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UMS Concert Program, Friday Feb. 04 To 10: University Musical Society: 1999-2000 Winter - Friday Feb. 04 To 10 --

UMS Concert Program, Friday Feb. 04 To 10: University Musical Society: 1999-2000 Winter - Friday Feb. 04 To 10 --  image UMS Concert Program, Friday Feb. 04 To 10: University Musical Society: 1999-2000 Winter - Friday Feb. 04 To 10 --  image UMS Concert Program, Friday Feb. 04 To 10: University Musical Society: 1999-2000 Winter - Friday Feb. 04 To 10 --  image UMS Concert Program, Friday Feb. 04 To 10: University Musical Society: 1999-2000 Winter - Friday Feb. 04 To 10 --  image UMS Concert Program, Friday Feb. 04 To 10: University Musical Society: 1999-2000 Winter - Friday Feb. 04 To 10 --  image UMS Concert Program, Friday Feb. 04 To 10: University Musical Society: 1999-2000 Winter - Friday Feb. 04 To 10 --  image UMS Concert Program, Friday Feb. 04 To 10: University Musical Society: 1999-2000 Winter - Friday Feb. 04 To 10 --  image UMS Concert Program, Friday Feb. 04 To 10: University Musical Society: 1999-2000 Winter - Friday Feb. 04 To 10 --  image UMS Concert Program, Friday Feb. 04 To 10: University Musical Society: 1999-2000 Winter - Friday Feb. 04 To 10 --  image UMS Concert Program, Friday Feb. 04 To 10: University Musical Society: 1999-2000 Winter - Friday Feb. 04 To 10 --  image UMS Concert Program, Friday Feb. 04 To 10: University Musical Society: 1999-2000 Winter - Friday Feb. 04 To 10 --  image UMS Concert Program, Friday Feb. 04 To 10: University Musical Society: 1999-2000 Winter - Friday Feb. 04 To 10 --  image UMS Concert Program, Friday Feb. 04 To 10: University Musical Society: 1999-2000 Winter - Friday Feb. 04 To 10 --  image UMS Concert Program, Friday Feb. 04 To 10: University Musical Society: 1999-2000 Winter - Friday Feb. 04 To 10 --  image UMS Concert Program, Friday Feb. 04 To 10: University Musical Society: 1999-2000 Winter - Friday Feb. 04 To 10 --  image UMS Concert Program, Friday Feb. 04 To 10: University Musical Society: 1999-2000 Winter - Friday Feb. 04 To 10 --  image UMS Concert Program, Friday Feb. 04 To 10: University Musical Society: 1999-2000 Winter - Friday Feb. 04 To 10 --  image UMS Concert Program, Friday Feb. 04 To 10: University Musical Society: 1999-2000 Winter - 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Friday Feb. 04 To 10 --  image UMS Concert Program, Friday Feb. 04 To 10: University Musical Society: 1999-2000 Winter - Friday Feb. 04 To 10 --  image UMS Concert Program, Friday Feb. 04 To 10: University Musical Society: 1999-2000 Winter - Friday Feb. 04 To 10 --  image UMS Concert Program, Friday Feb. 04 To 10: University Musical Society: 1999-2000 Winter - Friday Feb. 04 To 10 --  image UMS Concert Program, Friday Feb. 04 To 10: University Musical Society: 1999-2000 Winter - Friday Feb. 04 To 10 --  image UMS Concert Program, Friday Feb. 04 To 10: University Musical Society: 1999-2000 Winter - Friday Feb. 04 To 10 --  image UMS Concert Program, Friday Feb. 04 To 10: University Musical Society: 1999-2000 Winter - Friday Feb. 04 To 10 --  image UMS Concert Program, Friday Feb. 04 To 10: University Musical Society: 1999-2000 Winter - Friday Feb. 04 To 10 --  image
Day
4
Month
February
Year
2000
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Rights Held By
University Musical Society
OCR Text

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

2000 WlNTER SEASON
University Musical Society of the University of Michigan, Ann Arbor
University Musical Society
2 000 WINTER SEASON of the University of Michigan. Ann Arbor
On the Cover
Clockwise from upper left
Dancers from Bcbe Miller Company
Arvo Pan
Anne-Sophie Mutter
The Great WaJl of China
Audra McDonald
Back Cover
Performer from Forgiveness
I.S. Bach
Vladimir Ashkenazy
Oscar Peterson
Take 6
Q A VLetieiJJom the President
4 Letter from the Chair
5 Corporate LeadersFoundations 13 UMS Board of Directors
13 UMS Senate
15 UMS Staff
15 __ Advisory Comrnittees
I V7I (EeSlIfoVrnltLi V 19 Tickets 19 Group Tickets 19 Gift Certificates 21 UMS Card 21 http:www.ums.org
ry
25 UMS Choral Union
26 , Auditoria & Burton Memorial Tower
V291 1 fcMiWiktefcoOO Season
35 Education & Audience Development
37 Dining Experiences
37 BRAVO
39 Restaurant & Lodging Packages
41 UMS Preferred Restaurant Program
S
45
45 Sponsorship and Advertising
47 InternshipsWork-study
47 Ushers
48 Membership
56 UMS Advertisers
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
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 CHAIR
It is with great pride that we acknowl?edge and extend our gratitude to the major business contributors to our 19992000 season listed on the follow?ing pages. We are proud to have been chosen by them, for their investment in the University Musical Society is clear evidence
not only of their wish to accomplish good things for our community and region, but also to be asso?ciated with excellence. It is a measure of their belief in UMS that many of these companies have had a
long history of association with us and have expanded and diversified their support in very meaningful ways.
Increasingly, our annual fundraising requirements are met by the private sector: very special individuals, organizations and companies that so generously help bring the magic to UMS performances and educational programs throughout southeastern Michigan. We know that all of our supporters must make difficult choices from among the many worthwhile causes that deserve their support. We at UMS are grateful for the opportunities that these gifts make possible, enhancing the quality of life in our area.
Sincerely,
0
Beverley Geltner
Chair, UMS Board of Directors
lORPORATE LEADERS FOUNDATION;
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 & Toucie"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"t 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." r
Michael E. Korybalski President, Mechanical Dynamics "Beverly Sills, one of our truly great performers, once said that 'art is the signature of civiliza?tion.' We believe that to be true, and Mechanical Dynamics is proud to assist the University Musical Society in making its mark -with a flourish."
Erik H. Serr Principal, Miller, Canfield, Paddock and Stone, P.L.C. "Miller, Canfield, Paddock and Stone is particularly pleased to support the University Musical Society and the won?derful cultural events it brings to our community."
continued on page 9
Charles Hall Partner, Multilogue "Music is one way the heart sings. The University Musical Society helps our hearts enjoy and participate in song. Thank you."
Phillip R. Duryea Community President, National City Bank "National City Bank is pleased to continue our historical sup?port of the University Musical Society, which plays such an important role in the richness of our community."
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.
FOUNDATION UNDERWRITERS GOVERNMENT AGENCIES
David. E. Engelbert Hiram A. Dorfman
Co-chairmen, Benard L. Maas Foundation "The Benard L. Maas Foundation is proud to support the University Musical Society in honor of its beloved founder: Benard L. Maas February 4, 1896 May 13, 1984."
We at UMS gratefully acknowledge the support of the following foundations and government agencies:
Ann Arbor Area Community Foundation Arts Midwest
Benard L. Maas Foundation Chamber Music America
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 Smolder Lois U. Stegeman Edward D. Surovell Susan B. Ullrich Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker Iva M. Wilson
UMS STA
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 Ratcliffe,
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,
SecretaryTreasurer
Martha Ause Barbara Bach Lois Baru Kathleen Benton Barbara Busch Phil Cole Patrick Conlin Erie Cook Juanita Cox Mary Ann Daane Norma Kircher Davis Lori Director Betty Edman Michael Endres
Nancy Ferrario Penny Fischer Anne Glendon Maryanna Graves Linda Greene Karen Gundersen Jadon Hartsuff Nina E. Hauser Debbie Herbert Mercy Kasle Steve Kasle Anne Kloack Maxine Larrouy Beth LaVoie Stephanie Lord Esther Martin Ingrid Merikoski Ernest Merlanti Jeanne Merlanti Candice Mitchell
Nancy Niehoff Mary Pittman leva Rasmussen Elly 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 Kcisha Ferguson Doreen Fryling Carolyn Hanum Vickey Holley Foster Taylor Jacobsen Callie Jefferson Deborah Katz Deb Kirkiand Rosalie Koenig
David A. Leach
Rebecca Logie
Dan Long
Laura Machida
Ed Manning
Glen Matis
Kim Mobley
Eunice Moore
Rossi Ray-Taylor
Gayle Richardson
Katy Ryan
Karen Schulte
Helen Siedel
Joan Singer
Sue Sinta
Sandy Trosicn
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.
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 $100. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe Ann Arbor Acura Ann Arbor Arts
Center
Back Alley Gourmet Blue Nile Restaurant Bodywise Therapeutic
Massage Cafe Marie Chelsea Flower Shop Dough Boys Bakery Fine Flowers Gandy Dancer Great Harvest Jacques John Leidy Shop
John's Pack & Ship Kerrytown Bistro King's Keyboard
House Le Dog
Michigan Car Services Paesano's Restaurant Regrets Only Ritz Camera One
Hour Photo SKR Blues & Jazz SKR Classical SKR Pop & Rock Shaman Drum
Bookshop Zingerman's
The UMS card also entitles you to 10 off your ticket purchases at other Michigan Presenter venues. Individual event restrictions may apply. Call the UMS Box Office for more information at 734.764.2538.
WWW.UMS.ORG mmmm
UMS enters a new interactive com?munication era with the launch of the new and improved www.ums.org!
Why should you log onto www.ums.org
Tickets Forget about waiting in long ticket lines--order tickets to UMS performances online with our secure order form.
Cyber$avers Special weekly discounts appearing every Tuesday only available by ordering over the Web!
Information Wondering about UMS' history, event logistics, or volunteer opportunities Find all this and more.
? Program Notes and Artist Bios Your online source for performance programs and artist information.
? Sound Clips & Photos Listen to recordings from UMS performers online before the concert. Check out photos from favorite UMS concerts!
BRAVO! Cookbook Order your UMS hardcover coffee-table cookbook featuring more than 250 recipes from UMS artists, alumni and friends, as well as historic photos from the UMS Archives.
Education Events Up-to-date information detailing educational opportunities surrounding each
UMS performance. Choral Union
Audition informa?tion and 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 Shostakovich's Symphony No. 13 (Babi Yar), followed by Beethoven's Symphony No. 9 paired with Stravinsky's Symphony of Psalms. The last of these three series will fea?ture performances of John Adams' Harmonium, conducted by the composer. The women of the chorus will also perform Mahler's Symphony No. 3 with the Ann Arbor Symphony, and sixty singers 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 I heater
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, stipulating that the theatre would
always bear his mother's name. UMS recently began presenting artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat the?atre for the 100th May Festival's Cabaret Ball. Now, with a 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
HOI
Auditorium 4,163
Rackham
Auditorium
1,129
Michigan
Theater
1,710
Power Center 1,390
Mendelssohn
Theatre
658
Entertainment, formed a part?nership with the Detroit Symphony Orchestra and played host to more than 500 perform?ers and special events. As the home of Michigan Opera Theatre's grand opera season and dance series, and through quality programming, partner?ships and educational initiatives, the Detroit Opera House plays a vital role in enriching the lives of the community.
Burton Memorial Tower
Seen from miles away, this well-known University of Michigan and Ann Arbor land?mark is the box office and administrative location for UMS. Completed in 1935 and designed by Albert Kahn, the 10-story
tower is built of Indiana limestone with a height of 212 feet. During the academic year, visitors may climb up to the observation deck and watch the carillon being played from noon-12:30 p.m. weekdays when classes are in session and most Saturdays from 10:15-10:45 a.m.
