
Dan Long
Laura Machida
Ed Manning
Glen Matis
Kim Mobley
Eunice Moore
Rossi Ray-Taylor
Gayle Richardson
KatyRyan
Karen Schulte
Helen Siedel
loan Singer
Sue Sinta
Sandy Trosien
Sally Vandeven
Barbara Hertz Wallgren
Jeanne Weinch
UMS
Services
GENERAL INFORMATION
Barrier-Free Entrances
For persons with disabilities, all auditoria have barrier-free entrances. Wheelchair locations 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.
TICKETS
For phone orders and information, please contact:
UMS Box Office Burton Memorial Tower 881 North University Avenue Ann Arbor, Ml 48109-1011
on the University of Michigan campus
734.764.2538
Outside the 734 area code, call toll-free 800.221.1229
Mon-Fri 10 a.m. to 6 p.m. Sat 10 a.m. to 1 p.m.
Order online at the UMS website:
http:www.ums.org
or
Visit our Box Office in person
At the Burton Tower ticket office on the University of Michigan campus. Performance venue box offices open 90 minutes before each performance time.
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 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
Looking 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 housewarming present when new friends move to town.
Make your gift stand out from the rest. Call the UMS Box Office at 734.764.2538, or stop by Burton Tower.
UMS CARD
UMS and the following businesses thank you for your generous support by pro?viding you with discounted products and ser?vices 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!
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Tickets Forget about waiting in long ticket lines--order tickets to UMS performances online with our secure order form.
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Education Events Up-to-date information detailing educational ODDortunities surroundine each
UMS performance. Choral Union
Audition informa?tion and perfor?mance schedules for the UMS Choral Union.
UMS
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 new 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, perfor?mance 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
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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 again appears in three series with the Detroit Symphony Orchestra: the first two, conducted by Neeme Jarvi, include perfor?mances of Shostakovitch's Symphony No. 13 (Babi Yar), followed by Beethoven's Symphony No. 9 paired with Stravinsky's Symphony of Psalms. The last of these three series will fea?ture performances of John Adams' Harmonium, conducted by the composer. The women of the chorus will also perform Mahler's Symphony No. 3 with the Ann Arbor Symphony, and sixty singers joined the Gabrieli Consort & Players for an Advent program based on the music of Praetorius in December. 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 opened the doors of a new 200-seat screening room addition, as well as additional restroom 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, stipulatinc 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 pro?grammatic initiative to present 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 2,735-seat facility has rapidly become one of the most viable and coveted theatres in the nation. In only three seasons, the Detroit Opera House became the foundation of a landmark programming collaboration with the Nederlander organization and Olympia
Hill
Auditorium 4,163
Rackham
Auditorium
1,129
Michigan
Theater
1,710
Power Center 1,390
Mendelssohn
Theatre
658
Entertainment, formed a part?nership with the Detroit Symphony Orchestra and played host to more than 500 perform?ers and special events. As the home of Michigan Opera Theatre's grand opera season and dance series, and through quality programming, partner?ships and educational initiatives, the Detroit Opera House plays a vital role in enriching the lives of the community.
Burton Memorial Tower
Seen from miles away, this well-known University of Michigan and iVnn 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.
General Information
Children of all ages are welcome to UMS Family and Youth Performances. Parents are encouraged not to bring children under the age of three to regu?lar, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment are
not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event: electronic-beeping or chiming digital watches, beep?ing pagers, ringing cellular phones and clicking portable computers should be turned offduring 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.
The Romeros
Sunday, January 9,4:00pm Rackham Auditorium
Bebe Miller Company 15
Saturday, January 15, 8:00pm Power Center
Take 6 25
Monday, January 17, 8:00pm Hill Auditorium
UMS
and
AT&T Wireless
Services
present
Program
Michael Praetorius
J.S. Bach
Fernando Sor Francisco Tdrrega
Enrique Granados Isaac Albeniz
Celedonio Romero
Luigi Boccherini Arr. Pepe Romero
The Romeros
Celin Romero, Guitar Pepe Romero, Guitar Lito Romero, Guitar Celino Romero, Guitar
Sunday Afternoon, January 9, 2000 at 4:00 Rackham Auditorium, Ann Arbor, Michigan
Terpsichore (excerpts)
Branle de la torche (XV) Ballet (CCLXVII) Volte (CCXLIII)
Brandenburg Concerto No. 3, BWV 1048 (excerpt) Allegro
Variations on a Theme of Mozart, Op. 9
Recuerdos de la Alhambra
Pepe Romero
Doce danzas espanolas (excerpt) Danza espanola, No. 5
Suite espanola, Op. 47 (excerpt) Granada
Celin and Pepe Romero
Los Maestros
Copla La rueda Baile
Lito Romero
Quintet No. 4 for Guitar and Strings, G. 448 (excerpts) Introduction and Fandango
INTERMISSION
Ruperto Chapi
Federico Moreno Torroba Albeniz
C. Romero C. Romero
Horacio Salgdn arr. Jorge Morel
Jeronimo Gimenez
La Revoltosa (excerpt) Preludio
Burgalesa
Recuerdos de viaje, Op. 71 (excerpt) Rumores de la caleta Celin Romero
Zapateado
Celino and Lito Romero
Two Dances
Danza espanola, No. 1 Fantasia
Celino Romero
Two Tangos
Don Agustin Bardi A Fuego Lento
La boda de Luis Alonso (excerpt) Interludio
Thirty-ninth Performance of the 121st Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by AT&T Wireless Services.
The Romeros appear by arrangement with Columbia Artists Management Inc.
The Romeros record for Philips, Mercury and Delos.
Large print programs are available upon request.
Terpsichore (excerpts)
Branle de la torche (XV) Ballet (CCLXVII) Volte (CCXLIII)
Michael Praetorius
Born February 15, 1571 in Kreuzberg
an der Werra, Germany Died February 15, 1621 Wolfenbiittel, Germany
Michael Praetorius was a German composer, theorist and organist considered to be the most versatile and wide-ranging German composer of his generation. Most of the works in his vast output are vocal. Terpsichore, his only extant instrumental work, is a collection of more than forty dances taking its name from the Greek muse of dance. He originally planned it in eight sections, some vocal and some instrumental, but it never materialized as such. Published in 1612, the historic collection contains har?monizations of a great number of popular tunes from the court of Henry IV, three of which are presented here.
Brandenburg Concerto No. 3, BWV 1048 (excerpt) Allegro
J.S. Bach
Born March 21, 1685, Eisenach, Germany
Died July 28, 1750, Leipzig, Germany
In 1717, J.S. Bach began a six-year term as Kapellmeister to Prince Leopold of Anhalt-Cothen; this post was to provide him the most agreeable interlude in a life-long career that was mostly dedicated to the church. Prior to this, Bach had spent nine years as Kammer Musicus and Organist to Duke Wilhelm Ernst of Saxe-Weimar, who impris?oned him when the composer expressed a desire to leave; this period saw the creation of the great organ works. After his post in Anhalt-Cothen, Bach spent his remaining
twenty-seven years as Cantor at the St. Thomas and St. Nicholas churches in Leipzig, where he wrote his greatest choral works (including the Passions, the Mass in b minor and the long catalogue of church can?tatas) which were considered mediocre by the church officials of the city.
Prince Leopold, on the other hand, was far more musically intelligent and apprecia?tive of the composer's obvious talent, and he put a small orchestra of excellent musicians at the composer's complete disposal. Thanks to Prince Leopold, Bach was able to write some of his most important instrumental works such as the violin sonatas (which were likely intended for the Prince to play), the first volume of The Well-tempered Clavier, some of the orchestral suites and the six Brandenburg Concerti.
Among the friends of Prince Leopold was Christian Ludwig, Margrave of Brandenburg, who commissioned Bach to write a set of six concerti for court celebra?tions. As the concerto form at that time had not yet become clearly defined, the composer was free to write for any combination of instruments that seemed fitting. In March 1721, Bach forwarded the score of the six Concerti to the Margrave with a humble let?ter of dedication in French. It is not known what Christian Ludwig replied or even if he ever heard the music performed, but his name has been perpetuated because of these works.
The choice of instrumentation for the six Concerti offers the utmost variety, no two of them being for the same combination of instruments. The third concerto is the most individual, and therefore perhaps most interesting of the set. It is not a concerto grosso at all in the traditional sense of a group of solo instruments set against a ripieni, or accompaniment, of other instru?ments. Instead, it is written for three equal choirs of strings three violins, three violas and three cellos with double bass and con-tinuo, hence, omitting any wind instruments.
In this transcription by Pepe Romero, the instrumental forces carry over beautifully to the guitar quartet. At times the instruments play in unison within each group, creating an ensemble of only three distinct voices; at other times, each instrument of the ensem?ble carries its own line providing an infinite variety and wealth of contrapuntal imita?tion. This work also varies from the prepon?derant concerto grosso style of the other con-certi in the collection in that it has no slow movement interposed between its two alle?gro movements.
The opening "Allegro" is forceful in character. The figural motif of its opening theme is akin to that which one would expect to encounter in many a fugue subject by Bach. The second theme develops the brief rhythmic figures initially presented. The recapitulation, which follows an episode in a minor key functioning as a bridge from the development section, con?cludes the movement in a brilliant manner with all of the instruments playing together.
Variations on a Theme of Mozart, Op. 9
Fernando Sor
Born February 14, 1778 in Barcelona
Died July 10, 1839 in Paris
Fernando Sor was a Spanish composer and guitarist who became known as "the Beethoven of the guitar." Born in Barcelona, Spain, this renowned guitar virtuoso of the nineteenth century performed throughout Europe and Russia. He composed numerous studies and virtuosic works known for their melodious thematic material and technical difficulty. Perhaps his most famous work is the Variations on a Theme of Mozart, whose light, graceful theme, taken from Mozart's The Magic Flute, evolves into a dazzling dis?play of guitar pyrotechnics that challenges even the most accomplished virtuoso.
Recuerdos de la Alhambra
Francisco Tarrega
Born November 21, 1852 in Villareal,
Castellon Died December 15, 1910 in Barcelona
The Spanish composer and guitarist Francisco Tarrega paved the way for the rebirth of prominence of the guitar in the modern concert hall. He earned his living by teaching music theory and giving recitals, and by 1877 was hailed as the "Sarasate of the guitar." His career began with a brilliant concert at the Teatro de la Alhambra, after which he was invited to play for the Queen of Spain, Dona Ysabel and Princess Matilde.
Tarrega was a prolific writer for the guitar, with an output of more than 200 original works and transcriptions for one or two guitars. Among his most popular solos is the beautiful Recuerdos de la Alhambra, a tremolo study, in which the composer mas?terfully captures the sound of the fountains in the beautiful Moorish gardens of the Alhambra.