University Musical Society
of the University of Michigan 19992000 Winter Season
Event Program Book Friday, February 4 through Thursday, February 10, 2000
General Information
Children of all ages are welcome to UMS Family and Youth Performances. Parents are encouraged not to bring children under the age of three to regu?lar, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment are
not allowed in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event: electronic beeping or chiming digital watches, beep?ing pagers, ringing cellular phones and clicking portable computers should be turned off during performances. In case of emergency, advise your paging ser?vice of auditorium and seat location and ask them to call University Security at 734.763.1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS performances included in this editon. Thank you for your help.
Jazz at Lincoln Center Sextet 3
Friday, February 4, 8:00pm
Saturday, February 5, 2:00pm Family Performance
Michigan Theater
Gothenburg Symphony Orchestra 7
Saturday, February 5,8:00pm Hill Auditorium
Meredith Monk's 17
Magic Frequencies
Wednesday, February 9, 8:00pm Power Center
Doudou N'Diaye Rose 25
Drummers of West Africa
Thursday, February 10, 8:00pm Hill Auditorium
UMS
and
The Blue Nile
Restaurant
present
Jazz at Lincoln Center Sextet
Seneca Black, Trumpet
Wycliffe Gordon, Trombone
Victor Goines, Tenor Saxophone, Clarinet
Farid Barron, Piano
Rodney Whitaker, Bass
Herlin Riley, Drums
Program
Friday Evening, February 4,2000 at 8:00
Saturday Afternoon, February 5,2000 at 2:00 Family Performance
Michigan Theater, Ann Arbor, Michigan
These concert programs will be announced from the stage and will include standards from the jazz repertoire by such composers as Duke Ellington, Thelonious Monk, Dizzy Gillespie, Jelly Roll Morton, the Original Dixieland Jazz Band and Miles Davis as well as original works by members of the Jazz at Lincoln Center (J@LC) Sextet.
These concerts represent the culmination of a three-day residency with the J@LC Sextet and community partners throughout southeastern Michigan.
Forty-seventh and
Forty-eighth
Performances
of the 121st Season
Sixth Annual Jazz Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by The Blue Nile Restaurant.
Special thanks to Habte Dadi for his support of the University Musical Society through The Blue Nile Restaurant.
Additional support provided by Hudson's.
Additional support provided by media sponsors, WEMU and WDET.
This performance is made possible with the support of the Michigan Council for Arts and Cultural Affairs.
We would like to give special thanks to Mike Grace and the members of the Community High Jazz Combo program for providing their talent and energy to Friday evening's performance.
Special thanks to Professors Ellen Rowe, Michael Gould and Michael Udow, the Detroit Public Schools, Ann Arbor Public Schools, U-M School of Music, U-M Department of Jazz, Wayne County RESA, U-M Institute for Humanities, and the Washtenaw Intermediate School District for their assis?tance in this residency.
University Musical Society is a 1999-2000 participant in Chamber Music America's A Musical Celebration of the Millennium. Support for concerts, residency work, and commissions that are part of this program comes from The National Endowment for the Arts, the Josephine Bay Paul and C. Michael Paul Foundation, Susan W. Rose Fund for Music, The Helen F. Whitaker Fund and the CMA Endowment Fund.
The piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Large print programs are available upon request.
The Jazz at Lincoln Center (J@LC) Sextet is the Jazz at Lincoln Center educational touring ensemble dedicated to teaching and performing jazz in cities throughout the US. Drawn from the world-renowned J@LC resident orches?tra, the Lincoln Center Jazz Orchestra (LCJO), members of the J@LC Sextet are professional musicians who have taught pri?vately and led numerous workshops in high schools, conservatories, and universities across the United States.
In each residency, the J@LC Sextet com?bines instruction, musical performance, and informal conversation to educate people about different aspects of jazz music: jazz history, the art of improvisation, perfor?mance techniques, the mechanics of a career, and more. With diversified, comprehensive programming, J@LC residencies emphasize personal interaction with professional jazz musicians in areas that have limited access to such unique opportunities. In addition to public concerts, the J@LC Sextet conducts a variety of educational programs for the com?munity including master classes, introducto?ry programs for children, lectures, demon?strations, and clinics for area musicians.
The J@LC Sextet has previously con?ducted residencies in Birmingham, Alabama; Indianapolis, Indiana; Chicago, Illinois; Green Bay, Wisconsin; throughout Iowa, and, in July 1998 the entire fifteen-member LCJO held an unprecedented week-long residency in Yokohama, Japan, where it conducted sixty-four performance and edu?cational events. These residencies exemplify J@LC's mission of promoting jazz instruc?tion and appreciation throughout the world, from large cities to rural communities.
Jazz at Lincoln Center has appeared under UMS auspices annually for the last six seasons presenting concerts dedicated to Louis Armstrong, Thelonious Monk, and Jelly Roll Morton as well as Wynton Marsalis' Blood on
the Fields and the world premiere of Mr. Marsalis' A Fiddler's Tale in collaboration with the Chamber Music Society of Lincoln Center. They last appeared under UMS auspices with the Lincoln Center Jazz Orchestra's presenta?tion of "A Centennial Celebration of Duke Ellington" on April 23,1999 in Hill Auditorium. The Lincoln Center Jazz Orchestra with Wynton Marsalis will return to UMS on April 22, 2000 at Eastern Michigan University's Convocation Center with the swing-dance program "For Dancers Only!". This weekend's performances mark the Jazz at Lincoln Center Sextet's debut appearances under UMS auspices.
The University Musical Society has engaged the Jazz at Lincoln Center Sextet to further its commitment to jazz education and out?reach by spending significant time in south?eastern Michigan this season. Over four days, the members of J@LC have performed at Cass Tech High School (Detroit) for nearly 200 music students, and have been broadcast regionally to middle school systems via Wayne County RESA's Distance Learning program. The members of the J@LC Sextet have hosted masterclasses and clinics for high schools and university students from Ann Arbor and Detroit public schools, Univeristy of Michigan, Wayne State University and Michigan State University. They have met and discussed the importance of jazz education in secondary educational institutions, as well as worked with every music teacher in Ann Arbor via their "Jazz in the Classroom" teacher work?shop. We want to thank Jazz at Lincoln Center for their incredible artistic and edu?cational contributions by providing a large number of students, adults and families a new appreciation of the importance of jazz.
Farid Barron was born and raised in Philadelphia, Pennsylvania. While attending Central High School, the school's jazz ensem?ble won the Down Beat MusicFest Jazz Ensemble first prize, and he earned the
Outstanding Soloist award. He studied at Drexel University and Temple University, and has performed with Wynton Marsalis, Ralph Peterson, Johnny Coles, Mickey Roker, and Bobby Durham. From 1993 to 1997, Mr. Barron served in the US Air Force, based in San Antonio, Texas, where he performed in the Concert Band and the Dimensions in Blue Jazz Ensemble. He participated in J@LC's Iowa Residency Tour in September 1998 and January 1999, and has performed with the LCJO since 1997.
This weekend's performances mark Farid Barron's second and third appearances under UMS auspices.
Seneca Black was born on April 15,1978 and was inspired to pursue jazz music at age twelve after hearing his first Duke Ellington recording. He was the lead trumpeter in the 1995-96 Grammy All-American High School Jazz Ensemble, an honor which garnered him full scholarships to the country's top music schools by age eighteen, including The Manhattan School of Music, Berklee College of Music and the University of Miami. A graduate of the New World School of the Arts in Miami, Florida, Mr. Black was a member of the school's Down Beflf-award-winning Big Band and Combo and has performed with artists such as Jon Faddis, Jerry Bergonzi, Arturo Sandoval and Wynton Marsalis. Mr. Black has performed with Chico O'Farrill's Afro-Cuban Jazz Orchestra, the Mingus Big Band, and The Manhattan Jazz Orchestra. When he is not touring with the LCJO, Mr.
Black attends The Manhattan School of Music, under the tute?lage of trumpet master Lew Soloff. He has taught jazz trum?pet at the Harwick College (NY) Summer Festival, and recently led an educational residency at Scranton University in Pennsylvania. He has been a
member ot the LCJO since 1997.
This weekend's performances mark Seneca Black's debut appearances under UMS auspices.
Victor Goines was born and raised in New Orleans, Louisiana. Mr. Goines began study?ing clarinet at age eight. He received a Bachelor of Music Education in 1984 from Loyola University and a Master's Degree from Virginia University in 1990. Mr. Goines toured internationally with Ellis Marsalis' quartet before joining the orchestra of the Broadway musical Black and Blue. In 1993, he joined Wynton Marsalis' Septet and toured with the band until 1994, at which time he joined the LCJO. Mr. Goines has recorded or worked with Lionel Hampton, Terence Blanchard, James Moody, Dianne Reeves, and Dizzy Gillespie. He has released three albums as a leader: Genesis (1991), Joe's Blues (1998), and To Those We Love So Dearly (1999).
This weekend's performances mark Victor Goines' sixth and seventh appearances under UMS auspices.
Wycliffe Gordon was born in Waynesboro, Georgia and began playing the trombone at age twelve. During high school in Augusta, Georgia, he was honored with a place on the All-State Concert and Jazz Band, as well as on the McDonald's All-American High School Marching Band and Jazz Band. While a sophomore in college, he attended a
master class led by Wynton Marsalis, who later invited him to join his septet. He has performed with renowned musicians like Dizzy Gillespie, Al Grey, Slide Hampton, Joe
Henderson, Lionel
Hampton and Shirley Horn. He has recorded two albums as a leader: Bone Structure (1996) with fellow LCJO trombonist Ron Westray, and Slidin' Home (1999). Mr. Gordon currently resides in Augusta, Georgia, where he composes, performs, and teaches. He has been a member of the LCJO since it began touring in 1992.
This weekend's performances mark Wycliffe Gordon's fourth and fifth appearances under UMS auspices.
Herlin Riley was born into a musical family in New Orleans, Louisiana and began play?ing the drums at age three. Mr. Riley was a member of Ahmad Jamal's band from 1984 through 1987, and has performed andor recorded with Dianne Reeves, Marcus Roberts, Dr. John, Harry Connick, Jr., George Benson, Steve Turre, and The Clayton Brothers, among others. His theater experi?ence includes playing in One Mo' Time and Satchmo: America's Musical Legend. In the spring of 1988, he joined Wynton Marsalis' septet, with which he toured and recorded for six years. He appeared on the cover of the April 1995 issue of Modern Drummer and is featured in an instructional video New Orleans Drumming Ragtime and Beyond Evolution of a Style. Mr. Riley has been a member of the LCJO since it began touring in 1992.
This weekend's performances mark Herlin Riley's fourth and fifth appearances under UMS auspices.
Rodney Whitaker was born in Detroit, Michigan. He began playing violin at age eight and later began studying bass. Mr. Whitaker has performed with Branford Marsalis, Johnny Griffin, Joe Henderson, Joshua Redman, Stanley Turrentine, Kenny Garrett, and Donald Harrison. Mr. Whitaker has also appeared with Branford Marsalis on Jay Leno's Tonight Show and performed on Spike Lee's film soundtracks for Jungle Fever and Malcolm X. His compositions have been included on Roy Hargrove's Kindred Souls album and Junko Onishi's Cruisin' and Piano Quintet Suite albums. Mr. Whitaker has recorded two acclaimed albums as a leader, Children of the Light and Hidden Kingdom. He is a former professor of Jazz Studies at Michigan State University and the University of Michigan. Mr. Whitaker has toured extensively with the LCJO and has led many workshops and master classes pro?duced by J@LC.
This weekend's performances mark Rodney Whitaker's second and third appearances under UMS auspices.
Community High School Advanced V Jazz Ensemble
Ingrid Racine (trumpet), Alexei Berla (alto saxophone), Janelle Reichman (tenor saxo?phone), Eric Walton (piano), Russell Tessier (bass), Lander Coronado-Garcia (drums), and Dylan Wienckowski (guitar).
UMS and
David and Martha Krehbiel
present
Gothenburg Symphony Orchestra
The National Orchestra of Sweden
NEEME JARVI, Conductor YURI BASHMET, Viola
Program
Arvo Part
Giya Kancheli
Dmitri Shostakovich
Saturday Evening, February 5, 2000 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Symphony No. 3
Movement 1 Movement 2 Movement 3
(All mvts. attaca -without pause)
Liturgy for Viola and Orchestra: "Vom Winde Beweint" (Mourned by the Wind) Molto largo Allegro moderato Larghetto Andante maestoso
(All mvts. attaca -without pause)
INTERMISSION
Symphony No. 6 in b minor, Op. 54
Largo
Allegro
Presto
Forty-ninth
Performance
of the 121st Season
121st Annual Choral Union Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is 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 is provided by SAS Scandinavian Airlines, Consul Lennart Johansson and Karin Johansson, Bengt and Elaine Swenson and the Swedish Round Table Organizations; and by media sponsor, WGTE.
Tonight's Camerata Dinner support is provided by A-l Rental Inc.
This performance is made possible with the support of the Michigan Council for Arts and Cultural Affairs.
This tour is supported by Volvo and SAS Scandinavian Airlines.
Joint worldwide representation of the Gothenburg Symphony Orchestra by Van Walsum Mangaement, Ltd. and Konzertdirektion Hans Ulrich Schmid.
Large print programs are available upon request.
Symphony No. 3
Arvo Part
Born September 11, 1935 in Paide, Estonia
Arvo Part's music from the 1950s and '60s was strongly influenced by the Polish School of avant-garde composition, with its extend?ed instrumental techniques, serial-based procedures, and collage structures. His first two symphonies, from 1964 and 1966, owe much to the experimental orchestral works of Penderecki, Lutoslawski, and G6recki. Yet Part was reluctant to give up tonality altogether, and in these early compositions he often set serially-derived atonality against passages of unabashedly tonal music. This dichotomy reached its peak in Part's Credo from 1968, a work that not only drew the ire of Soviet authorities (who banned performances in the Soviet Union for the next ten years), but also represented a creative cul-de-sac for the composer. Not knowing how to proceed stylistically, he had, according to his biograph?er Paul Hillier, "reached a position of com?plete despair... he lacked the musical faith and willpower to write even a single note."
Though Part continued to earn an income by composing film scores, he wrote only two independent works between 1968 and 1976, one of which he later withdrew (the symphonic cantata LaulArmastatule). Symphony No. 3, completed in 1971 and dedicated to Neeme Jarvi, is Part's only other composition to emerge from this long period of creative silence. But the composer was not idle during these years. In an effort to uncover music's true essence, he immersed himself in the study of plainchant and medieval polyphony. He filled notebook after notebook with exercises in writing sin?gle lines of music as he attempted to unlock the secrets of monody. It was a purification, an endeavor to scrape away centuries of accumulated extraneous musical matter. In his own words, he had to "learn how to walk again as a composer."
When Part emerged rrom tnis rite or passage in 1976, he had mastered a style of meditative purity and pristine spiritual clar?ity that immediately spoke to audiences dis?satisfied with the complex fussiness of the Western avant-garde. It was this refinement of his "tintinnabuli" style (based on bell-like tonal harmonies and overtones) in works such as Fratres, Tabula Rasa, Passio, and Litany that established Part as one of the century's most deeply spiritual composers.
Dating from this period of creative rediscovery, Symphony No. 3 is indeed, as Hillier remarks, a transitional work, "but it is a splendid crossing with some glorious scenery." It gives the listener a glimpse into the inner aesthetics of the composer's mind as he attempted to pare away musical excess and focus on melodic purity. For the first time in his career, Part relinquished the binary opposition of "tonality versus atonali-ty," distilling the music from one central the?matic source. The emphasis is on unity rather than juxtaposition. The three move?ments, all stylistically similar and of roughly equal length, are played without a break: a homogeneous symphonic poem that recalls Stravinsky's religious works in its austerity, and Sibelius' symphonies in its organic flow.
"Movement 1" begins with a chant-like
melody from the oboe and clarinet, a melody that is the source for many of the symphony's subsequent musical motifs. Part's polyphonic writing here alludes to the style of the fourteenth-century ars nova, and especially to the cadential patterns favored by Francesco Landini. As the melodic frag?ments are developed polyphonically, Part distributes the phrases among the various instrumental groups, gradually increasing their rhythmic energy and complexity. The movement finishes softly with a murmur from the low strings, who immediately begin the second movement in similar fashion.
"Movement 2" is simply an extension, a continuation of the first, with similar musi?cal treatments of the same melodic cells. Some passages are reminiscent of the nostal?gic counterpoint one might hear in the orchestral works of Vaughan Williams or Part's Finnish contemporary Einojuhani Rautavaara. The movement ends with a majestic timpani crescendo.
"Movement 3," although continuing the organic development, is generally more restrained than the others. Gentle string chorales alternate with rhythmically-enlivened dance fragments in the winds. Later the strings take up the dance figures, trading off with brass chorales. The solo chant melody appears here at the end of the movement, before the strings crescendo to a final, decisive Landini cadence.
Liturgy for Viola and Orchestra: "Vom Winde Beweint"
(Mourned by the Wind)
Giya Kancheli
Born August 10, 1935 in Tbilisi, Georgia (former Soviet Union)
The music of Georgian composer Giya Kancheli may not immediately strike the lis?tener as Romantic. It is ascetically sparse, relentlessly slow (with the measured gravity
of a Tarkovsky film), and characterized by long periods of silence a music of restraint rather than passion and luxuriance. And yet there is under the surface something utterly Romantic about it. Perhaps it is the impor?tance the composer places on musical "mean?ing." As one critic has noted, "Every moment in Kancheli's music is imbued with the suf?fering inflicted by history." And Georgian conductor Jansug Kakhidze once said of the composer, "He has the Georgian folksong in his blood like a magnifying glass through which he observes the world, or like a yard?stick by which he measures values." Kancheli, like many of his Eastern European colleagues, seeks to restore to contemporary music an acknowledgment of history, moral value, and the human condition, and in so doing reverse the emotional nihilism of the twentieth-cen?tury avant-garde.
Kancheli aligns himself with Shostakovich and Schnittke as a composer for whom music is a form of protest. He likens his music to a flower that falls and is crushed under a soldier's boot, only to re-emerge later. That is, in itself, a protest against the boot. And no matter how big or terrible the boot is, the flower will always grow back.
For most of the last decade, Kancheli has lived in Berlin in self-imposed exile from his native Georgia, which remains embroiled in civil unrest. As with Chopin, the voice of the Eastern European emigre often assumes an added poignancy. Especially in the post-communist era, the West has been fascinated with composers from formerly communist states, eagerly embracing the music of Gorecki, Part, Schnittke, Gubaidulina, and Kancheli in an act of cathartic empathy.
Like his European colleagues, Kancheli considers composition a spiritual endeavor. He writes, "When a person goes into a church, synagogue, or mosque where there's no service going on, there's nonetheless a special kind of silence. There's always some?thing sounding there, but it's so quiet that I
don't hear it. I have a desire to turn that silence into music." His reference to the silence of an empty church is apt; though half-Catholic and half-Orthodox, Kancheli is no longer active in either church. His music is religious without being sectarian. It is the quiet sacredness of an empty church, not the ritual of a worship service that informs his works.
"Music, like life itself, is inconceivable without romanticism. Romanticism is a high dream of the past, present, and future -a force of invincible beauty which towers above, and conquers, the forces of ignorance, bigotry, violence, and evil." Giya Kancheli
Kancheli composed Vom Winde Beweint (Mourned by the wind) in 1989, in honor of one of his closest friends, Givi Ordzhonikidze. Though subtitled Liturgy for Viola and Orchestra, it is not explicitly (nor implicitly) liturgical. Yet there is a simple numinosity to it that recalls Shostakovich's Viola Sonata. Kancheli regards the viola as "the still, small voice of the self," a voice of isolation and loneliness, and he used it again with autobi?ographical reference in his Abii ne viderum (I turned away so as not to see) for viola and orchestra from 1994.
A crashing piano cluster at the opening of Vom Winde Beweint signifies a "first cause," the awakening of a consciousness from which the viola gradually emerges with the most primeval of musical gestures, the alternation of two adjacent notes. Kancheli develops this simple alternation into the movement's primary motivic idea. The harmonies are tonal throughout, with especially strong bass-lines (often reinforced by bass guitar) at cadence points. But the composer uses chromaticism in this move?ment as a baroque musician might, to create
tension and direct the music forward.
Another outburst from the brass and percussion begins the "Allegro moderato," where it is juxtaposed with subdued responses from the viola. The outbursts per?sist, and though there are moments of chorale-like repose, the music soon turns violent and militaristic. A reprise of the opening piano cluster interrupts at the
movement's mid?point, and ends with the same cau?tious viola alterna?tions that began the first movement. After a quiet open?ing that features a harpsichord solo, the static and mys?terious "Larahetto"
further develops the two-note motif. Sustained and hesitant, the music seems to circle aimlessly and, after a single outburst, closes in quiet surrender.
Frighteningly fierce orchestral outbursts signal the start of the final movement, a grieving lament with occasional ghostly har?monics from the solo viola. Like the flower crushed by a soldier's boot, the viola emerges from the catastrophic orchestral shocks by returning to its germinating figure, the two-note motif. Indeed, the poignant optimism of the final major triad is like a tiny blossom on scorched battlefield, a flicker of hope in a world of gray despair.
Symphony No. 6 in b minor, Op. 54
Dmitri Shostakovich
Born September 25, 1906 in St. Petersburg,
Russia Died August 9, 1975 in Moscow
Gustav Mahler once remarked, "The sym?phony must be like the world. It must be all-embracing." For no composer is this more
true than Dmitri Shostakovich who, virtual?ly alone, maintained the legacy of symphon?ic composition through the middle decades of the twentieth century. Even more than Mahler, Shostakovich's symphonies (and not just the symphonies) manifest the compos?er's own world-view, detailing his personal and artistic identity as accurately as any memoir or biography. From the poignant and painful Symphony No. 4, withdrawn before its premiere after Stalin's critical attack on the composer, through the artifi?cially optimistic Symphony No. 5, the propa-gandistic patriotism of Symphony No. 7, and the tragic power of Symphony No. 8, Shostakovich immerses the perceptive lis?tener into a world of fear, anguish, and covert resistance. Nestled among these is Symphony No. 6 in b minor not as well-known as its neighbors, but equally expres?sive of the composer's own predicament.
1939 was not an especially productive year for Shostakovich. It was, as Ian MacDonald writes, "a time of meaningless activity cloaking an underlying bleakness." After the success of Symphony No. 5 in 1937, the composer pledged to write a massive work in praise of Lenin, but the weight of expectation proved too great and he was paralyzed into creative inactivity. And despite Symphony No. 5's success, Shostakovich still lived in constant fear of Stalin's purges. He began work on a sixth symphony in the summer of 1939, perhaps as a distraction, but the outbreak of hostili?ties only intensified his anxiety. He worked on the symphony as Russia and Germany collaborated to invade Poland in September 1939, finishing the second movement on the same day that Hitler and Stalin signed the non-aggression pact the following month. The work was completed soon after, and premiered in Leningrad in December 1939. The crushing despair he and other Russians had felt individually for years was now spreading across the entire European conti-
nent. It's hardly surprising that this turmoil should find its way into the music.