Program note by Elizabeth E. Torres.
Doce danzas espanolas (excerpt) Danza espanola, No. 5
Enrique Granados
Bom July 27, 1867 in Lerida, Spain
Died March 24, 1916 at sea, English Channel
Enrique Granados received both piano and composition lessons at a young age. In 1887 he went to Paris to study piano with Charles de Beriot and upon his return to Barcelona two years later, gave his first recital. In 1892, three of his Danzas espanolas were orches?trated by Lamote de Grignon and per?formed by the Perez Cabrero Orchestra. His first major success came in 1898 with the production of Maria del Carmen, his first
opera, in Madrid, winning him a decoration from the king.
The following years were spent com?posing, teaching, and performing, and in 1911, his masterpiece Goyescas received its premiere in Barcelona. The work, inspired by the paintings and etchings of the famous painter Francisco Goya, was later given operatic treatment with a libretto by Fernando Periquet based on scenes in Goya's works. It was premiered at the Metropolitan Opera House in 1916, a per?formance attended by Granados.
Two months later, at the request of President Wilson, Granados gave a recital at the White House causing him to miss his ship to Spain. He therefore took a ship to England, and in Liverpool boarded the Sussex for Dieppe. A German submarine torpedoed the Sussex, and in an attempt to save his drowning wife, Granados dove in from the safety of a lifeboat and they both drowned.
Granados has been variously designated the Schumann, Grieg or Liszt of the Iberian peninsula and like these other masters, the bulk of his output was in piano and vocal music. His Doce danzas espailolas is a collec?tion of twelve dances, written in four sets of three between 1892 and 1900, which fuse elements of Spanish nationalism and romantic piano technique. They all favor melodic invention versus contrapuntal development, rhythmic vitality, original modulations, and those alterations of scale steps and harmonic progressions, which give music a Spanish flavor. Most are in triple time, shift freely between major and minor modes, and have a three-part ABA structure. The quintessential Spanish instrument, the guitar, is evoked in Danza espanola, No. 5, the most famous of the set, through the piquant nature of its melody, and the pick?ing and strumming effects in the bass.
Suite espanola, Op. 47 (excerpc) Granada
Isaac Albeniz
Born May 29, 1860 in Camprodon, Lerida
Died May 18, 1909 in Cambo-les-Bains
As a composer of primarily piano music, Albeniz was known for his nationalistic style and the creation of an indigenous school of piano in Spain. His early works were varied, showing not only the virtuosic influence of Liszt, but also the French impressionistic influence of Debussy, Faure, and d'Indy. Although his two books of the Suite Iberia were his greatest success, his early national?istic movements that comprised his Suite espanola, Op. 47 are wonderful examples of the native Spanish style that made him so famous. This piece, too, is originally written for solo piano, but is transcribed masterfully for guitar by Pepe Romero.
Each movement of the Suite espanola represents a city or province of Spain. Granada, the first movement, is in the form of a serenade. Its lazy melody, in the lower register, recalls the sound of the bandola, a small lute-like instrument, and carries with it the humidity and perfumes of the city of Grenada. One hears in the second idea the echo of an infinite nostalgia and the heat of the night, like a surreal monochromatic painting.
Program note by Elizabeth E. Torres.
Los Maestros
Celedonio Romero
Born March 2, 1913 in Malaga, Spain
Died May 8, 1996 in San Diego, California
Celedonio Romero had a special love for the flamenco form of peteneras, one of the rhythms that comes from Malaga. This fla?menco form was born out of the legend of
the great flamenco dancer "La Petenera," who died while trying to separate two gypsy men who were fighting for her love. Each of the three movements of Los Maestros is based on peteneras, and each movement represents one of his sons: Celin, Pepe and Angel. However, Los Maestros carries the enigma: which movement represents which son
Program note by Pepe Romero.
Quintet No. 4 for Guitar and Strings, G. 448 (excerpts) Introduction and Fandango
Luigi Boccherini
Born February 19, 1743, in Lucca, Italy
Died May 28, 1805, in Madrid
Of all the Italian composers who devoted themselves to instrumental music, Boccherini was one of the greatest. His father was either a cellist or bass player, and as a child he studied the cello and composition. From an early age, the boy's prodigious talents were obvious; he made his public debut as a cellist at age thirteen. Boccherini's reputation grew with his progress as performer as well as composer, and he gained appointments at Vienna in 1757, and at Lucca in 1763. In 1766, he undertook an extensive concert tour that lasted for several years. In 1770 the composer was appointed to the service of the Infante Don Luis, brother of the King of Spain, as exclusive composer and as performer. He subsequently served appoint?ments to the King of Prussia and at Potsdam before returning to Madrid, where he remained for the rest of his life.
Boccherini was a prolific composer; his known works include two operas, church music, over twenty symphonies and an abundance of chamber music, for an output of over 400 entries in his catalogue. Boccherini's music was quite original for its
time, and Italians and Germans alike con?tended for this musician; during the 1790s his music was much in demand in Paris, London and Madrid, and is said to have been highly regarded by Haydn himself. In the nineteenth century, however, his work was misrepresented as the result of consid?erable re-arranging, re-orchestrating and general reworking by publishers.
Boccherini's chamber music, especially his quartets and quintets, was immensely popular in its time. English composer and music historian Charles Burney wrote in 1776: "There is perhaps no instrumental music more ingenious, elegant, and pleas?ing, than his quintets: in which invention, grace, modulation, and good taste, conspire to render them, when well executed, a treat for the most refined hearers and critical judges of musical composition." Like Mozart, Boccherini died in poverty, and like the Austrian master's music, his works became even more popular immediately fol?lowing his death. Eventually, however, Boccherini's music fell out of favor with performers, and it was not until the middle of our own century, that the freshness and grace of his works came to be appreciated again.
It was in Madrid, in the 1770s, that Boccherini began composing his famous string quintets (for string quartet with an additional cello), among the first of their genre. Shortly thereafter, he started writing piano quintets a medium which he intro?duced and pioneered, as these were the first works to ever integrate the texture of the string quartet with an idiomatic piano part. From these innovative piano quintets, Boccherini derived most of his guitar quin?tets; they were written (or adapted) in 1798 "transcribed by me for the guitar for the sole use of the Marquis de Benavente."
Like its other eleven sister works, the Guitar Quintet No. 4 in D Major exhibits a wealth of melodic invention along with a
tender sentimentality and a certain degree of melancholy. The first movement is an ele?gant and quietly reserved pastorale of Hispanic character. In all, this splendid transcription by Pepe Romero of the Quintet presents a charming picture of eigh?teenth-century Madrid, masterfully melding grace and impishness with a festive popular mood.
La Revoltosa (excerpt) Preludio
Ruperto Chapi
Born March 27, 1851 in Villena, near
Alicante Died March 25, 1909 in Madrid
Ruperto Chapi is probably most well known for his zarzuelas. The zarzuela is a form that can be found in early Spanish musical histo?ry. Originated in 1657, and named for the hunting lodge of King Philip IV of Spain, the zarzuela is a light opera that runs the gamut from comic theatre to high classical opera. The genre became so popular in Spain that even foreign composers like the Italian, Boccherini, were commissioned to write zarzuelas. During the first half of the nineteenth century, the artistic output of Spain was greatly reduced due to the finan?cial and artistic plight of the country. The second half of the nineteenth century brought a renaissance to the zarzuela, and is often referred to as the "Golden Age of the zarzuela." It is during this period that the zarzuela began to resemble the operettas of Gilbert and Sullivan. It is also from this period that one of its most popular produc?tions was written.
La Revoltosa was premiered in Madrid at the Teatro Apolo on November 25, 1897. It is not a large-scale work, as it only lasts thirty-five minutes, and much of that is orchestral interludes and street music. However, its brilliant libretto by Jose Lopez
Silva and Carlos Fernandez Shaw and its exuberant atmospheric music have main?tained its constant popularity. Not only has it been the inspiration for numerous films, but it has formed the template of a whole genre of imitation. The story is a complicat?ed plot of love, jealousy and trickery: two people who seem to be forever at one another's throats are secretly in love with each other, the plotting of neighbors even?tually gets them to admit their feelings for each other, and the zarzuela ends with the lovers in each other's arms. The "Preludio" is a lively orchestral overture that is based on the main themes of the zarzuela.
Program note by Elizabeth E. Torres.
Burgalesa
Frederico Moreno Torroba Born March 3, 1891 in Madrid Died September 12,1982 in Madrid
Known equally as composer, conductor and impresario, Frederico Torroba was the latest embodiment of the zarzuela composers. He was a prolific ballet composer before turning his talents to the zarzuela. His influence is wide-spread in the music world, having employed the parents of Placido Domingo in his touring zarzuela company. It is from the 1930s that his greatest successes date; the two Zarzuela Grandes, La Chulapona and Luisa Fernanda.
Torroba held academic posts in his later years and became the president of the Sociedad deAutores Espanoles in 1975. He was elected a full member of the Real Academia de Bellas Artes de San Fernando, and chose the event of his acceptance to deliver a speech outlining his musical creed, El casticismo en la musica (Authenticity in Music). His idea of authenticity came from the proven effective idea of "popular nation?alism" as found in folk music.
He worked closely with The Romeros and with Andres Segovia in writing many fine works for the guitar. One of these works is Burgalesa, which was written for, dedicat?ed to, and premiered by Andres Segovia, and published in 1928.
Program note by Elizabeth E. Torres.
Rumores de la caleta
Albeniz
Isaac Albeniz began the most important modern movement in Spanish music and is largely responsible for its extraordinary popularity. His music usually colorfully por?trays the spirit of his native country. After an adventurous youth in which he ran away from home and toured as a pianist almost everywhere in the Americas, Albeniz settled down to serious study and became one of the great artists of his time.
Rumores de la caleta (Rustlings of the Brook), written as a malaguefia, comes from Albeniz' Recuerdos de viaje, Op. 71 (Travel Souvenirs); this work was written in 1887 after the composer toured in Spain.
Zapateado
C. Romero
A dance in time in which the dancer devotes full attention to the sound of the shoe against the floor is called a zapateado, or "by the shoe." In the 1940s, Maestro Romero wrote a beautiful zapateado as a movement to his famous Suite Andaluza for solo guitar. In 1994 he set an obligato to this work, transforming it into a duet in which the two guitars engage in a friendly duel.
Program note by Pepe Romero.
Two Dances
C. Romero
A gifted and prolific composer, Celedonio Romero's compositions number in the hundreds, including ten concertos for guitar and orchestra. Celedonio Romero was the creator of the greatest guitar legacy of the twentieth century. His work is carried out by his sons Celin, Pepe, and Angel, and by his grandchildren Celino, Lito, and Pepe.
In the "Danza espanola, No. 1," written in Del Mar, California, Maestro Romero reminisces about Seville, the last city where he and his family lived in Spain. He weaves the flamenco form of sevillanas with the classical form of bolero creating a virtuoso showpiece. Its non-stop, forward movement creates a feeling of increasing intensity from beginning to end.
The final movement of his Suite Andaluza, "Fantasia" is reminiscent of the very first efforts of Celedonio Romero improvising on the guitar when he was only a small child. His father would come home from work and ask him to play los compuesto, which to them meant "improvisations." Its basic form is from the Cuban rhythm of guajiras.
Program note by Pepe Romero.
Two Tangos
Horacio Salgan
Born June 15, 1916 in Buenos Aires, Argentina
At the age of eighty, Horacio Salgan was still performing weekly with his tango music group, Quinteto Real, in Buenos Aires. His first recording was in 1950 followed by many recordings of tangos that he com?posed especially for well-known singers in Argentina. Keeping with the present time in their feeling and in the words that he wrote, his tangos are considered "modern." His interest in the teaching of the tango as a musical form has resulted in his book Curso de tango, to be published under the auspices of the National Academy of Tango. Salgan's great love is the piano and with it he expresses that special musical phrasing so typical and necessary for the tango. His eightieth birthday was celebrated in a per?formance at the world-renown Tetra Colon in Buenos Aires in June 1996.
Jorge Morel, who was born in 1931 in Argentina and is now living and working in New York City, artfully arranged these two tangos. He has performed for thousands of international audiences in the last three decades incorporating brilliant technique, a uniquely personal style and sophisticated artistic expression. Through his original compositions and arrangements he has sub?stantially added to the existing repertoire for classical guitar. Morel's ability to blend his love of Latin American rhythmic textures with sophisticated jazz harmonies permeates his work with a musical imagination that is all his own, attested to by the many artists worldwide who perform and record his works.
La boda de Luis Alonso (excerpt) Interludio
Jeronimo Gimenez
Born October 10, 1854 in Seville
Died February 19, 1923 in Madrid
Jeronimo Gimenez' musical talent was rec?ognized and developed at an early age. His first lessons were with his father, and he began playing in the first violin section of the Teatro Principal by age twelve. He pro?gressed quickly from there, conducting opera and zarzuela performances in the next five years, and eventually winning a scholar?ship to the Paris Conservatoire. He won the coveted Prix de Rome in Harmony and Counterpoint and after his time in Italy returned to Spain to take up several con?ducting positions. During his tenure at the Teatro de la Zarzuela and the Teatro Lirico, he produced a healthy output of zarzuelas. Additionally, he composed a number of symphonic and chamber works during that period that were premiered at the Union Musical Espafiola and the Sociedad de Conciertos, where he was also the conductor.
Today, Gimenez' fame as a composer rests primarily on three stage works; his masterpiece La Tempranica, and the twin sainete (a one-act musical farce), El baile de Luis Alonso and La boda de Luis Alonso. The above mentioned works date to a relatively early period in his career and his output seems to have slowed down after the turn of the century. His failures may have been the result of poor libretti, since he showed both technical brilliance and musical sophistica?tion in his compositions. He refused an aca?demic position at the Madrid Conservatory until very late in his life, and lived his last days in a financial state of near poverty.
Program note by Elizabeth E. Torres. Program notes edited by Elizabeth E. Torres.
Celedonio Romero
founder and creator of The Romeros guitar quartet, died on May 8,1996, in San Diego, California. As the family says, "the spirit of the quartet is him; all our concerts now will be to pay homage to him;" his sons and grandsons will continue Celedonio's legacy.
To some fortunate musicians, it is given to rise to the peak of a musical art form; to some very few musicians, it is given to originate an art form. The Romeros have achieved both. In a lengthy feature article, The New York Times said: "Collectively, they are the only classical gui?tar quartet of real stature in the world today; in fact, they virtually invented the format."
The illustrious career of The Romeros is unmistakably a milestone of twentieth-
century music. Celedonio Romero, with his sons Celin, Pepe and Angel, founded the internationally renowned ensemble known to millions as "The Royal Family of the Guitar." With the introduction of Celin's son, Celino, into the quartet in 1990, and Angel's son Lito joining his father in duo recital, the Romeros encompassed three generations of concert artists. To have so many virtuosi of the same instrument in one family is unique in the music world, and in the realm of the classi?cal guitar it is absolutely with?out precedent. Since the Romero family came to the US in 1957, they have consistently dazzled audiences everywhere and have inspired enthusiastic
praise from critics coast to coast. Whether performing as a quartet, duo or as soloists in recital and with symphony orchestra, the Romeros prevail as champions in the realm of classical guitar.
Celedonio Romero was a soloist in Franco's Spain. As each of his sons reached the age of two or three, they began learning the guitar from their father. All his sons had made their debuts in Spain by the time they were seven years old. Finally in 1957, the family came to the US where they began performing as a quartet while the sons were still in their teens. Since then, The Romeros have given hundreds of concerts all over the world; today, they continue to produce music which is extraordinary.
The sterling reputation of The Romeros has further been earned by repeated appear?ances with virtually every major symphony orchestra in the US including those of Boston, Cleveland, Chicago, Philadelphia, Los Angeles, San Francisco, Pittsburgh, and
Detroit. The family has twice been invited to perform at the White House, in 1983 they appeared at the Vatican in a special concert for Pope John Paul II, and in 1986 they per?formed for His Royal Highness Prince Charles, Prince of Wales. Regular festival appearances include the Hollywood Bowl, Blossom, Wolf Trap, Saratoga, Flagstaff and Garden State.
The Romeros are extremely popular with college audiences and make regular appearances on university series throughout the country as well as on the fine arts series of major cities. In New York they have appeared several times at Carnegie Hall, at Alice Tully Hall in Lincoln Center, at the Metropolitan Museum of Art's Grace Rainey Rogers Auditorium, at the Cloisters in upper Manhattan's Fort Tryon Park and on the Distinguished Artists Series at Rockefeller University. In addition to their extensive concertizing throughout the US, they also regularly tour Europe and the Far East play?ing in every major city. Their most recent tours of Europe and the Orient included more than forty concerts; virtually all of the performances were sold out, and one con?cert in Taipei was attended by over 10,000 people.
A number of important additions to the guitar repertoire have been written for The Romeros by such distinguished com?posers as Joaquin Rodrigo, Federico Moreno Torroba, Morton Gould, Father Francisco de Madina and others. Television fans have seen and heard The Romeros many times on interview shows including the Tonight and Today shows as well as on PBS specials and PBS's telecast of Evening at the Boston Pops with The Romeros performing Vivaldi and Rodrigo.
Recordings have done much to spread the international fame of The Romeros. Their voluminous discography spans the repertoire of the classical guitar from the works of its earliest composers to those of
today's masters Rodrigo and Moreno Torroba, as well as compositions by the Romeros themselves.
Those who are privileged to hear these world-renowned musicians perform have the delightful opportunity to experience a musical phenomenon: "One of the enduring mysteries of musical talent is how skills seem to flow genetically from musical par?ent to musical child. In the Romero family the flow has been swift and unimpeded. The virtuosity of the four Romeros was uni?formly solid and finely considered, as if these techniques had derived from a single mold" (TheNew York Times).
This afternoon's performance marks The Romeros' fourth appearance under UMS aus?pices and marks Pepe Romero's sixth appear?ance under UMS auspices.
Simply committed to the best in dance for Michigan.
UMS
presents
Bebe Miller Company
Bebe Miller, Artistic Director
Dancers Frances Craig Steven Edwards Sarah Gamblin Ted Johnson Darrell Jones
Bebe Miller Anthony Phillips Melissa Wynn Cheng-Chieh Yu
Program
Saturday Evening, January 15, 2000 at 8:00 Power Center, Ann Arbor, Michigan
Rhythm Studies
INTERMISSION
Going to the Wall
There will be a brief question and answer session with the artists held from the stage following tonight's performance.
Fortieth Performance of the 121st Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Additional support provided by media sponsors, WDET and Metro Times.
Special thanks to the U-M Department of Dance and the Center for Education of Women, Institute for Research on Women and Gender, and the Center for Afroamerican and African Studies for their assistance with this residency.
Special thanks to Ben Johnson, UMS Director of Education and Audience Development, for serving as this evening's Pre-performance Educational Event (PREP) speaker.
Large print programs are available upon request.
Rhythm Studies (1999) running time twenty minutes
Choreography and Performance Bebe Miller
Music Take Out by Harriet Tubman (composed and performed by Brandon Ross, Melvin Gibbs and J.T. Lewis) from I Am A Man, O1998 The Knitting Factory
Christian Marclay, commissioned by Bebe Miller Company for Nothing Can Happen Only Once
Text Bebe Miller Lighting Design Michael Mazzola
Special thanks to Jonathan Kane.
Our process includes individual and collective choreographic contributions from the dancers, whose creative insights and energies are an integral part of each work.
Rhythm Studies premiered in May 1999 at The Joyce Theater, New York City.
Going to the Wall (1998) running time fifty-five minutes
Choreography and Direction
Dramaturg
Music
Lighting Design Set Design
Costume Design
Text
Performers
This performance oGoing to the Wall is dedicated to Elizabeth Pape.
Bebe Miller
Talvin Wilks
The Fugees and Nonchalant, with an original score
by Don Byron
Michael Mazzola
Scott Pask
Liz Prince
Bebe Miller
The Company
Special thanks to Laurie Carlos, Ishmael Houston-Jones and Ralph Lemon.
If you're looking for self-definition somewhere else it's not going to happen. Those folks out there second-guessing who you might be will come to know you by your ability to declare who you are, and they've got to re-evaluate all your stuff. Like standing at the wall to witness with those you didn't expect to be there.
-Bebe Miller
Going to the Wall premiered in September 1998 at The Hopkins Center at Dartmouth College. This work is made possible in part with funding from The Rockefeller Multi-Arts Production Fund, Philip Morris Companies Inc. New Works Fund and the National Endowment for the Arts, a federal agency. This work was created, in part, during the Tisch Dance Residency Festival at New York University.
Going to the Wall is also made possible by the National Dance Project, a project of the New England Foundation for the Arts, funded by the National Endowment for the Arts and the Andrew W. Mellon Foundation with special touring support provided by Philip Morris Companies Inc. and additional support provided by the John S. and James L. Knight Foundation. The National Dance Project seeks to build audiences for dance by providing support for the creation and touring of contemporary dance productions.