After the premiere, Soviet critics indig?nantly labeled Symphony No. 6 "a symphony without a head" since it lacked an opening sonata-allegro movement. They simply couldn't understand why a composer would pit one long slow movement against two short scherzos. In 1947 the Soviet writer Ivan Martynov attempted to defend the sympho?ny by suggesting that the "Largo" represent?ed the dark past, while the two scherzos were the victorious, carefree present. But that, too, missed the crucial point: there is no vic?tory, no reconciliation, no equilibrium. The world in 1939, like Shostakovich's sympho?ny, was divided and unbalanced. The only possible responses were deep gloom and ironic mockery.
Shostakovich was obliged to make a public statement claiming this symphony was "predominantly contemplative and lyri?cal. I wanted to embody in it the moods associated with spring, joy, and youth..." But it is clear from the outset that this was said only to appease the Soviet apparatchiks, as the "Largo" suggests hopelessness and grief from beginning to end. In the ghost?written memoir, Testimony, Shostakovich claims that the crippling despair he suffered after his 1936 censure is reflected not only in Symphony No. 4, but also in the opening of Symphony No. 6. The music is static and
bleached, modeled after Mahler but densely oppressive and without nostalgia or opti?mism. The countrapuntal lines and the long, sustained trills in the pedal points allude to the end of Mahler's Symphony No. 2, the anticipatory passage just before the final "resurrection." But here there are no redeeming trumpets to call forth the dead, and the purgatorial trembling continues unrelieved. Periodically the harmonies feign towards a major key, but are quickly reigned in before they approach repose.
The scherzo that follows is a grotesque caricature of busy street life, with its jeering woodwinds and menacing low brass. It mocks the enforced optimism and false cheerfulness of Social Realism. The third movement is even more grotesque, and at a more furious pace. Its insistently repeated notes are a indicator of Shostakovich's "ironic" mode, while the coda launches into some heavy-handed, high-kicking vulgarity. As MacDonald observed, "The Soviet authorities had demanded light music and they were getting it: light music with a vengeance."
Program notes by Luke Howard.
Born in Tallinn, Estonia, Neeme Jarvi studied percussion and choral conducting at the Tallinn Music School, and opera and symphonic conduct?ing at the St. Petersburg Conservatory. He made his conducting debut at the age of eighteen at the Kirov Theatre conducting Bizet's Carmen. In 1963, he became Music Director of the Estonian Radio and Television Orchestra and also began a thir?teen-year tenure as Chief Conductor of the Tallinn Opera.
Mr. Jarvi came to international atten?tion in 1971 after winning first prize at the Accademia di Santa Cecilia Conductors'
Competition in Rome. This led to invita?tions from major orchestras throughout the world. At home in Estonia, he also became Artistic Director and Chief Conductor of the Estonian State Symphony.
Mr. Jarvi made his American Debut in 1979 with the Metropolitan Opera produc?tion of Eugene Onegin, and made his American symphonic debut with the New York Philharmonic immediately following his emigration to the US in January 1980. Since then he has become one of the most sought-after guest conductors in North America and Europe and has held the post of Principal Conductor of Sweden's Gothenburg Symphony Orchestra, now the National Orchestra of Sweden, since 1982. He has also held positions with the City of Birmingham Symphony Orchestra (Principal Guest Conductor 1981-83), the Royal Scottish National Orchestra (Principal Conductor 1981-88 and now Conductor Laureate) and he is currently Chief Guest Conductor of the Japan Philharmonic in Tokyo.
In 1990, he became Music Director of the Detroit Symphony Orchestra and has been closely identified with the revitaliza-tion of that orchestra, thanks to sold-out concerts, award-winning recordings and national and international broadcasts.
Mr. Jarvi has appeared regularly with the world's most distinguished orchestras including the Philharmonia Orchestra, Royal Philharmonic Orchestra, Royal Concertgebouw, Berlin Philharmonic, Bayerischer Rundfunk Sinfonie Orchester, Orchestre National de France, Orchestre de Paris, Orchestra dell'Accademia Santa Cecilia, the Orchestre de la Suisse Romande and the Sydney and Melbourne Symphony Orchestras. He has led both the Gothenburg Symphony Orchestra and the Royal Scottish National Orchestra on tours of Europe and the Far East. In the US, he regularly con?ducts the orchestras of New York, Chicago,
Philadelphia and San Francisco. His operatic performances have included the Metropolitan Opera and the Teatro Colon in Buenos Aires, and this season he will conduct the Paris National Opera.
His enormous and eclectic repertoire is captured in a prodigious recording cata-
logue of more than 350 discs on Deutsche Grammophon, Chandos, BIS, Orfeo, EMI and BMG labels. He has recorded complete cycles of Grieg (DG), Sibelius (BIS), Nielsen (DG), Shostakovich (Chandos and
DG), Dvorak (Chandos) and Prokofiev (Chandos). His espousal of fellow Estonian composers such as Arvo Part and Eduard Tubin, to name but two, have won him celebrity and numerous international awards.
Maestro Jarvi's recordings with the DSO for the British label Chandos include an internationally recognized "American Series" featuring the works of Samuel Barber, Amy Beach, Charles Ives and George Chadwick as well as by African-American composers Duke Ellington and William Grant Still.
Maestro Jarvi is deeply committed to sharing his love of music with young peo?ple; working closely with student musicians and young composers especially within the educational programs offered by the DSO. He often welcomes young conductors to attend and observe his orchestra rehearsals and it is his dream to, one day, video record rehearsals and concerts for educational and historical purposes. There are also plans to establish international master classes for
young conductors in the Estonian summer resort Parnu every July.
Mr. Jarvi holds honorary degrees from the University of Aberdeen, the Music con?servatory of Tallinn and an honorary Doctorate of Humane Letters from Wayne State University. An honorary member of the Royal Swedish Academy of Music, Neeme Jarvi was dubbed a Knight Commander of the North Star Order by King Karl Gustav XVI in September 1990.
In 1996, he was elevated to the Order of the National Coat of Arms by the President of the Republic of Estonia, Mr. Lennart Meri. In 1997, the Mayor of Tallinn present?ed him with the first-ever ceremonial sash and insignia of the Coat of Arms of the City of Tallinn. In October 1998 in Estonia, he was chosen among the top twenty-five Estonians of this century.
Tonight's performance marks Neeme Jarvi's ninth appearance under UMS auspices. Maestro Jarvi last appeared under UMS aus?pices on October 3, 1999 leading the Detroit Symphony Orchestra in the UMS season-opening concert of the 19992000 Choral Union Series in Hill Auditorium.
Yuri Bashmet was born in 1953 in Rostov-on-Don in Russia and spent his childhood in Lvov in the Ukraine. He studied at the Moscow Conservatory, first with Vadim Borisovsky, violist of the Beethoven Quartet, and later with Feodor Druzhinin. He subsequently became the youngest per?son ever to be appointed to a professorship at the Moscow Conservatory. In 1976 Bashmet won first prize at the International Viola Competition in Munich which launched his international career. It was written in The Times that he is "without doubt, one of the world's greatest living musicians."
He has appeared with the world's leading orchestras including the Berlin Philharmonic, Royal Concertgebouw, Boston Symphony, Chicago Symphony,
Montreal Symphony and Los Angeles Philharmonic Orchestras and London's Philharmonia Orchestra. The London Symphony Orchestra pre?sented a four-concert Yuri Bashmet Festival
in 1993 at the Barbican. Bashmet was International Artist in Residence for the 1998 Bath International Festival.
Yuri Bashmet has inspired many composers to write for him. He enjoyed an especially close and productive relationship with Alfred Schnittke whose Viola Concerto was premiered at the Concertgebouw in Amsterdam in 1986 and which has become firmly established in the repertoire. Other works written for Bashmet include Georgian composer Giya Kancheli's Viola Concerto, performed tonight, which he premiered at the Berlin Festival, The Myrrh Bearer by John Tavener, a concerto by Poul Ruders, and Sofia Gubaidulina's Viola Concerto, premiered with the Chicago Symphony Orchestra and Kent Nagano in April 1997. Bashmet also gave the world premiere of Benjamin Britten's recently edited Double Concerto for violin and viola with Gidon Kremer and the Halle Orchestra conducted by Kent Nagano in Manchester in February 1998, and in November 1999 he performed in the world premiere of Kancheli's Requiem, playing the solo viola part written especially for him.
In a number of major concert halls,
including La Scala in Milan and the Concertgebouw in Amsterdam, Bashmet has been the first violist ever to give a solo recital. He has appeared on many occasions with Sviatoslav Richter and has performed chamber music with many other leading artists including Natalia Gutman, the Borodin Quartet, Gidon Kremer, Viktoria Mullova, Mstislav Rostropovich and Maxim Vengerov.
In 1992 Bashmet began working with a new group, The Moscow Soloists, which he directs himself. This group is comprised of musicians nominated by professors at the Moscow Conservatory as the cream of the new generation of string players. The Moscow Soloists have been rapturously received in Moscow, Athens, Amsterdam, Paris and at the BBC Promenade Concerts in London.
Yuri Bashmet records exclusively for Sony Classical. His current release is an arrangement for viola and string orchestra of Brahms' Clarinet Quintet and Shostakovich's Quartet No.13 performed with The Moscow Soloists.
Tonight's performance marks Yuri Bashmet's debut under UMS auspices.
The irrepressible partnership of Neeme Jarvi and the Gothenburg Symphony Orchestra, now in its sixteenth year, has elevated both orches?tra and its principal conductor to the fore?front of the international orchestral stage. They have together toured many countries and established a presence on two record labels, the Swedish company BIS and Polygram's Deutsche Grammophon.
In May 1997 the Swedish Parliament and Government appointed the Gothenburg Symphony Orchestra as Sweden's National Orchestra, in recognition of the Orchestra's high level of artistic achievement and many
years of success at home and abroad.
The Gothenburg Symphony Orchestra is Sweden's oldest professional orchestra, founded in 1905. Its first Principal Conductor was composer Wilhelm Stenhammar, who contributed enormously to the development of the orchestra. Subsequent holders of the post have includ?ed Sergiu Commisiona, Sixten Ehrling, and Charles Dutoit. The list of guest conductors includes many major figures, such as Carl Nielsen, Jean Sibelius, Herbert von Karajan, Wilhelm Furtwangler, Pierre Monteux, Daniel Barenboim, Lorin Maazel, Myung Whun Chung, Herbert Blomstedt and Kent Nagano.
However it is under their present Principal Conductor, Neeme Jarvi, appoint?ed in 1982, that the Gothenburg Symphony Orchestra has developed its own style and become a major musical force in Europe. The Orchestra, comprising 107 musicians, performs sixty concerts annually at home in Gothenburg's Concert Hall, one of the finest acoustic venues in the world. Opened in 1935, the hall is recognized as a landmark of the architecture of the time.
The Gothenburg Symphony Orchestra and Neeme Jarvi have together established an impressive discography, and continue to record regularly. Notable releases include the six-disc Deutsche Grammophon Centenary Edition of the complete works of Grieg, (including songs with orchestra, the?atre music and concert works), cycles of symphonies by Borodin, Rimsky-Korsakov, and Nielsen, and further symphonic and vocal works of Shostakovich. They have fol?lowed their BIS recording of the complete Sibelius orchestral works with recent releas?es of the composer's tone poems on DG.
The GSO's enterprising opera record?ings with Jarvi on the DG label have been distinguished by outstanding international casts, and to date include Prokofiev's The Fiery Angel, Tchaikovsky's Mazeppa, and
most recently, a widely acclaimed release of the triptych of Rachmaninov operas.
The Orchestra makes major interna?tional tours every season. Recent highlights over the last decade have included a visit to Jarvi's native Estonia in 1989, with a return visit ten years later in May 1999. Since 1989 they have toured the US, Japan (on two occasions) and the Far East, and have regu?larly appeared at major musical centers and festivals throughout Europe.