The composer and choreographer commission fees for this collaboration were made pos?sible by a grant from Meet The Composer's ComposerChoreographer Project, a national program funded by The Pew Charitable Trusts, Philip Morris Companies Inc. and The Irene Diamond Fund.
Going to the Wall is a co-commissioning project of the National Performance Network's Creation Fund in collaboration with the Wexner Center for the Arts at The Ohio State University, Dance Place and The Washington Performing Arts Society. The National Performance Network (NPN) is comprised of artists and arts organizations in forty cities in twenty-five states across the country, all of which play an important and ongoing role in nurturing innovative work. The NPN is made possible with major funding from the Doris Duke Charitable Foundation, The Pew Charitable Trusts, Lila Wallace-Reader's Digest Fund, Philip Morris Companies Inc., Charles E. Culpeper Foundation and the National Endowment for the Arts, a federal agency.
Bebe Miller Company began touring and performing in the US and throughout the world in 1985. Under Miller's directorship, the Company's aesthetic relies on the interplay of a work's idea, physicality and the contributions of company members to fashion its singular voice. Over the past fourteen years, the Bebe Miller Company has performed more than 250 engagements and has been commissioned by the Brooklyn Academy of Music's Next Wave Festival, City Center Theater, The Joyce Theater, Wexner
The Company's aesthetic relies on the interplay of a work's idea, physicality and the contributions of company members to fashion its singular voice.
Center for the Arts, Walker Art Center, Jacob's Pillow Dance Festival, Bates Dance Festival, Dance Theater Workshop and Dancing in the Streets. Bebe Miller Company was the first American company to perform in South Africa after the newly elected government was formed in 1994 and maintains a dialogue with the South African dance community through an initiative originally funded by the National Endowment for the Arts.
The 1998-99 season opened with the world premiere of Going to the Wall at the Hopkins Center at Dartmouth College (NH) followed by touring engagements to six cities before its NYC premiere at the Joyce Theater which also included the world premiere of Rhythm Studies, Ms. Miller's first solo in ten years. Other projects included the completion of Three, an independent film collaboration created by Bebe Miller, choreographer Ralph Lemon and filmmakerdirector Isaac Julien. The season concluded with performances in Portland, Oregon and creative residencies in Portland and New York City during which the company began work on Map of the Body, a full-evening work exploring the nature
and culture of touch scheduled to premiere in Spring 2001. Other projects during the 1999-00 season include a multi-disciplinary Arts Intensive program at Camp Bearnstow in Maine; commissions for Sbrit, the nation?al dance troupe of Eritrea, Liz Lerman Dance Exchange and Dance Works, Australia; and a new media project to be developed at the Institute for Studies in the Arts at Arizona State University, Tempe.
The Company has a history of successful community-based residencies that serve to enrich its artistic sensibility and expose its work more deeply to people in
a community. Bebe Miller Company invests significant time in structuring and leading activities such as forums and workshops that focus on expec?tations and assumptions about dance. The Company targets
these activities to students, educators, women's groups, multi-disciplinary arts communities, senior citizens and diverse cultural groups. The Company also offers professional devel?opment to the dance community nation?wide through intensive dance and choreog?raphy workshops. Miller is a sought-after teacher, and the Company has frequently been in residence with educational institutions such as Ohio State University, Portland State University (OR), University of Minnesota and Bates College Dance Festival (ME). Beginning in 1999, the Company will self-produce an annual professional workshop series for the New York City dance community. Also in 2000, the Company is establishing a multi-year partnership with Ifetayo Cultural Arts Facility in Brooklyn which provides training, educa?tion and cross-cultural exchange to African-American youth and their families.
Tonight's performance marks Bebe Miller Company's third appearance under UMS auspices. The Company debuted in March 1990 as part of UMS' American Contemporary Dance Festival.
Bebe Miller, a native New Yorker, has been making dances for twenty years. In order to further a process of group inquiry, she formed Bebe Miller Company in 1985. As Miller continues a line of exploration of the visceral, unruly edges of heart and psyche that inform our day to
day progress, her interest in finding a physi?cal language for the human condition is a connecting thread throughout her work. In recent years, she has been investigating a mix of theatrical narrative, performance and movement to expand this language, most notably in Going to the Wall (1998), Tiny Sisters in the Enormous Land (1995) and Nothing Can Happen Only Once (1993).
Collaboration being fundamental to her working process, she has worked with such artists as composers Robin Holcomb, Fred Frith, Don Byron and Christian Marclay; visual artists Caroline Beasley-Baker, Eve Andre Laramee', Robert Flynt and Robert Kushner; theatrical directors and writers Holly Anderson, Ain Gordon and Talvin Wilks; lighting designers Michael Mazzola,
Stan Pressner and Ken Tabachnick; film maker Isaac Julien and video artist Kit Fitzgerald. She also acknowledges the collaborative contribution of the dancers she has worked with, past and present, who have informed her work. Miller has created original works for Oregon Ballet Theatre, Boston Ballet, Dayton Contemporary Dance
Company, Phoenix Dance Company in England and Groupe Experimental de Danse Contemporaine in Martinique. Her work has also been staged on De Nieuwe Dansgroep in Amsterdam, Jazzart Dance Theatre in Cape Town and PACT Dance Company in Johannesburg, South Africa. Miller has taught workshops, master classes and conducted long-term residencies at univer?sities, colleges and dance centers throughout the world. In Winter 1999, she began an annual one-term teaching position at Ohio State University.
Bebe Miller has been awarded fellowships from the National Endowment for the
Arts, the New York Foundation for the Arts and has been honored with two "Bessie" New York Dance and Performance Awards, a John Simon Guggenheim Foundation Fellowship and an American Choreographer's Award.
She currently serves on the Board of Directors of Dance Theater Workshop (NY) and Camp Bearnstow (ME), on the Advisory Board for Celebrate Brooklyn (NY) and on the Artistic Advisory Board for Bates Dance Festival (ME).
Tonight's performance marks Bebe Miller's third appearance under UMS auspices. She made her debut performances in March 1990 as part of UMS' American Contemporary Dance Festival.
Don Byron has been deeply involved in the most adventurous circles of the New York music scene for the past decade and has gar?nered international recognition as an inno?vator on jazz clarinet. Named Down Beat's "Jazz Artist of the Year" in 1990, he topped the Down Beat Critics' Poll as top clarinetist for five consecutive years, and the Down Beat Readers' Poll since 1995, all the while striving relentlessly for what he calls "a sound above genre." His four recordings on Nonesuch Tuskegee Experiments, Don Byron Plays the Music of Mickey Katz, Music for Six Musicians and Bug Music -have all received worldwide acclaim. In 1997 he was named Artistic Director of Jazz at the Brooklyn Academy of Music, and he contin?ues to develop jazz at the Next Wave Festival, program weekends of Jazz in the Leperq Space Cafe and perform for BAM's educational programs.
Frances Craig, from Florence, Alabama, graduated with a BA in History from Randolph-Macon Women's College in Virginia. In 1989 she received her MFA in Dance from Ohio State University. Frances has served as visiting artist and faculty member at universities and companies nationally and abroad. From 1991-93 she was Visiting Faculty for OSU while directing a community-based theatre arts program for teenagers. In the fall of 1996 she appeared in an Off-Off-Broadway one-act at HERE in New York. In 1997-98 she was choreographic assistant to Doug Varone for the Broadway musical Triumph of Love, and assisted its re-staging at the Walnut Street Theatre in Philadelphia. Frances was a member of the Bebe Miller Company from 1993-99. Currently she studies acting, is a freelance performer, and choreographs. Her work was recently presented in the Dance Now Series in New York, and she traveled to Stockholm to perform with painterchoreo-
grapher Shen Wei. She is pleased to be returning for this production of Going to the Wall.
Steven Edwards, danced with the Bebe Miller Company from 1994-1999. Originally from New Hampshire, he came to New York after receiving a BA in Dance from the University of Washington at Seattle. In NYC he has had the privilege to work with Koosil-Ja Hwang, CreachKoester, Joy Kellman, Amy Cox and Francisco DaSilva. He is currently teaching Pilates and taking pre-med courses in hopes of becoming an osteopath. He is pleased to be returning as a guest of the company.
Sarah Gamblin graduated from Ohio University with a BFA in Dance. She has been dancing with Bebe Miller since 1994 and Bill Young since 1996. Gamblin has been teaching in the Modern Guest Artist series at Dance Space since 1997. She would like to thank her teachers of ten years, Barbara Mahler and Susan Klein, and her loyal, flexible, "day job" employers Cindy Smith and Steve Kalt.
Ted Johnson, an Iowa native, has been a member of Bebe Miller Company since 1995. He has performed with numerous choreographers and companies, including Ralph Lemon Company, Laurie DeVito and Dancers, David Alan Harris, The Yard, Cheng-Chieh Yu, Amy Sue Rosen, Li Chiao-Ping, Eun Me Ahn, and most recently, Barbara Grubel. A graphic artist as well as an avid singer with a background in musical theatre, Ted bases his current movement exploration on the work of Barbara Mahler and Susan Klein, founder of Klein Technique. He also studies with the many wonderful instructors at Dance Space in
New York and has worked extensively with movement improvisation, including practic?ing and performing contact improvisation.
Darrell Jones completed his BS in Psychology at the University of Florida and received an MFA in Dance at Florida State University. In New York he has worked with Min Tanaka, Nia Love & Co., Sham MosherHybridium and Bebe Miller Company.
Since 1986, Michael Mazzola's work has been seen in venues ranging from circus tents to opera houses across America and Europe. He has designed lighting for ballet, opera, modern dance, theatre and corporate events. The "Bessie" Award-winning design?er's recent works include lighting for James Canfield's Jungle, Go Ask Alice and Carmina Burana; FileO-Mou Sen's apocalyptic Chinese post-modern theater work; Ammirati Puris Lintas' recent Task Force Event in NYC; Earth Studies3 Colonial Encounters, a contemporary opera; Excavations at the Montpellier Danse Festival and PART at the VolksTheater, Vienna for Steve Paxton and Lisa Nelson. Mazzola serves as the Resident Lighting Designer for Bebe Miller Company, Oregon Ballet Theatre, National Foundation for Jewish Culture and the Improvisation FestivalNYC.
Scott Pask's designs for dance include pro?ductions for choreographers Chamecki Lerner, Margarita Guergue, June Anderson, David Parker, Vivian Trimble and John Kelly. In theatre, he has designed Kia Corthron's Splash Hatch on the E Going Down (New York Stage and Film), Julie McKee's The Adventures of Amy Bock (Yale Rep), Roman Paska's God Mother Radio
[Massacre at Paris] (Theatre 71, Malakoff, Paris), and Da Camera of Houston's Moondrunk (ChoreographyStage Direction by John Kelly), included in Lincoln Center for the Performing Arts' New Visions Series for 1999. Pask's work in film includes Art Direction of Living in Oblivion, Postcards From America and Illuminata (tide sequence) and assistant production design of Steve Buscemi's Trees Lounge. He has a degree in architecture from the University of Arizona and is a graduate of the Yale School of Drama.