In recent years the Gothenburg Symphony Orchestra has found a particu?larly warm welcome in two of Europe's most important musical cities, London and Vienna. In addition to two visits to the BBC Promenade Concerts since 1990, they have also appeared at the Edinburgh Festival, participated in the Barbican's "Tender is the North" festival and Grieg and Shakespeare festivals, and appeared at other major cities throughout Great Britain. In 1996 they gave complete cycles of the symphonies of Jean Sibelius at the Barbican and at Symphony Hall, Birmingham. In May of last year, they completed a highly successful tour of the UK.
The Gothenburg Symphony Orchestra continues to develop its international pro?file; March 1999 saw the first visit by a Swedish orchestra to the People's Republic of China, and over the coming seasons their schedule includes invitations to the US, to Japan, and to the major European centers, including the Salzburg Festival. In September 1999, following two extremely well-received concerts at the Lucerne International Music Festival, the Orchestra went on to give two highly successful con?certs in Italy which resulted in a reinvitation for an Italian tour; while November 1999 saw the Orchestra performing extensively throughout Germany, again under the baton of their Principal Conductor, Neeme Jarvi.
The major part of the Orchestra's fund?ing comes from the Swedish Government
and in particular the County of Vastra Gotaland. A generous contribution from car manufacturer Volvo provided the means for the Orchestra to expand from its original eighty musicians and continues to support the Orchestra's activities at home and abroad. In recent years, the Orchestra has
benefited from additional support from SAS Scandinavian Airlines, Goteborgs-Posten (the city's daily newspaper) and Goteborgs Energy.
Tonight's performance marks the Gothenburg Symphony Orchestra's debut under UMS auspices.
Gothenburg Symphony Orchestra Neeme Jarvi, Chief Conductor
First Violins Christer Thorvaldsson,
Leader
Joachim Gustafsson, Leader Gustavo Garcia, Assistant
first leader Michael Karlsson, Deputy
leader Ingrid Sjflnnemo, Deputy
leader
Karin Berggren Nicola Boruvka Elsie Borjes Mats Enoksson Helena Frankmar Bengt Gustafsson Vaclav Herclik Helena Rollback Magnus Larsson Bertil Lindh Hans Malm
Ann-Christine Raschdorf Kristina Ryberg Ryszard Sobis Duncan Taylor
Second Violins Marja Inkinen Hakan Sjonnemo Asa Rudner Per-Olof Appelin Lars Alexandersson Elin Anderbcrg Maria Andersson Jan Engdahl Leonard Haight Britt-Louise Johansson Per Ove Jonsson Kerstin Karlsson Annica Kroon Jan Lindahl Ingrid Sturegard Thord Svedlund Catherine Warburton
Violas
Per Hbgberg Lars Mdrtensson Ane Lysebo" Karin Claesson Nils Edin Henrik Edstrom Bjorn Johannesson Magnus 1 uiulcn Kejo Millholm Bo Olsson Josef Pavlica Laszlo Sziranyi Jan Akerlund
Cellos
Leo Winland Claes Gunnarsson Johan Stern Paula Gustafsson Erik Hammarberg Goran Holmstrand Leif Johansson Karin Knutsson Anders Robertson Peter Svenson Lidia Turestedt Grzegorz Wybraniec
Double Basses Bo Eklund' Jan Aim Johan Ekenberg Jan-Anders Ernlund Jan Johansson Carl-Johan Lindstrom Erik Morjell Werner Raschdorf Ida Rostrup
Flutes
Anders Jonhall Havard Lysebo Kenneth Wihlborg Helena Granberg
Piccolos
Kenneth Wihlborg Helena Granberg
Oboes
Marten Larsson Per Andersson" Wincent Lindgren Bjorn Bohlin
English Horn Bjorn Bohlin
Clarinets Urban Claesson Selena Markson-Adler" Henrik Nordqvist Ake Schierbeck
Bass Clarinet Ake Shierbeck
Bassoons
Arne Nilsson' Anders Engstrom" Christer Nystrom Birgitta Winland
Horns
Lisa Ford
Per Goran"
Ingrid Kornfalt-Wallin
Malcolm Page
Krister Petersson
Katarina Andersson
Trumpets Bengt Danielsson Paul Spjuth" Borje Wcsterlund Rolf Tilly
Trombones Lars-Goran Carlsson Ingemar Roos" (ens Kristian Segaard
Bass Trombone Peter Mc'Kinnon
Tuba
Morten Agerup
Harp
Masayo Matsuo
Timpani Hans Hernqvist Daniel Norberg
Percussion Roger Carlsson" Kenneth Franzen Fredrik Andersson Daniel Norberg
Piano
Erik Risberg
Principal
Assistant principal
Orchestra Management Sture Carlsson, General
Manager Lars Nystrom, Tour and
Production Manager Josef Rhedin, Orchestra
Manager
Karin Tufvesson Hjorne, Artistic Planning Manager Ulf Olsson, Marketing
Manager Maj Ahlqvist, Financial
Manager Johan Bjorkman, Stage
Manager
UMS
presents
Magic Frequencies
A Science Fiction Chamber Opera
Conceived, Directed, and Composed by MEREDITH MONK
Developed in collaboration with Theo Bleckmann, Katie Geissinger, Ching Gonzalez, Lanny Harrison, John Hollenbeck, Coco Pekelis, and Allison Sniffin
Program
Wednesday Evening, February 9, 2000 at 8:00 Power Center, Ann Arbor, Michigan
The audience is invited to remain after the performance for a brief question and answer session with the artists to be held from the stage.
Fiftieth 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.
This performance is made possible with the support of the Michigan Council for Arts and Cultural Affairs.
This project is supported in part by a grant from the National Endowment for the Arts.
Special thanks to Professor Beth Genne, Professor James Aikman, and the Institute for Research on Women and Gender, Center for Education of Women, U-M School of Music, U-M Department of Composition, and the U-M Department of Dance 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 Presentation (PREP) speaker.
Large print programs are available upon request.
Cast
(in order of appearance)
Coco Pekelis Allison Sniffin John Hollenbeck Meredith Monk Ching Gonzalez Theo Bleckmann Katie Geissinger Lanny Harrison
Astronomer
Musician
Musician
Woman at Table; Woman in bandanna
Man at Table; Man in bed
Extraterrestrial; Man with shopping bag
Extraterrestrial; Woman with shopping bag
Extraterrestrial; News reporter
Gabriel Berry Carol Bailey Debby Lee Cohen Thomas Hase David Meschter Billy Shebar Mary Myers Bob Rosen and the Performers Allison Sniffin David Meschter John Hollenbeck Elaine Buckholtz Jonathan Nye Noele Stollmack Hilary Niederer
Costume Design Set Design Scenic Consultant Lighting Design Sound Design Video Video Editor
Text for the TV Scene Music Director Pre-show Sound Composition Percussion Score Production Manager Company Manager Lighting Director Wardrobe
Magic Frequencies is produced by The House Foundation for the Arts, Inc. and DANCE 98City of Munich, Cultural Department and Bayerisches StaatsschauspielMarstall.
Additional support is from the National Endowment for the Arts, The Harkness Foundation for Dance, The Rockefeller Foundation, The National Dance Residency Program, The National Dance Project, John S. and James L. Knight Foundation, and the Project on Death in America of the Open Society Institute.
Music: O Meredith Monk, 1998
Meredith Monk is a com?poser, singer, filmmaker, choreographer and direc?tor. A pioneer in what is now called "extended
vocal technique" and "interdisciplinary per?formance," she is the fourth generation singer in her family. Since graduating from Sarah Lawrence College in 1964, she has cre?ated more than 100 works. During a career that spans more than thirty years, she has been acclaimed by audiences and critics as a major creative force in the performing arts.
Monk's contributions to the cultural landscape were recognized with the MacArthur "Genius" Award in 1995. This achievement was followed by a retrospective exhibition, Meredith Monk: Archeology of an Artist, at The New York Public Library for the Performing Arts at Lincoln Center in 1996, and most recently, a major installa?tion, Art Perfoms Life at The Walker Art Center, a show "Shrines" at the Frederieke TaylorTZ' Art Gallery and inclusion in the Whitney Museum Century of American Art. A monograph, Meredith Monk, edited by
Deborah Jowitt was released by Johns Hopkins Press in 1997.
Monk has received numerous awards throughout her career, including two Guggenheim Fellowships, a Brandeis Creative Arts Award, three Obies (includ-
ing an award for Sustained Achievement), two Villager Awards, a Bessie for Sustained Creative Achievement, the 1986 National Music Theatre Award, sixteen ASCAP i
Awards for Musical Composition and the 1992 Dance Magazine Award. She holds honorary Doctor of Arts degrees from Bard College, the University of the Arts, The Juilliard School, and San Francisco
Art Institute. Her recordings Dolmen Music (ECM New Series) and Our Lady of Late: The Vanguard Tapes (Wergo) were honored with the Germans Critics Prize for Best Records of 1981 and 1986. Her music has been heard in numerous films, including La Nouvelle Vague by Jean-Luc Godard and The Big Lebowski by Joel and Ethan Coen.
In 1965 Monk began her exploration of the voice as a multi-faceted instrument and subsequently composed and performed many solo pieces for unaccompanied voice and voicekeyboard. She formed Meredith Monk and Vocal Ensemble in 1978 to fur?ther expand her musical textures and forms. She has made more than a dozen record?ings, most of which are on the ECM New Series label, including her full-length opera, ATLAS: an opera in three parts which pre?miered at the Houston Grand Opera in 1991. In March 1997, ECM released Monk's newest CD, Volcano Songs. Her music has been performed by numerous soloists and groups including the Chorus of the San Francisco Symphony, Musica Sacra, the
Pacific Mozart Ensemble, Double
idge, and Bang on a Can 11-Stars, among others.
Monk is a pioneer in site-specific performance,
creaiing worKs suui as juict: A Theater Cantata In 3 Installments (1969) for the
Guggenheim Museum, Minor Latham Playhouse, and The House Loft, and
most recently American Archeology 1: Roosevelt Island (1994). She is also
an accomplished O filmmaker who has
made a series of I award-winning films I including Ellis Island
Meredith Monk
(1981) and her first feature, Book Of Days (1988), which was aired on PBS, released theatrically, and selected for the Whitney Museum's Biennial.
Meredith Monk and Vocal Ensemble recently completed a domestic tour of A Celebration Service, a nonsectarian worship service commissioned by the American Guild of Organists and Union Theological Seminary that melds her haunting vocal music and movement with spiritual texts drawn from two millennia. In October 1999 Monk performed a Vocal Offering for His Holiness, the Dalai Lama as part of the World Festival of Sacred Music in Los Angeles.
Tonight's performance marks Meredith Monk's third appearance under UMS aus?pices. She last appeared under UMS auspices with performances of her opera The Politics of Quiet in 1996.
Carol Bailey (Set Design) has designed pro?ductions for opera including scenic design for New York City Opera; Glimmerglass in Cooperstown, NY; Opera Zuid in the Netherlands; Skylight Opera in Milwaukee, WI; and numerous stagings for L'Opera francais de New York. Her theater work includes Costume Design for Richard Foreman and Marie Irene Fornez and Scenic Design for Julliard; The Ohio Theater and Second Stage all in New York City and The Corchran Theater in London, England. Her performance piece, The Sugar Dress, was included in the Downtown Arts Festival in New York City and her sculpture has been exhibited both in the US and abroad. Her sculpture is in the permanent collection of the Kunstindustrimusert in Norway. She was a recipient of a TGGNEA Fellowship in Design.
Gabriel Berry (Costume Design) is currently working on projects including The Biblical Stories for the Netherlands Opera; John Phillip Sousa's The Glass Blowers at Glimmerglass, and new works by Yoshiko Chuma and Maria Irene Fornez.