Anthony Phillips has danced with Bebe Miller Company since 1994. He has had the pleasure of working with Bill Young and Dancers, Yoshiko Chuma and the School of Hard Knocks, Robin Becker and Company, The Jacob's Pillow Men Dancers Project, The Yard, Allyson Green, David Dorfman, Victoria Marks, David Alan Harris, Lynn Shapiro, Colin Connor, and Cherylynn Lavagnino. Phillips would like to thank Bebe and the Company for the dialogue that has become Going to the Wall.
Liz Prince has recently designed costumes for Ralph Lemon's Geography, Bill T. JonesArnie Zane Dance Company's We Set Out Early... Visibility Was Poor and Mark Dendy's Augeries 1-2-3 for the Pacific Northwest Ballet and Dream Analysis. Her costumes have been exhibited at the Cleveland Center for Contemporary Art, Snug Harbor Cultural Center, The New York Public Library for the Performing Arts and The Whitney at Philip Morris. She received a 1990 New York Dance and Performance Award for costume design.
Talvin Wilks is a writer, director and dra-maturg based in New York City. Directorial projects include the world premiere of The Love Space Demands, by Ntozake Shange, The Return of Elijah by Sekou Sundiata, and You Say What I Mean But What You Mean Is Not What I Said, A Hot Mouth Experience, by Grisha Coleman. Plays include Tod, the Boy Tod, The Trial of Uncle SM, and Bread Heaven. He was co-writerdramaturg for Ping Chong's Undesirable ElementsSeattle and for the world premiere of Sarajevo: Behind God's Back by Amir Beso and Srdjan Jevdevic. He first collaborated with Bebe Miller on Drummin by Tania Leon. He is currently writing a series of Story Theaters for The National Underground Railroad Freedom Center.
Melissa Wynn, originally from California, received her BFA in Dance from The Juilliard School. She has worked with vari?ous artists and companies including Bobbie Wynn and Company, Bonnie McNeely, Ellen Webb, the Stanley Love Performance Group, WorksLaura Glenn Dance, Sham Mosher, Marlies Yearby, Reggie Wilson's Fist and Heel Performance Group and Sarah Skaggs Dance. Her choreography has been present?ed at Danspace Project at St. Mark's Church, Dixon Place and Long Island University. She has also taught at various schools in California. In addition to working with Bebe, Melissa also dances with Cynthia Oliver. Wynn thanks the Goddess for the abundance in her life.
Cheng-Chieh Yu holds an MFA in Dance from Tisch School of the Arts, New York University. Her choreography has been pre?sented in NYC at PS 122, La MaMa ETC, Lincoln Center Out-of-Doors, Dance Theater Workshop, Taipei Theater, Danspace at St. Mark's Church and
Movement Research at Judson Church. She has performed with Cloud Gate Dance Theater (Taiwan) and The Limon Dance Company. In addition to working with Bebe Miller Company, Yu also is working with Ralph Lemon on "Part 2" of his Geography Trilogy. Yu has been a recipient of residen?cies, grants and commissions from: UCLA Center for Intercultural Performance, The Atlantic Center for the Arts Residency at the Akiyoshidai Art Village (Japan), Bennington College, Movement Research, Taipei Theater & Mulberry Street Theater (NYC) and the Cultural Council of the Government of Taiwan. She has extensive teaching credits internationally and in the United States.
Bebe Miller Company gratefully acknowledges the support of The Harkness Foundations for Dance, Materials for the Arts, Meet the Composer, The Andrew W. Mellon Foundation, The National Dance Project (a project of the New England Foundation for the Arts), the National Endowment for the Arts, the New York State Council on the Arts, Philip Morris Companies Inc., The Rockefeller Foundation's Multi-Arts Production Fund, the Emma A. Sheafer Charitable Trust, Lila Acheson Wallace Theater Fund, The Andy Warhol Foundation for the Visual Arts, and individual patrons.
Artistic Director Bebe Miller
Production and Management Services
MultiArts Projects and Productions
Ann Rosenthal and Cathy Zimmerman, Co-Directors
Sarah Bitter and Jenny Tool, Project Associates
Production Supervisor Kim Palma
Booking Representation Pentacle
Board of Directors
Caroline Beasley-Baker, Robert Kushner, Michael Mazzola,
Bebe Miller and David Thomson
For information regarding Bebe Miller Company,
please contact:
John Claassen, Pentacle
104 Franklin Street
New York, NY 10013
Bebe Miller Company, by e-mail: Bebemiller@aol.com
Bebe Miller Company is a non-profit, tax-exempt organization. Contributions are tax deductible to the full extent allowed by law.
UMS
and
Butzel Long
present
Take 6
Alvin Chea, Bass
Cedric Dent, Baritone
Joey Kibble, Second tenor
Mark Kibble, First tenor
Claude V. McKnight III, First tenor
David Thomas, Second tenor
Program
Monday Evening, January 17, 2000 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Take 6 will announce tonight's program from the stage.
Forty-first Performance of the 121st Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by Butzel Long Attorneys.
Special thanks to Len Niehoff of Butzel Long for his generous support of the University Musical Society.
Take 6 is co-presented with the U-M Office of Academic Multicultural Initiatives.
Additional support provided by Republic Bank.
Additional support provided by media sponsors, WEMU and WDET.
Large print programs are available upon request.
hen Take 6 emerged
with their self-titled 1988 debut album, some pundits wagered that the group's organ?ic synthesis of doo-wop, gospel, jazz and R&B would fall on deaf ears. Five albums, one Christmas album, seven Grammy Awards and eight Dove Awards later, Take 6 is one of the most successful and honored vocal groups in history.
Take 6 has been served well by their experimental zeal and their insistence on musical excellence. The group has endured countless industry upheavals that have claimed the careers of trendier artists, while influencing such vocal-oriented pop acts as Boyz II Men, Dm Hill and the Backstreet Boys. And though Take 6 is the quintessen?tial "crossover" act, with listeners at AC, Gospel, Urban, Urban AC, Jazz and Contemporary Christian radio, their
integrity is unquestionable. As the Rolling Stone Album Guide noted:
...Accept that a group so spectacular would 'limit' itself to gospel. But that has never been a problem for the members of Take 6. 'Plenty of people do other kinds of music,' says Alvin Chea. 'Our calling, and the reason we're still together, is to worship and praise God. It's never been a debate for us.'
Recent Take 6 albums include Brothers (1996), Join the Band (1994), He is Christmas (1992), and So Much To Say (1990). Over the years, Take 6 has won seven Grammys out of fifteen nominations, eight Dove Awards, and has topped Downbeat magazine's readers' and critics' poll as Best Jazz Vocal Group for an amazing seven years straight.
The sextet has recorded andor per?formed with an impressive array of talent, including Quincy Jones, Ella Fitzgerald, Stevie Wonder, Ray Charles, Al Jarreau, Don Henley, James Taylor, Patti Austin, Randy Travis, Branford Marsalis and BeBe & CeCe Winans. They have appeared on film sound?tracks to Spike Lee's Do the Right Thing, John Singleton's Boyz 'N The Hood, Warren Beatty's Dick Tracy, and they are featured on both The Prince of Egypt UrbanGospel companion album and on the official soundtrack album as part of the ensemble singing "Humanity." Take 6 also made a recent on-screen appearance in The Out Of Towners (starring Goldie Hawn and Steve Martin).
Along the way, the individual members have also pursued other interests such as doing animated voice-overs (David, Claude and Alvin), producing other artists (Alvin, Claude, Mark, David and Joey), and even earning a PhD in Music Theory (Cedric).
Juggling family, faith, and career is never easy, but for Take 6, there is joy to be had in every aspect of life. "We're passionate about what we believe in," notes David Thomas. "We want people to love the music,
but at the same time, we want the lyrics and what we're singing about to sink in. We're simply introducing people to the love of God." Adds Alvin Chea, "It's our mission to make people happy."
Over the years, Take 6 has brought immeasurable joy to millions around the world, thanks to the sheer power of their talents.
Tonight's performance marks Take 6's debut under UMS auspices.
UMS
Experience
UMS WINTER 2000 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.
The Romeros
Sunday, January 9,4 p.m. Rackham Auditorium Sponsored by AT&T Wireless Services.
Bebe Miller Company
Saturday, January 15, 8 p.m. Power Center
Master of Arts Interview with Bebe Miller, choreographer, and a special 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 Building. 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.
Advanced Modem 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 Ben Johnson, UMS Director of Education and Audience Development. Saturday, January 15, 7 p.m., Michigan League, Koessler Library, 3rd Floor. Meet the Artist Post-performance dialogue from the stage. Dance Department Mini Course "Four Women of the Dance: a mini-course based on the UMS sponsored performances of four major American women choreographers" taught by Gay Delanghe, U-M Professor of Dance. Winter Term, 2000. Mass Meeting, Saturday, January 8,12 noon. For infor?mation, delanghe@umich.edu or call U-M Department of Dance, 734.763.5460. Tliis project is supported in part by a grant from the National Endowment for the Arts. Media sponsors WDETand Metro Times.
Take 6
Monday, January 17, 8 p.m. Hill Auditorium Sponsored by Butzel Long Attorneys with support from Republic Bank. Media sponsors WEMU and WDET. Co-presented with the U-M Office of Academic Multicultural Initiatives.
Yo-Yo Ma, cello Kathryn Stott, piano
Thursday, January 20, 8 p.m. Hill Auditorium Sponsored by Forest Health Services. Media sponsor WGTE.
American String Quartet
Beethoven the Contemporary Sunday, January 23,4 p.m. Rackham Auditorium Media sponsor Michigan Radio.
Russian National Orchestra
Mikhail Pletnev, conductor Francesko Tristano Schlim6,
piano
UMS Choral Union Monday, January 24, 8 p.m. Hill Auditorium
Center for Russian and Eastern European Studies Symposium "Apocalypse Now Scriabin and Russian Culture at the End of the Century" Sunday, January 23, Media Union. Full schedule at http:www.umich.edu --iinetcrees 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.umich.edu -iinetcrees or call 734.764.0351. Pre-concert Performance traditional SlavonicRussian songs performed by St. Romano's Ensemble. Monday, January 24,7-7:45 p.m., Hill Auditorium Lobby. Free with paid admission to Russian National Orchestra concert.