Theo Bleckmann (Performer) is a vocalist and composer performing in jazz and con?temporary music. He has worked with musicians and composers such as Anthony Braxton, Mark Dresser, Michael Gordan, Philip Glass, John Hollenbeck, David Lang, Ikue Mori and Julia Wolfe and was also a junior champion in ice dancing in his native Germany. No Boat, Theo Bleckmann's last CD in duo with guitarist Ben Monder, has been called "...a disc of improv. pieces marked by an imperturbable cool worthy of the Bill Evans Trio" by Kyle Gann of The Village Voice. Commissioned by the Whitney Museum of American Art at Philip Morris he created Fidget, a multi media music per?formance for trio and five seamstresses, by setting Kenneth Goldsmith's text Fidget. To
great critical acclaim he collaborated, toured and recorded extensively with composerpianist Kirk Nurock and also teamed up with director Valeria Vasilevski and composer Eric Salzman creating the new music-theater tour-de-force The True Last Words of Dutch Schultz, playing the gangster Dutch Schultz himself. He has been a member of Meredith Monk's vocal ensem?ble since 1994, performing numerous works including Facing North, Three Heavens and Hells, American Archeology 1: Roosevelt Island, Atlas concert version and The Politics of Quiet for which the ensemble received a 1997 Bessie Award. Theo Bleckmann can also be heard on Sheila Jordan's most recent CD: Jazzchild on High Note.
Katie Geissinger {Performer) has been working with Meredith Monk since 1990, receiving critical acclaim for her perfor?mances in the opera ATLAS: an opera in three parts and American Archeology 1: Roosevelt Island, and winning an Ensemble Bessie Award for The Politics of Quiet. She tours and records extensively with Ms. Monk, and is featured on several CDs: ATLAS and Volcano Songs (both ECM New Series), and Monk and the Abbess (BMGCatalyst). Ms. Geissinger performed in the world tour of Philip Glass and Robert Wilson's Einstein on the Beach, and is fea?tured on the ElektraNonesuch recording. She has also worked with such contempo?rary artists as Peter Sellars, Anthony Davis, Lois Vierk, John Kelly, Michael Gordon, Julia Wolfe, and David Lang, and sang on the current CD releases of Brian Eno's Music for Airports and Philip Glass' film score Kundun. Ms. Geissinger has many off-Broadway credits, including Mahogany Songspiel, Trouble in Tahiti, Dido and Aeneas, and many Gilbert and Sullivan operettas. She recently appeared in the pre?miere of Bang-on-a-Can's Carbon Copy Building at The Kitchen.
Ching Gonzalez {Performer) was born in Manila, raised in Honolulu, and has worked within New York City's experimental dance and theatre fields (as well as Broadway and Off). He is honored and amazed to have been performing with Meredith MonkThe House and her Vocal Ensemble since 1984. Many thanks to the Office of the Vice President for Human Resources at Columbia University where he works as Executive Assistant for supporting his per?formance work and making it possible for him to stay true to his creative ideal. To Meredith, his utmost gratitude for all he has learned about that particular state of grace -of singing from the gut and dancing from the heart and vice versa.
Lanny Harrison {Performer), began her career in the New York Pantomime Theater in 1966. She has played character roles in Off-Broadway musicals and films and, for the past twenty-five years has written and performed one-woman shows, touring America and Europe. Ms. Harrison has also performed a number of theatrical duets, including Cooking Up a Storm, with her late husband, musician Collin Walcott, Acts From Under and Above, with Meredith Monk, and Sense and Nonsense, with Steve Clorfeine, and Act Without Words II, Samuel Beckett's mime play, also with Mr. Clorfeine. She has also been a member of The House, Meredith Monk's theater company, since 1969, and has played leading roles in many of Ms. Monk's productions, including Vessel, Quarry, and Education of the Girlchild and in the film Book of Days. Last year, Ms. Harrison premiered a new work, Sifaka, about our primate origins, at Naropa Institute in Colorado. She is currently at work with Lily Pink on a new vaudeville show, The Bat Sisters, shown last spring at the Knitting Factory. Ms. Harrison currently teaches acting workshops for children in
upstate New York at the West Kortright Centre and in the Arts in Education pro?gram. She also gives workshops for senior citizens at Aging in America in the Bronx and teaches weekly at the New York Shambhala Center in Manhattan. She is also on the faculty of the Gallatin division of NYU.
Thomas C. Hase (Lighting Designer) is very pleased to be able to work with Meredith after so many years admiring her work. Mr. Hase is currently the resident lighting designer for the Cincinnati Opera and the principal designer for the People's Light and Theatre Company in Philadelphia. Recent theatrical work includes The US premiere of The Things We Do for Love at Buffalo's Studio Arena Theatre and Cameron Macintosh's newest musical, Just So, at Goodspeed Opera House. Earlier this year, he designed the US premiere of The Picture of Dorian Gray for Milwaukee's Florentine Opera. His regional experience includes productions at Baltimore's Center Stage, Atlanta's The Dallas Theater Center, Cincinnati Playhouse in the Park, Skylight Opera Theatre, The Milwaukee Repertory Theatre, and New Orleans Opera. Internationally at Germany's Stadttheater Giessen, he has created more than 100 designs for operas and ballets. Further afield his designs have been seen in Japan, Singapore, Columbia, and throughout Europe. He has served as Ping Chong's lighting designer for such productions as Deshima (American Theater Wing Design Award Nomination) and Chinoiserie which was featured at the Brooklyn Academy of Music's Next Wave Festival in 1995.
John Hollenbeck {Musician) has created a body of work that ignores boundaries while crisscrossing the world in pursuit of new musical languages. Performances with artists such as Anthony Coleman, and David
Liebman have showcased Hollenbeck's melodic and sensitive small-group jazz drumming. His unique approach to big band work is apparent in his work with Bob Brookmeyer's New Art Orchestra and as a frequent guest with the Village Vanguard Orchestra. Hollenbeck also performs a vari?ety of traditional musics from around the world, including klezmer with David Krakauer and Frank London, and various projects in Colombia, Brazil and Argentina. As a composer, Hollenbeck combines ele?ments of his experiences in jazz and world music. The recipient of a BM and a MM from the Eastman School of Music, Hollenbeck has received many awards and commissions including Meet the Composer's Grants and a National Endowment grant. Hollenbeck's first record?ing as a leader will be issued on the CRI label in 2000. This recording features Ray Anderson, David Taylor, David Liebman, Ellery Eskelin, Theo Bleckmann and Ben Monder. At the present, he leads two ensem?bles, The Claudia Quintet and Quartet Lucy. Their compilation CD was released in the fall of 1999 on Noumenon Records.
David Meschter, (Sound Design) sound designer and composer, received a degree in Audio Technology from American University in Washington, DC. He was the sound consultant and repertory musician with the Merce Cunningham Dance Company from 1981 to 1988, and created sound designs for a variety of organizations and artists including John Cage, LaMonte Young, Pandit Pran Nath, the Kronos Quartet, the American Ballet Theater, Lincoln Center and Houston Grand Opera. His recent sound designs include The Peony Pavilion the epic twenty-hour opera revived and reconstructed by Chen Shi-Zheng and Lincoln Center, After Sorrow & Kwaidan, both directed by Ping Chong, as well as Atlas, The Politics of Quiet and Magic
Frequencies by Meredith Monk. David Meschter is also the sound supervisor for The Lincoln Center Festival, and has designed various interactive computer sys?tems such as a Tap-to-MIDI converter for Charles Moulton's dance Tapnology and a Flute-to-Haiku poetry creationcomputer speech system for composer Yasunao Tone.
Coco Pekelis (Performer) has worked with Meredith MonkThe House since 1971. From Meredith she learned how to drink coffee (Education of the Girlchild), sweep the floor on one foot (Quarry), and exercise while sitting still (tonight's performance). Coco is a painter whose recent portrait series "Scribbled Auras" explores the electric topography of the face. Her book of unreasonable advice, Everything I Know I Learned on Acid, is going into its third print?ing. Coco's philosophy "Of the thirty-six alternatives, running away is best." She hopes to grow up some time soon.
Billy Shebar, (Video) film maker, has had his work shown on PBS, the BBC, The Discovery Channel, and at numerous festi?vals in the US and abroad. His thirty-minute film, Guts, won Best Short Film at the 1995 Long Island Film Festival, was screened at the Goteborg International Film Festival, and broadcast on public television's New York Independents in the US. His most recent film, Drawing Cuba, about a visit to Cuba by American political cartoonists, aired on PBS in May. Shebar is also the author of two feature-length screenplays. 50 Ways to a Better Memory won the Grand Prize at the 1998 CineStory Screenwriting Awards and was read at the Nuyorican Poets Cafe's acclaimed Fifth Night series. His lat?est screenplay, The Dark Matter Problem, is slated for production in 2000 under the direction of Chen Shi-Zheng.
Allison Sniffin (musician) is a multi-instru?mentalist, singer and composer. A regular performer with The Meredith Monk Ensemble, she has toured with The Politics of Quiet, A Celebration Service and Magic Frequencies. She has also performed with diverse groups including NewBand, Danspace Productions, Gad's Hill Theater Troupe, Metamorphoses Orchestra, The Galatea Ensemble, Downtown Music Productions and most recently with com?poserperformer Wayne Hankin and with Lanny Harrison and Lilly Pink in perfor?mances at The Kitchen and The Knitting Factory. A church musician as well, she per?forms and composes music for synagogues and churches in New York and New Jersey. Her compositions have received grants from Union Theological Seminary, Meet the Composer and Concert Artists' Guild.
The House Foundation for the Arts, Inc.
Meredith Monk, Artistic Director Barbara Dufty, Managing Director Barbara Hogue, Director of Development Jonathan Nye, Company Manager Michou Szabo, Office Manager
Press representative:
Ellen Jacobs, Ellen Jacobs Associates
Exclusive US Tour Representation: Rena Shagan Associates, Inc.
Meredith MonkThe House Foundation for the Arts Board of Directors:
Micki Wesson, President Meredith Monk
Ellynne Skove, Chair Mark Palermo, Esq. Nicholas J. Gajdjis, Treasurer Meredith Palmer
Eden Graber, Secretary Barbara G. Sahlman
Susan H. Carlyle, M.D. Frederieke Sanders Taylor
Susan K. Foster Arbie R. Thalacker
Audrey Marsh Matthew Yokobosky
Meredith MonkThe House Foundation for the Arts is made possible, in part, with public funds:
National Endowment for the Arts New York State Council on the Arts New York City Department of Cultural Affairs Materials for the Arts (a program of the New York City Department of Sanitation)
And with private funds from:
The Edith C. Blum Foundation
Mary Flagler Cary Charitable Trust
The Gladys Krieble Delmas Foundation
The Fund for US Artists at International Festivals
and Exhibitions
The Harkness Foundation for Dance lohn S. and James L. Knight Foundation Meet the ComposerReader's Digest Commissioning Program JP Morgan The National Dance Project, a project of the New England
Foundation for the Arts New York Foundation for the Arts Philip Morris Companies Inc.
The Project on Death in America of The Open Society Institute James E. Robison Foundation The Rockefeller Foundation
The Fan Fox & Leslie R. Samuels Foundation, Showcase NY Lila Acheson Wallace Theater Fund The Andy Warhol Foundation for the Visual Arts
UMS
and Comerica
present
Drummers of West Africa
with
Doudou N'Diaye Rose
Artistic Director
Program
Thursday Evening, February 10, 2000 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Baifall
Rosettes
Saouroubas
INTERMISSION
Sabar Finale
Fifty-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 Comerica Inc.
Special thanks to Caroline Chambers and James Miller for their generous support through Comerica.
Additional support provided by media sponsors, WEMU and Metro Times.
This is a Heartland Arts Fund Program with major support from the National Endowment for the Arts and Michigan Council for Arts and Cultural Affairs.