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. Presented with the generous support of The Shiffman Foundation, Sigrid Christiansen and Richard Levey. Additional support provided by Randy Parrish Fine Framing and Art. Media sponsor WGTE.
Mozart and Friends --
A Birthday Celebration Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music 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
UMS Performing Arts Teacher Workshop "Jazz in the Classroom" Wednesday, February 2,4 p.m. To register call 734.615.0122. $ Jazz Combo Master Classes with the Jazz at Lincoln Center Sextet. Thursday, February 3, 7 p.m., U-M School of Music. Observation only. Sponsored by Blue Nile Restaurant with support from Hudson's and the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network. These concerts are part of Chamber Music America's "A Musical Celebration of the Millennium." Media sponsors WEMU and WDET.
Gothenburg Symphony Orchestra
Neeme Jarvi, conductor Yuri Bashmet, viola Saturday, February 5, 8 p.m. Hill Auditorium Made possible by a gift from David and Martha Krehbiel, "to honor the memory of Bertha and Marie Krehbiel for whom music was life." Additional support pro?vided by SAS Scandinavian Airlines, Consul Lennart Johansson and Karin Johansson, Bengt and Elaine Swenson and The Swedish Round Table Organizations. 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 GenniS, U-M Professor of Art History Dance HistoryDance. Tuesday, February 8,12 noon, U-M School of Music Recital Hall. In conjunction with the Institute for Research on Women and Gender, U-M School of Music, Center for Education of Women, U-M Department of Composition and the U-M Department of Dance. PREP "Goddess Meredith: The 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. This project is supported in part by a grant from the National Endowment for the Arts. 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 and the U-M Office of the Provost; and the North American Secretariat for the International Center for African Music and Dance. Sponsored by Comerica, Inc. Media sponsors WEMU and Metro Times. This is a Hearland Arts Fund Program with the National Endowment for the Arts and the Michigan Council for Arts and Cultural Affairs.
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 Isaacs Nisbett, Music and Dance writer for the Ann Arbor News. Friday, February 11,12 noon, Betty Pease Studio, U-M Dance Building, 2nd Floor. In conjunc?tion with the Institute for Research on Women and Gender, and the U-M Department of Dance. Meet the Artist Post-performance dialogue from the stage. Advanced Modern Dance Master Class Saturday, February 12,10:30 a.m., U-M Dance Building, Studio A. $ This project is supported in part by a grant from the National Endowment for the Arts.
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
T&nu 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, interviewed by Susan Isaacs Nisbett, Music and Dance writer for the Ann Arbor News. Tuesday, February 15, 7 p.m., U-M School of Music Recital Hall. Sponsored by CFI Group. Media sponsor WGTE.
New York City Opera National Company Rossini's The Barber of Seville
Thursday, February 17, 8 p.m. Friday, February 18, 8 p.m. Saturday, February 19, 2 p.m. (One-Hour Family Performance) Saturday, February 19, 8 p.m. Power Center
PREP "Opera 101" with Helen Siedel, UMS Education Specialist. Friday, February 18, 7 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 Parkc-Davis Pharmaceutical Research.
Christian Tetzlaff, violin
Sunday, February 20, 8 p.m. St. Francis of Assisi Catholic Church
Added Performance An Evening with Audra McDonald Ted Sperling, piano and
music director Sunday, March 5, 8 p.m. Power Center
This concert is presented in conjunction with the symposium, The Fine and Performing Arts of African Americans: Enhancing Education, held March 2-8 and with the Finals Concert of the Sphinx Competition, Sunday, March 5 at 4 p.m. in Hill Auditorium.
The Chieftains
Wednesday, March 8, 8 p.m. Hill Auditorium Sponsored by Bank of Ann Arbor. Media sponsor WDET.
Ballet d'Afrique Noire The Mandinka Epic
Jean Pierre Leurs, director Thursday, March 9, 8 p.m. Friday, March 10, 8 p.m. Power Center
Mandinka Epic Symposium "Rethinking the African Epic." Thursday, March 9,4 p.m., Rackham Assembly Hall. In conjunction with the Center for Afroamerican and African Studies, U-M Office of the Provost, and the North American Secretariat for the International Center for African Music and Dance. With reception. Drumming Master Class Saturday, March 11,10 a.m., Washtenaw Community College. Call 734.647.6712 for more information. African Dance Master Class Saturday, March 11,2 p.m., Betty Pease Studio, U-M Dance Building, 2nd Floor. Call 734.647.6712 for more information. Sponsored by Detroit Edison Foundation. Media sponsors WEMU and Metro Times. Tliis is a Hearland Arts Fund Program with the National Endowment for the Arts and the Michigan Council for Arts and Cultural Affairs.
The English Concert Trevor Pinnock, conductor and harpsichord
Saturday, March 11,8 p.m. Hill Auditorium PREP with Steven Whiting, U-M Professor of Musicology. Saturday, March 11,7 p.m., Michigan League, Hussey Room, 2nd Floor. Sponsored by Miller, Canfield, Paddock and Stone. Media sponsor WGTE.
Maestro Ali Akbar Khan accompanied by Zakir Hussain
Friday, March 17, 8 p.m. Hill Auditorium
Sponsored by Megasys Software Services, Inc. Media sponsor WDET.
American String Quartet
Beethoven the Contemporary Sunday, March 19, 4 p.m. Rackham Auditorium Meet the Artist Post-performance dialogue from the stage. Media sponsor Michigan Radio.
Thomas Quasthoff, baritone
Justus Zeyen, piano Monday, March 20, 8 p.m. Lydia Mendelssohn Theatre PREP "The Art is Song" with Richard LeSueur, Vocal Arts Information Services. 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 Mini-Course "Japan, China, Korea and the United States: Theater Across the Borders." For more information, con?tact Brett Johnson at 734.764.6307. Korean Dance Master Class taught by Song Hee Lee, Wednesday, March 22,11 a.m., U-M Dance Building. Noh Theater Master Class taught by Akira Matsui, Wednesday, March 22,
3 p.m., Arena Theater, Frieze Building. Master of Arts Interview with Chen Shi-Zheng, Artistic Director of Forgiveness. Wednesday, March 22, 6 p.m., Room 1636, International Institute, School of Social Work Building. Chinese Opera Lecture Demonstration by Zhou Long and Museum Tour of the U-M Museum of Art Chinese Art Exhibit, Thursday, March 23,6:30 p.m. Meet the Artist Post-performance dialogue from the stage. Presented with the generous support of Dr. Herbert Sloan. Additional support provided 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
Open Rehearsal and Master of Arts
Interview with Vladimir Ashkenazy,
Saturday, April 1, time TBA, 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 For full residency details, please call 734.647.6712.
Toni Blackman is presented in conjunc?tion with the King-Chaviz-Park Visiting Professors Program and the Office of the Provost. Support is also provided by the Institute for Research on Women and Gender and the Center for Afroamerkan and African Studies. Media sponsors WEMU and Metro Times.
Season Listing continued on page 33
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 Ben Johnson, UMS Director of Education and Audience Development. Tuesday, February 1,12 noon, U-M Institute for the Humanities. Master of Arts interview with Trisha Brown, choreographer. Interviewed by Ben Johnson, UMS Director of Education and Audience Development. Wednesday, April 12,12 noon, U-M Dance Building, 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 Development. Wednesday, April 12, 7 p.m., Michigan League, Koessler Library, 3rd Floor. Meet the Artist Post-performance dialogue from the stage. This project is supported in part by a grant from the National Endowment for the Arts.
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, 2:30 p.m., U-M School of Music Recital Hall. 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 Made possible by a gift from the estate of William R. Kinney.
J.S. Bach's St. Matthew Passion UMS Choral Union Ann Arbor Symphony
Orchestra
Ann Arbor Youth Choral Thomas Sheets, conductor Sunday, April 16, 4 p.m. Hill Auditorium 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. Tickets to the performance required for entry. 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.
Oscar Peterson Quartet
Wednesday, April 26, 8 p.m. Hill Auditorium Media sponsor WEMU.
Ford Honors Program
Friday, May 5, 7 p.m. Hill Auditorium and Michigan League Sponsored by Ford Motor Company Fund.
:ord Honors Program Honorees
Cliburn
Jessye Norman
1998 Garrick Ohisson
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 trib?ute to and pre?sents the artist with the UMS Distinguished Artist Award, and hosts a dinner and party in the artist's honor. This sea?son'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 in its fourth year, this series is an oppor?tunity 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
Ushio Amagatsu
Bebe Miller
Meredith Monk
? Doudou D'Diaye Rose
? Martha Clarke
? Murray Perahia
Chen Shi-Zheng
? Vladimir Ashkenazy
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 perfor?mances 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
? Ballet d'Afrique Noire: The Mandinka Epic
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 student-friendly live matinee performances.
The 19992000 Youth Performance Series includes:
AmaJia 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
? "Modern Dance in the Classroom"
For information and registration, please call 734.615.0122.
The Kennedy Center Partnership
The University Musical Society and Ann Arbor Public Schools are members of the Performing Arts Centers and Schools: Partners in Education Program of the John F. Kennedy Center for the Performing Arts. Selected because of its demonstrated com?mitment to the improvement of education in and through the arts, the partnership team participates in collaborative efforts to make the arts integral to education and creates a multitude of professional development opportunities for teachers and educators.
Special Discounts for Teachers and Students to Public Performances
UMS offers special discounts to school groups attending our world-class evening and weekend performances. Please call the Group Sales Office at 734.763.3100 for more infor?mation about discounts for student and youth groups.
DINING EXPERIENCES
UMS Camerata Dinners
Hosted by members of the UMS Board of Directors, Camerata dinners are a delicious and convenient beginning to your concert evening and are welcome to all. Our dinner buffet is open from 6:00 to 7:30 p.m. offering you the perfect opportunity to arrive early, park with ease, and dine in a relaxed setting with friends and fellow patrons. All dinners are held in the Alumni Center unless otherwise noted below. Dinner is $25 per person. Reservations can be made by calling 734.647.8009. UMS members receive reservation priority.
We are grateful to Al Rental, Inc. for their support of these special dinners.
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
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-away. 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 perfor?mance 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 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.
Package price is $228.00 per couple.
Gratzi Restaurant
326 South Main Street
734.663.5555 for reservations and prices
Mon. Jan. 17 Take 6
Fri. Feb. 18 New York City Opera National
Company: The Barber of Seville Sat. Apr. 1 Czech Philharmonic Orchestra Wed. Apr. 26 Oscar Peterson Quartet
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. Package price is $63.25 per person.
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 734.998.4746 Join us for an authentic dining adventure to be shared and long remembered. Specializing in poultry, beef, lamb and vegetarian specialties. Outstanding wine and beer list.
Cafe Marie
1759 Plymouth Road 734.662.2272 Distinct and delicious breakfast and lunch dishes, creative weekly specials. Fresh-squeezed juice and captivating cappuccinos! A sunny, casual, smoke-free atmosphere. Take out available.
The Chop House
322 South Main Street 734.669.9977 Ann Arbor's newest taste temptation. An elite American Chop House featuring U.S.D.A. prime beef, the finest in Midwestern grain-fed meat, and exceptional premium wines in a refined, elegant setting. Open nightly, call for reservations.
The Original Cottage Inn
512 East William 734.663.3379 An Ann Arbor tradition for more than 50 years. Featuring Ann Arbor's favorite pizza, a full Italian menu, banquet facilities and cater?ing services.
D'Amato's Neighborhood Restaurant
102 South First Street 734.623.7400 Casual dining, serving wonderful home style Italian cuisine; many entrees changed daily. Featuring 35 wines by the glass, banquet seat?ing, and moderate prices. Rated '4 Stars' by the Detroit Free Pressl Reservations welcome.
The Earle
121 West Washington 734.994.0211 Provincial French and Italian dishes served in a casually elegant cellar setting. Wine list of over 1,000 selections. Live music nightly. Private rooms seat 8-30.
Gandy Dancer
401 Depot Street 734.769.0592 Located in the historic 1886 railroad depot. Specializing in fresh seafood. Lunches Monday-Friday 11:30-3:30. Dinners Monday-Saturday 4:30-10, Sunday 3:30-9. Award win?ning Sunday brunch 10:00-2:00. Reservations recommended.
Gratzi
326 South Main Street 734.663.5555 Celebrated, award-winning Italian cuisine served with flair and excitement. Sidewalk and balcony seating. Open for lunch and dinner. Reservations accepted.
The Kerrytown Bistro
At the corner of Fourth Ave and Kingsley in Kerrytown 734.994.6424 The Kerrytown Bistro specializes in fine French Provincial inspired cuisine, excellent wines and gracious service in a relaxed, inti?mate atmosphere. Hours vary, reservations accepted.
La Dolce Vita
322 South Main Street 734.669.9977 Offering the finest in after-dinner pleasures. Indulge in the delightful sophistication of gourmet desserts, fancy pastries, cheeses, fine wines, ports, sherries, martinis, rare scotches, hand-rolled cigars and much more. Open nightly.
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 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 fifty-four 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, sea?son opening events, and the Ford Honors Program gala, the Advisory Committee has pledged to donate $200,000 to UMS this sea?son. Additionally, the Committee's hard work is now in evidence with the publication of 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 734.647.4020 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
}oin Us
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
Because Music Matters specialbenefitsandthe?d&thatuarc
helping to assure that our community will continue to enjoy the extraordinary artistry that UMS offers.
treasures. And there are numerous benefits 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 400 indi?viduals who volunteer their time to make your concert-going experience more pleasant and efficient. To become an usher, each vol?unteer attends one of several orientation and training sessions offered year-round. Full?time ushers are responsible for working at every UMS performance in a specific venue (i.e. Hill, Power Center, or Rackham) for the entire concert season; substitute ushers fill in for specific shows that the full-time ushers cannot attend.
If you would like information about joining the UMS Usher Corps, leave a message for our front of house coordinator at 734.913.9696.
MEMBERSHIP
Great performances--the best in music, theater and dance --are presented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, members of the Society. ? The list below represents names of current donors as of November 3, 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
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 Financial Services
Bank One, Michigan
Brauer Investments
DaimlerChrysler
Ford Motor Company Fund
Forest Health Services
Corporation Hudson's Project Image Parke-Davis Pharmaceutical
Research Office of the Provost,
University of Michigan
Foundations
Community Foundation for
Southeastern Michigan Lila Wallace Reader's Digest
Audiences for the
Performing Network Lila Wallace Reader's Digest
Arts Partners Program Michigan Council for Arts and
Cultural Affairs National Endowment for the
Arts
MAESTROS
Individuals
Ronnie and Sheila Cresswell Robert and Janice DiRomualdo Charles N. Hall Roger and Coco Newton Prudence and Amnon Rosenthal
Businesses
Bank of Ann Arbor
Arbor TemporariesPersonnel
SystemsArbor Technical
Staffing, Inc. Comerica Incorporated Edward Surovell Realtors KeyBank Lufthansa German Airlines
Masco Corporation McKinley Associates Mechanical Dynamics Mervyn's California National City Corporation NSK Corporation Pepper, Hamilton & Scheetz Thomas B. McMullen
Company Wolverine Temporaries, Inc.
Foundations
Detroit Edison Foundation Elizabeth E. Kennedy Fund Benard L. Maas Foundation Mid-America Arts Alliance
VIRTUOSI
Individuals
Edward Surovell and Natalie Lacy
Businesses
CFI Group Holnam, Inc.
CONCERTMASTERS
Individuals
Herb and Carol Amster Maurice and Linda Binkow Douglas Crary Ken and Penny Fischer Beverley and Gerson Geltner 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 Ronald and Eileen Weiser Marina and Robert Whitman
Businesses
Ann Arbor Acura AT&T Wireless Blue Nile Restaurant Butzel Long Attorneys Cafe Marie
Chelsea Milling Company Deloitte & Touche Dow Automotive Elastizell Corp of America Institute for Social Research Miller, Canfield, Paddock,
and Stone LLP O'Neal Construction Visteon
Foundations
Chamber Music America Jewish Community Center of
Washtenaw County 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 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 John Psarouthakis Mabel E. Rugen Don and Judy Dow Rumelhart Professor Thomas J. and Ann
Sneed Schriber 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
AAA Michigan
Alcan Automotive Products
Austin & Warburton
ERIM International Inc
Ideation, Inc.
Joseph Curtin Studios
Megasys Software Services Inc.
Randy Parrish Fine Framing
Republic Bank Ann Arbor
Sesi Investment
Target Stores
foundations
Ann Arbor Area Community
Foundation Shiftman Foundation Trust
(Richard Levey)
PRINCIPALS
Individuals
Dr. and Mrs. Gerald Abrams Mrs. Gardner Ackley Jim and Barbara Adams Bernard and Raquel Agranoff Dr. and Mrs. Robert G. Aldrich 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 Elizabeth and Giles G. Bole Lee C. Bollinger and Jean
Magnano Bollinger Howard and Margaret Bond Bob and Sue Bonfleld 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 Bruce and Jean Carlson Je,an and Kenneth Casey Janet and Bill Cassebaum Anne Chase
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 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
Principals, continued
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 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 Sun-Chien and
Betty Hsiao John and
Patricia Huntington Stuart and Maureen Isaac Mercy and Stephen Kasle Richard and
Sylvia Kaufman Thomas and
Shirley Kauper Bethany and Bill Klinke Michael and
Phyllis Korybalski Dimitri and
Suzanne Kosacheff Barbara and
Michael Kusisto Lee E. Landes Jill Latta and
David S. Bach 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 Margaret W. Maurer 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 Shirley Neuman M. Haskell and Jan
Barney Newman William and
Deanna Newman Mrs. Marvin Niehuss Marylen and
Harold Oberman 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 Stephen and Agnes
Reading 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 Mr. and Mrs.
Charles H. Rubin Dick and Norma Sarns 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 James and Nancy Stanley Mr. and Mrs. John C.
Stegeman Victor and Marlene
Stoeffler James L. and Ann S.
Telfer
Lois A. Theis Dr. Isaac Thomas III and
Dr. Toni Hoover Susan B. Ullrich Jerrold G. Utsler Charlotte Van Curler Mary Vanden Belt Ellen C. Wagner Gregory and Annette
Walker
Elise and Jerry Weisbach Angela and Lyndon
Welch
Roy and JoAn Wetzel Paul and Elizabeth
Yhouse
Businesses
A-l Rentals, Inc. Alf Studios Allen & Kwan
Commercial Briarwood Mall Chris Triola Shar Music Company STM Inc.
Foundations
J. F. Ervin Foundation Harold and Jean
Grossman Family
Foundation
Hudson's Circle of Giving The Lebensfeld
Foundation Montague Foundation The Power Foundation
BENEFACTORS Individuals
M. Bernard Aidinoff Robert Ainsworth Michael and Suzan
Alexander
Carlene and Peter Aliferis Dr. and Mrs. Rudi Ansbacher Catherine S. Arcure Jennifer Arcure and Eric
Potoker
Janet and Arnold AronofT 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 Ron and Mimi Bogdasarian Charles and Linda Borgsdorf Carl and Isabelle Brauer Professor and Mrs. Dale E.
Briggs
David and Sharon Brooks June and Donald R. Brown Douglas and Marilyn
Campbell Jean W. Campbell Michael and Patricia
Campbell
George R. Carignan Jim and Priscilla Carlson James S. Chen Janice A. Clark John and Nancy Clark Jim and Connie Cook Susan and Arnold Coran H. Richard Crane Alice B. Crawford George and Connie Cress Mary R. and John G. Curtis Mr. and Mrs. William H.
Damon III
John and Jean Debbink James M. Deimen Katy and Anthony
Derezinski Delia DiPietro and Jack
Wagoner, M.D. Dr. and Mrs. Stephen W.
Director
Molly and Bill Dobson Mr. and Mrs. Raymond D.
Dornbusch Charles and Julia Eisendrath
Dr. Alan S. Eiser David Eklund and Jeff Green Stefan S. and Ruth S. Fajans Claudine Farrand and
Daniel Moerman Dr. and Mrs.
John A. Faulkner Dede and Oscar Feldman Dr. James F. Filgas Sidney and Jean Fine Clare M. Fingerle Susan Goldsmith and
Spencer Ford Phyllis W. Foster Bernard and Enid Galler Drs. Steve Geiringer and
Karen Bantel Thomas and
Barbara Gelehrter Beverly Gershowitz Joyce and Fred M. Ginsberg Paul and Anne Glendon Susie and Gene Goodson Dr. Alexander Gotz Cozette Grabb Dr. and Mrs.
William A. Gracie Elizabeth Needham Graham Dr. John and
Renee M. Greden John and Helen Griffith Leslie and Mary Ellen Guinn Helen C. Hall
Mr. and Mrs. Elmer F. Hamel William Hann Susan Harris Paul Hysen and
Jeanne Harrison Clifford and Alice Hart Mr. and Mrs.
E. Jan Hartmann Anne Vance Hatcher Nina E. Hauser Jeannine and Gary Hayden Fred and Joyce Hershenson Mrs. W.A. Hiltner Mr. and Mrs.
William B. Holmes David and Dolores Humes Ronald R. and
Gaye H. Humphrey John and Gretchen Jackson James and Dale Jerome Frank and Sharon Johnson Billie and Henry Johnson Robert L. and
Beatrice H. Kahn Dr. and Mrs.