Special thanks to Dr. Lester Monts, the African Student Association and the Senegalese Society of South East Michigan, the Center for Afroamerican and African Studies, North African Secretariat for the International Center for African Music and Dance, and the International Institute for their assistance with this residency.
Doudou N'Diaye Rose and the Drummers of West Africa appear by arrangement with Columbia Artists Management, Inc.
Large print programs are available upon request.
Baifall
With thirty-five musicians on stage, Baifall features the khine instrument as well as the M'Balax, which is the rhythm section played by the lamb and the meung meuttg.
Rosettes
Rosettes requires twenty musicians on stage and features a call and response directed by Doudou N'Diaye Rose. The instruments used are sabars plus the M'Balax rhythm section.
Saouroubas
Saouroubas calls for twenty musicians on stage including a women's chorus. The instruments used are saouroubas.
Sabar
Sabar requires twenty men on stage and is directed by Doudou N'Diaye Rose. The instruments used are sabars.
Finale
The Finale, with thirty-five musicians on stage, features the sabars, meung meung, lamb, n'der, gorom babass, saouroubas, khine, assicots and bougarabous.
Under the direction of the incomparable Doudou N'Diaye Rose, the Drummers of West Africa are not only the most renowned drum ensemble of their native Senegal, or even of West Africa, but proba?bly the most revered percussion orchestra in the world. The Drummers, all members of Mr. Rose's family, have toured the capitals of Europe and South America with huge box office successes and recently were the open?ing attraction of the fiftieth annual Cannes Film Festival. The Japanese drum company Kodo is a great admirer of the legendary Doudou N'Diaye Rose, and invites him to appear regularly with the Drummers of West Africa in a series of performances as well as seminars in the art of percussive music.
Small and lean, with a keen eye, Doudou N'Diaye Rose, the chief drum-major of Dakar, Senegal, is a living legend. A guardian of tradition, but also an untiring innovator, this virtuoso of percussion is now perceived as a true conductor, just as the great conductors of symphony orchestras. As a child, although his family did not want him to pursue music, he was fascinat?ed by the magic of the drum. Over the years he was to learn all the finer points of per?cussion, becoming the greatest drummer of his country.
Mr. Rose has also undertaken an enor?mous amount of research, met the greatest poet-musicians of West Africa, and created a list of the innumerable rhythms which punctuate the life and ceremonies of Senegalese society. He knows the power of traditional rhythms and respects the strict conditions under which they should be interpreted. However, he is equally drawn to innovation. His experiments with new instrumental techniques, has considerably enlarged the size of the groups that he con?ducts (up to 100 drummers), and composes
works born of power and virtuosity.
Mr. Rose weaves together an unbeliev?able number of rhythmical phrases, super?imposing them in a complex and elusive pattern, which reaches our ears as a kind of fabulous melody. He creates real sym?phonies of drums, which he conducts in the manner of a dervish, somewhere between Bruce Lee and von Karajan.
Doudou N'Diaye Rose has introduced his daughters and granddaughters to the art of percussion and formed a group of female drummers, "Les Rosettes," which was revolu?tionary at the time. For the last fifteen years, he has enjoyed international stardom. Mr. Rose has traveled the world, given fantastic concerts, and composed and collaborated with various artists of recognition such as the Rolling Stones, Peter Gabriel, Miles Davis, and Dizzy Gillespie. Indeed, all forms of music interest him and he has always held the view that rhythms and tempos are to be found naturally in all musical works, be it
classical, jazz, rock, or traditional music.
Doudou N'Diaye Rose also loves to meet his public and share his expertise. He leads percussion workshops in Japan, France, Africa and the US. He has conduct?ed workshops in schools and the suburbs to spread his love of rhythm, of music, and of meeting and sharing with people.
A true cultural ambassador for his country, Doudou N'Diaye Rose is today considered one of the greatest musicians of this era.
Tonight's performance marks Doudou N'Diaye Rose and the Drummers of West Africa's debut under UMS auspices.
Paulette Zitofsky, Company Manager Fred Allen, Production Manager
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 Modern 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. This 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 Genne 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 WDETand 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
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
Tonu Kaljuste, director
Sunday, February 13, 8 p.m.
St. Francis of Assisi Catholic Church
Murray Perahia, piano
Wednesday, February 16, 8 p.m. Hill Auditorium
Master of Arts Interview of Murray Perahia, 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 Foimdation. 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.
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 trie 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 "lapan, 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 Afroamcrican and African Studies. Media sponsors WEMUand 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 Chorale 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
1996 Van
Cliburn
Jessye Norman
1998 Garrick Ohlsson
1999 The
Canadian Brass
The Ford Honors Program is made possible by a generous grant from the Ford Motor Company Fund and benefits the UMS Education Program. Each year, UMS honors
a. Wlfl IU-
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 Mand'mka 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:
? Amalia Hernandez' Ballet Folklorico de Mexico
The Harlem Nutcracker
Boys Choir of Harlem
New York City Opera National Company: The Barber of Seville
Ballet d'Afrique Noire: The Mandinka Epic
Trisha Brown Company
Teachers who wish to be added to the youth performance mailing list should call 734.615.0122.
The Youth Education Program is sponsored by
Teacher Workshop Series
This series of workshops for all K-12 teachers is a part of UMS' efforts to provide school?teachers with professional development oppor?tunities and to encourage ongoing efforts to incorporate the arts in the curriculum.
This year's Kennedy Center Workshops are:
"Developing Literacy Skills Through Music"
"Bringing Literature to Life"
"Making History Come Alive"
? "Reaching the Kinesthetic Learner Through
Movement"
Workshops focusing on the UMS youth performances are:
"Opera in the Classroom"
"African Drumming in the Classroom"
"Jazz in the Classroom" with the Jazz at
Lincoln Center Sextet
? "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 Ali 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
Because Music Matters
UMS members have helped to make possible this 121st season of distinctive concerts. Ticket revenue covers only 61 of our costs. The generous gifts from our contributors continue to make the dif?ference. Cast yourself in a starring role--become a UMS member. In return, you'll receive a variety of special benefits and the knowledge that you are helping to assure that our community will continue to enjoy the extraordinary artistry that UMS offers.
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.
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. ft 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
(of R. & 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 Shiffman 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 Bonfield Laurence and Grace Boxer Jeannine and Robert Buchanan John T. Buck
Lawrence and Valerie Bullen Mr. and Mrs. Richard J. Burstein Letitia J. Byrd Betty Byrne
Edward and Mary Cady Bruce and Jean Carlson Jean 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 Aronoff James R. Baker, Jr., M.D. and
Lisa Baker
Gary and Cheryl Balint Norman E. Barnett Mason and Helen Barr Robert and Wanda Bartlett Kathleen Beck Neal Bedford and Gerlinda
Melchiori Henry J. Bednarz Ralph P. Beebe Harry and Betty Benford Ruth Ann and Stuart J.
Bergstein John Blankley and Maureen
Foley
Jane M. Bloom 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 Julianne and Michael Shea Howard and Aliza Shevrin Frances U. and
Scott K. Simonds Scott and Joan Singer George and
Mary Elizabeth Smith Dr. Elaine R. Soller Cynthia J. Sorensen 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 loan 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 . Ashe, III Mr. and Mrs. Dan E. Atkins III Jim and Patsy Auiler Jonathan and Marlene Ayers Dr. and Mrs. Daniel R. Balbach Lesli and Christopher Ballard Cy and Anne Barnes Gail Davis Barnes Victoria and Robin Baron Leslie and Anita Bassett 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 James and fane 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. Cierznicwski Charles and Lynne Clippcrt 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). and
Dr. Joan Crawford Constance Crump and
Jay Simrod Charles and
Kathleen Davenport Ed and Ellie Davidson )oe and Nan Decker Penny and Laurence B. Deitch Pauline and Jay J. De Lay Elena and Nicholas Dclbanco 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 Emil 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. J.) 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
Lois M. 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 Guirc Arthur W. Gulick, M.D. Don P. Haefher and
Cynthia J. Stewart Susan and John Halloran Yoshiko Hamano Robert and Jean Harris Naomi Gottlieb Harrison and
Theodore Harrison DDS Thomas and Connie Heffner J. Lawrence and
Jacqueline Stearns Henkel Carl and Charlenc 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 James and Jane Kister Joseph and Marilynn Kokoszka Melvyn and Linda Korobkin Bert and Catherine La Du Mr. and Mrs. Henry M. Lapeza John and Theresa Lee Mr. and Mrs. Fernando S. Leon Harry and Melissa LeVine Jacqueline 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 Mcrlanti Walter and Ruth Metzger Helen Metzner Deanna Relyea and
Piotr Michalowski Prof, and Mrs. Douglas Miller Jeanette and Jack Miller Robert Rush Miller Kathleen and James Mitchiner Dr. and Mrs. George W. Morley A. Anne Moroun Melinda and Bob Morris Cyril and Rona Moscow Gavin Eadie and
Barbara Murphy 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
Monica and David E. Schteingart Suzanne Selig Marvin and Harriet Selin Ruth and Jay Shanberge Constance M. Sherman George and Gladys Shirley Hollis and Martha A.
Showalter
Irene and Oscar Signori Sandy and Dick Simon
Robert and Elaine Sims John and Anne Griffin Sloan Tim and Marie Slottow Alene M. Smith Carl and Jari Smith Radley and Sandra Smith Mrs. Robert W. Smith Jorge and Nancy Solis Katharine B. Soper Yoram and Eliana Sorokin Mr. and Mrs. Neil J. Sosin Dr. Hildreth H. Spencer L. Grasselli Sprankle Francyne Stacey Barbara Stark-Nemon and
Barry Nemon Sally A. Stegeman Virginia and Eric Stein Frank D. Stella Professor Louis and
Glennis Stout
Dr. and Mrs. Stanley Strasius )oe Stroud and Kathleen Fojtik Peg Talburtt and Jim Peggs Ronna and Kent Talcott Eva and Sam Taylor Mary D. Teal Paul E. Thielking Mrs. E. Thurston Thieme Mary H. Thieme Edwin J. Thomas Bette M. Thompson Mr. and Mrs. W. Paul Tippett Patricia and Terril Tompkins Dr. and Mrs. Merlin C. Townley Angie and Bob Trinka Paul and Fredda Unangst Dr. and Mrs. Samuel C. Ursu Kathleen and Edward Van Dam Hugo and Karla Vandersypen Jack and Marilyn van der Velde Tanja and Rob Van der Voo Michael Van Tassel William C. Vassell Shirley Verrett Carolyn and Jerry Voight John and Maureen Voorhees Mrs. Norman Wait Virginia Wait Charles R. and
Barbara H. Wallgren Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner Mr. and Mrs. Robert M. Warner Drs. Philip and Maria Warren Robin and Harvey Wax Barry and Sybil Wayburn Mrs. Joan D. Weber Deborah Webster and
George Miller Walter L Wells Marcy and Scott Westerman Reverend Francis E. Williams R. Jamison Williams Jr. Christine and Park Willis Mrs. Elizabeth Wilson Thomas and Iva Wilson Charlotte Wolfe Mr. and Mrs. A. C. Wooll MaryGrace and Tom York Ann and Ralph Youngren Gail and David Zuk
Businesses
Alice Simsar Fine Art
The Ann Arbor District Library
Atlas Tool, Inc.
Coffee Express Co.
Complete Design and
Automation Systems Inc. Diametron, Inc. Dupuis & Ryden P.C. General Systems
Consulting Group Jenny Lind Club of
Michigan, Inc. Malloy Lithography Pollack Design Associates Scientific Brake and
Equipment Company A. F. Smith Electric, Inc. Swedish American Chamber
of Commerce Thalner Electronic Labs Milan Vault
Foundations
The Sneed Foundation, Inc.