Mark S. Kaminski Herbert Katz 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 Samuel and Marilyn Krimm Bud and Justine Kulka David and Maxine Larrouy 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 Geraldine and
Sheldon Markel Chandler and
Mary Matthews Richard and
Elizabeth McLeary Thomas B. and
Deborah McMullen Ted and Barbara Meadows Bernice and Herman Merte Valerie Meyer Leo and Sally Miedler Myrna and Newell Miller Brian and Jacqueline Morton Hillary Murt and
Bruce A. Friedman Martin Neuliep and Patricia
Pancioli
Len and Nancy Niehoff Dr. and Mrs.
Frederick C. O'Dell Bill and Marguerite Oliver 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 Murray and Ina Pitt Stephen and Bettina Pollock Richard L. Prager and
Lauren O'Keefe Richard H. and Mary B.
Price
V. Charleen Price Bradley and Susan Pritts Mrs. Gardner C. Quarton William and Diane Rado Mrs. Joseph S. Radom Jim and leva Rasmussen Jim and Bonnie Reece Rudolph and Sue Reichert Mary R. Romig-deYoung Arthur J. Rose 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 Dr. John J. H. Schwarz {ulianne 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 Mrs. Ralph L. Steffek Dr. and Mrs. Jeoffrey K. Stross Nancy Bielby Sudia Charlotte B. Sundelson Brian and Lee Talbot Bob and Betsy Teeter 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 Bryan and Suzette Ungard Walter E. Vashak Kate and Chris Vaughan Sally Wacker Warren Herb and
Florence Wagner Dana M. Warnez Willes and Kathleen Weber Karl and Karen Weick Raoul Weisman and
Ann Friedman Robert O. and
Darragh H. Weisman 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 Charles Reinhart Company
Realtors Detroit and Canada Tunnel
Corporation
Detroit Swedish Council Inc. Guardian Industries
Corporation King's Keyboard House
Quinn EvansArchitects Rosebud Solutions Stirling Thermal Motors, Inc. Swedish Club
Foundations
The Kennedy Center for the Performing Arts
ASSOCIATES
Individuals
Anastasios Alexiou Mike Allemang and
Denise Boulange Christine Webb Alvey Dr. and Mrs.
David G. Anderson David and Katie Andrea Harlene and Henry Appelman Jeff and Deborah Ash Mr. and Mrs. Arthur J. Ashe, III Mr. and Mrs. Dan E. Atkins III lim and Patsy Auiler Jonathan and Marlene Ayers Dr. and Mrs. Daniel R. Balbach Lesli and Christopher IS.ill.ird Cy and Anne Barnes Gail Davis Barnes Victoria and Robin Baron Leslie and Anita Bassett Astrid B. Beck and
David Noel Freedman Srirammohan S. and
Shamal Beltangady Linda and Ronald Benson Robert Hunt Berry Sheldon and Barbara Berry Mary Steffek Blaske and
Thomas Blaske Cathie and Tom Bloem Harold and Rebecca Bonnell Roger and Polly Bookwalter Dr. and Mrs. Ralph Bozell Dr. and Mrs. C. Paul Bradley lames and Jane Bradner Mr. Joel Bregman and
Ms. Elaine Pomeranz Mr. and Mrs. Gerald Bright Allen and Veronica Britton Olin L. Browder Morton B. and Raya Brown Virginia Sory Brown Dr. and Mrs. Donald T. Bryant Trudy and Jonathan Bulkley Arthur and Alice Burks Margot Campos Marshall F. and Janice L. Carr Jeannette and Robert Carr James and Mary Lou Carras Tsun and Siu Ying Chang Dr. Kyung and Young Cho Soon K. Cho Catherine Christen Dr. and Mrs. David Church Robert J. Cierzniewski Charles and Lynne Clippert Gerald S. Cole and
Vivian Smargon
Associates, continued
John and Penelope Collins Wayne and Melinda Colquitt Edward J. and
Anne M. Comeau Lolagene C. Coombs Kathleen Cooney and
Gary Faerber Paul N. Courant and
Marta A. Manildi Cliff and Laura Craig Merle and Mary Ann Crawford Mr. Michael J. and
Dr. Joan Crawford Constance Crump and
Jay Simrod Charles and
Kathleen Davenport Ed and Ellie Davidson Joe and Nan Decker Penny and Laurence B. Dcitch Pauline and Jay J. De Lay Elena and Nicholas Delbanco Ellwood and Michele Derr 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 Jane E. Dutton Kathy and Ken Eckerd Martin and Rosalie Edwards Joan and I mil Engel Patricia Enns Don and Jeanette Faber Susan Feagin and John Brown Karl and Sara Fiegenschuh Carol Finerman Herschel and Annette Fink Beth B. Fischer (Mrs. G.).) Susan R. Fisher and
John W. Waidley Jennifer and Guillermo Flores Ernest and Margot Fontheim Mr. and Mrs. George W. Ford Paula L. Bockenstedt and
David A. Fox
Howard and Margaret Fox Deborah and Ronald
Freedman
Andrew and Deirdre Freiberg Lela J. Fuester
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld Gwyn and Jay Gardner Professor and Mrs.
David M. Gates Wood and Rosemary Geist Elmer G. Gilbert and
LoisM.Verbrugge Maureen and David Ginsburg Albert and Almeda Girod David and Shelley Goldberg Edward and Ellen Goldberg Irwin J. Goldstein and
Marty Mayo 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. Don P. Haeftier and
Cynthia J. Stewart Susan and John Halloran Yoshiko Hamano Robert and Jean Harris Naomi Gottlieb Harrison and
Theodore Harrison DDS Thomas and Connie Hefrher 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 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. Ingling Margaret and Eugene Ingram Harold and Jean Jacobson Wallie and Janet Jeffries James and Elaine Jensen Ellen C. Johnson Kent and Mary Johnson Tim and Jo Wiese Johnson Elizabeth and Lawrence Jordan Susan and Stevo Julius Steven R. Kalt and
Robert D. Heeren Perry and 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 lames and Jane Kister loseph and Marilynn Kokoszka Melvyn and Linda Korobkin Bert and Catherine La Du Mr. and Mrs. Henry M. Lapeza lohn and Theresa Lee Mr. and Mrs. Fernando S. Leon Harry and Melissa LeVine lacqucline H. Lewis Leons and Vija Liepa Alene and Jeff Lipshaw Vi-Cheng and Hsi-Yen Liu Peter and Sunny Lo Dan and Kay Long Leslie and Susan Loomans Charles and Judy Lucas Edward and Barbara Lynn Donald and Doni Lystra Sally C. Maggio Mr. and Mrs. Stephen Maggio Virginia Mahle Melvin and Jean Manis Marcovitz Family Nancy and Philip Margolis Irwin and Fran Martin
Margaret E. McCarthy Susan McClanahan and
Bill Zimmerman Griff and Pat McDonald Eileen Mclntosh and
Charles Schaldenbrand Mr. and Mrs. Ernest Merlanti Walter and Ruth Metzger Helen Metzner Deanna Rclyea and
Piotr Michalowski Prof, and Mrs. Douglas Miller Jeanette and Jack Miller Robert Rush Miller Kathleen and James Mitchiner Dr. and Mrs. George W. Morley A. Anne Moroun Melinda and Bob Morris Cyril and Rona Moscow Gavin Eadie and
Barbara Murphy 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 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 Elizabeth L. Prevot Wallace and Barbara Prince J. Thomas and Kathleen Pustell Leland and
Elizabeth Quackenbush Anthony L. Reffells and
Elaine A. Bennett Carol P. Richardson Jack and Margaret Ricketts Constance Rinehart John and Marilyn Rintamaki Jay and Machree Robinson Mr. and Mrs. Stephen J. Rogers Robert and Joan Rosenblum Gay and George Rosenwald Craig and Jan Ruff Sheldon Sandweiss Michael and Kimm Sarosi Albert J. and Jane L. Sayed Drs. Edward and
Virginia Sayles Sue Schroeder
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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
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Elizabeth Bishop
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George R. Hunsche
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Anna Marie Kaupcr
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Frederick C. Matthaei, Sr.
Glenn D. McGeoch
VaJerie Meyer
Emerson and Gwendolyn Powric
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Peter Holderness Woods
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Soloists $25,000 or more
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2 SKR Classical
32 Surovell Realtors
8 Sweetwaters Cafe
10 Real Estate One
10 Red HawkZanzibar Restaurants
8 Republic Bank
32 Ufer & Co. Insurance
14 University Productions
11 Washington Street Gallery
16 WEMU
40 WGTE
1H Whole Foods
34 WUOM
42 WDET

BUSINESS LEADERSHIP CIRCLE
AAA Michigan
A-l Rental, Inc.
Alcan Automotive Products
Alf Studios
Alice Simsar Fine Art, Inc.
Allen & Kwan Commercial
Ann Arbor Acura
Arbor TemporariesPersonnel
SystemsArbor Technical
Staffing, Inc. AT&T Wireless Services Atlas Tool, Inc. Austin & Warburton Ayse's Courtyard Cafe Bank of Ann Arbor Bank One, Michigan Barfield CompanyBartech Blue Nile Restaurant Brauer Investments Briarwood Mall BSE Design Group Butzel Long Attorneys Cafe Marie CFI Group
Charla Breton Associates Charles Reinhart Company
Realtors
Chelsea Milling Company Chris Triola Coffee Express Co. Comerica, Inc. Complete Design & Automation
Systems
DaimlerChrysIer Deloitte & Touche Detroit Edtson Foundation Diametron, Inc. Doan Construction Dow Automotive Edward Surovel) Realtors Edwards Brothers, Inc. Elastizeil Corporation of America
..
ERIM International Ford Motor Company Forest Health Services
Corporation
Garris, Garris, Garris & Garris PC General Systems Consulting
Group Holnam, Inc. Howard Cooper, Inc. Hudson's Ideation
Joseph Curt in Studios KeyBank Lewis Jewelers Lufthansa
Malloy Lithographing, Inc. Masco Corporation McKinlcy Associates Mechanical Dynamics Megasys Software Services, Inc. Miller, Canfield, Paddock and
Stone
National City O'Neal Construction Organizational Designs Paideia Foundation Parke-Davis Pharmacerutical
Research
Pepper, Hamilton & Scheetz Randy Parrish Fine Framing Republic Bank SAS Scandinavian Airlines Scientific Brake & Equipment
Company
Sesi Lincoln Mercury Shar Products Company STM Inc. Swedish Office of Science and
Technology Target Stores
Thomas B. McMullen Company Visteon Wolverine Temporaries

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