ADVOCATES
Individuals
John R. Adams
Tim and Leah Adams
K.in and Nobuko Akitomo
Gordon and Carol Allardyce
lames and Catherine Allen
Richard and Bettye Allen
Barbara and Dean Alseth
Helen and David Aminoff
Dr. and Mrs. Charles T. Anderson
Joseph and Annette Anderson
Drs. James and
Cathleen Culotta-Andonian Timothy and Caroline Andresen Barbara T. Appelman Patricia and Bruce Arden Bert and Pat Armstrong Thomas and Mary Armstrong Gaard and Ellen Arneson Mr. and Mrs. Lawrence E. Arnett Rudolf and Mary Arnheim Elaine and Richard Aron Dwight Ashley Eric M. and Nancy Aupperle John and Rosemary Austgen Erik and Linda Lee Austin Shirley and Don Axon Virginia and Jerald Bachman Jane Bagchi
Chris and Heidi Bailey Prof, and Mrs. I. Albert Bailey Richard W. Bailey and Julia
Huttar Bailey Doris I. Bailo Robert L. Baird C. W. and Joann Baker Dennis and
Pamela (Smitter) Baker Laurence R. and Barbara K. Baker Helena and Richard Baton Drs. Nancy Barbas and
Jonathan Sugar John R. Bareham David and Monika Barera Maria Kardas Barna
Joan W. Barth
Robert and Carolyn Bartle
Dorothy W. Bauer
Mrs. Jcre Bauer
Mr. and Mrs. Gilbert M. Bazil, Jr.
Kenneth C. Beachler
James and Margaret Bean
Mr. and Mrs. John C. Beatty
James M. Beck and
Robert J. McGranaghan
Mr. and Mrs. Steven R. Beckert
Robert Beckley and Jytte Dinesen
Robert B. Beers
Steve and Judy Bcmis
Walter and Antje Bcnenson
Erling and
Merete Blondal Bengtsson
Linda Bennett
Joan and Rodney Bentz
Mr. and Mrs. Ib Bentzen-Bilkvist
Dr. Rosemary R. Berardi
Jim Bergman and Penny Hommel
Harvey and
Rochelle Kovacs Herman
Pearl Bernstein
Gene and Kay Berrodin
Harvey Bertcher
Mark Bertz
Naren and Nishta Bhatia
Bharat C. Bhushan John and Marge Biancke Eric and Doris Billes John E. Billie and Sheryl Hirsch Jack and Anne Birchfield William and Ilene Birge Elizabeth S. Bishop Art and Betty Blair Donald and Roberta Blitz Marshall and Laurie Blondy Tom and Rosanne Bloomer Henry Blosser and Lois Lynch Dr. George and Joyce Blum Beverly J. Bole Mark and Lisa Bomia Dr. and Mrs. Frank Bongiorno Edward and Luciana Borbaly Gary Boren
Dr. and Mrs. Morris Bornstein Jeanne and David Bostian Dean Paul C. Boylan Stacy P. Brackens William R. Brashear Robert and Jacqueline Bree Patricia A. Bridges Patrick and Kyoko Broderick Lorna Brodtkorb Susan S. and Wesley M. Brown Cindy Browne
Mr. and Mrs. John M. Brueger Mrs. Webster Brumbaugh Elizabeth A. Buckner Sue and Noel Buckner Dr. Frances E. Bull Robert and Carolyn Burack Marilyn Burhop Tony and Jane Burton Dan and Virginia Butler Joanne Cage
Louis and Janet Callaway Susan and Oliver Cameron Jenny Campbell (Mrs. D.A.) Douglass and Sherry Campbell Charles and Martha Cannell Robert and Phyllis Carlson Dr. and Mrs. James E. Carpenter Deborah S. Carr
Dennis B. and Margaret W. Carroll Carolyn M. Carry and Thomas H. Haug Laura Cathcart Dr. and Mrs. Joseph C. Cerny K. M. Chan
Bill and Susan Chandler Joan and Mark Chesler Tim Cholyway
Edward and Rebecca Chudacoff Sallie R. Churchill
Pat Clapper
Brian and Cheryl Clarkson
Donald and Astrid Cleveland
Barbara Clough
Roger and Mary Coe
Dorothy Coffey
Alice S. Cohen
Hubert and Ellen Cohen
Hilary and Michael Cohen
Mike and Tedi Collier
Matthew and Kathryn Collins
Ed and Cathy Colone
Carolyn and L. Thomas Conlin
Patrick and Anneward Conlin
Nan and Bill Conlin
Philip E. and lean M. Converse
Donald W. Cook
Gage R. Cooper
Mr. and Mrs. Herbert Couf
Malcolm and luanita Cox
Marjorie A. Cramer
Richard and Penelope Crawford
Charles and Susan Cremin
Mary C. Crichton
Mr. Lawrence Crochier
Mr. and Mrs. James I. Crump
Margaret Cudkowicz
Townley and Joann Culbertson
Jean Cunningham
Richard ]. Cunningham
Dolores Nachman Curiel
Roderick and Mary Ann Daane
Mr. and Mrs. John R. Dale
Marylee Dalton
Joyce Damschroder
Mr. and Mrs. Norman Dancy
Mildred and William B. Darnton
Jane and Gawaine Dart
Stephen Darwall and
Rosemarie Hester Sunil and Merial Das DarLinda and Robert Dascola Ruth E. Datz
Mr. and Mrs. Arthur W. Davidge )udi and Ed Davidson Laning R. Davidson, M.D. Mr. and Mrs. Roy C. Davis Dr. and Mrs. Raymond F. Decker Rossanna and George DeGrood George and Margaret Demuth Mona C. DeQuis and
Christine L. Cody Lloyd and Genie Dethloff Pamela DeTullio and
Stephen Wiseman Don and Pam Devine Elizabeth P.W. DeVine T. L. Dickinson and Lisa
Landmeier
Paul Dodd and Charlotte Dodd Elizabeth and Edward R. Doezema Jean Dolega
Rev. Dr. Timothy I. Dombrowski Deanna and Richard Dorncr Dick and Jane Dorr Thomas Downs Roland and Diane Drayson Harry M. and Norrenc M. Dreffs Dale R. and Betty Berg Drew Cecilia and Allan Dreyfuss Janet Driver and Daniel Hyde John Dryden and Diana Raimi Ronald and Patricia Due Rhetaugh G. Dumas Robert and Connie Dunlap Richard F. Dunn Jean and Russell Dunnaback Peter and Grace Duren Edmund and Mary Durfee John W. Durstine George C. and Roberta R. Earl Jacquelynne S. Eccles Elaine Economou and
Patrick Conlin Morgan H. and Sara O. Edwards
Kebecca tisenberg and
Judah Garber Judge and Mrs. S. J. Elden Sol and Judith Elkin Julie and Charles Ellis Ethel and Sheldon Ellis Genevieve Ely
Michael and Margaret Emlaw Richard and Helen Emmons Mackenzie and Marcia Endo H. Michael and Judith L. Endres Fred A. Erb Roger E. Erickson Leonard and Madeline Eron Dorothy and Donald Eschman Eric and Caroline Ethington Barbara Evans Adele Ewell
Mr. and Mrs. Robert B. Fair, Jr. Mark and Karen Falahee Elly and Harvey Falit Thomas and Julia Falk Reno and Nancy Feldkamp Phil and Phyllis Fellin Larry and Andra Ferguson Dr. and Mrs. James Ferrara Yi-tsi M. and Albert Feuerwerker Susan FilipiakSwing City
Dance Studio Marilyn Finkbeiner David A. Finn C. Peter and Bev Fischer Gerald B. and Catherine L. Fischer Pat and Dick Fischer Barbara and James Fitzgerald Linda and Thomas Fitzgerald Beth and foe Fitzsimmons Morris and Debra Flaum Mitchell and Carol Fleischer Kathleen and Kurt Flosky George and Kathryn Foltz Jason I. Fox
William and Beatrice Fox Lynn A. Freeland Lucia and Doug Freeth Richard and Joann Freethy Sophia L. French Marilyn Friedman Gail Fromes
Mr. and Mrs. Charles C. Froning Philip And Renee Frost Joseph E. Fugere and
Marianne C. Mussett Lois W. Gage Jane Galantowicz Dr. Thomas H. Galantowicz Frances and Robert Gamble Mrs. Don Gargaro Jack J. and Helen Garris C. Louise Garrison Janet and Charles Garvin Allan and Harriet Gelfond Mrs. Jutta Gerber Deborah and Henry Gerst Michael Gcrstenbergcr W. Scott Gerstenberger and
Elizabeth A. Sweet Paul and Suzanne Gikas Beverly Jeanne Giltrow Gary and Rachel Click Albert and Barbara Glover Robert and Barbara Gockel Albert L Goldberg Ed and Mona Goldman Steve and Nancy Goldstein Beryl and David Goldsweig Mrs. Eszter Gombosi Mitch and Barb Goodkin Jesse and Anitra Gordon Enid M. Gosling and Wendy
Comstock
James W. and Maria J. Gousseff Michael L Gowing Britt-Marie Graham Christopher and Elaine Graham Mr. ana Mrs. Robert C. Graham
Advocates, continued
M.itv.inn.i and
Dr. William H. Graves, III Isaac and Pamela Green Victoria Green and
Matthew Toschlog Deborah S. Greer G. Robinson and Ann Gregory Bill and Louise Gregory Martha J. Greiner Linda and Roger Grekin Mark and Susan Griffin Werner H. Grilk Mrs. Atlee Grillot Marshall J. and Ann C. Grimm Marguerite M. Gritenas Betty and Chuck Gross Laurie Gross
Richard and Marion Gross Frederick and Iris Gruhl David and Kay Gugala Nancy and Jon Gustafson Margaret Gutowski and
Michael Marietta Jeff and LeAnn Guyton Jennifer Shikes Haines and
David Haines Claribel Halstead Sarah I. Hamckc Mrs. F. G. Hammitt Gerald T. and Betty K. Hansen Lourdes S. Bastos Hansen Mary C. Harms Stephen G. and
Mary Anna Harper Doug Harris and Deb Peery Laurelynne Daniels and
George P. Harris Ed Sarath and Joan Harris Martin D. and Connie D. Harris Susan S. Harris Stephen Haskin and
Karen Soskin Elizabeth C. Hassinen Ruth Hastie
George and Lenore Hawkins Mr. and Mrs. Edward J. Hayes Anne Heacock Ken and Jeanne Heininger Mrs. Miriam Heins Jim and Esther Heitler Sivana Heller
Paula Hencken and George Collins Dr. and Mrs. Keith S. Henley Kathryn Dekoning Hentschel Bruce and Joyce Herbert Ada Herbert
Stuart and Barbara Hilbert Herb and Dee Hildebrandt Lorna and Mark Hildebrandt Lynn M. Hill Ms. Teresa Hirth James and Ann Marie Hitchcock Louise Hodgson Jane and Dick Hoerner Frances Hoffman Robert and Claire Hogikyan Donna M. Hollowcll Dave and Susan Horvath George M. Houchens and
Caroline Richardson Mr.andMrs.F.B. House James and Wendy Fisher House Jeffrey and Allison Housner Helga C. Hover
Drs. Richard and Diane Howlin John I. Hritz, Jr. Mrs.V.CHubbs Hubert and Helen Huebl Jude and Ray Huetteman Harry and Ruth Huff Mr. and Mrs. William Hurford Mr. and Mrs. Thomas J. Hughes Joanne Winkleman Hulce Kenneth Hulsing Joyce M. Hunter Mr. and Mrs. Jacob Hurwitz
Bailie, Brenda and Jason Prouser
Imber
Diane C. Imredy Aiin K. Irish Sid and Harriet Israel Judith G. Jackson Mr. and Mrs. Donald E. Jahncke Marilyn G. Jeffs
Professor and Mrs. Jerome Jelinek Keith and Kay Jensen I rim.u t and Karin Johansson Elizabeth Judson Johnson Paul and Olga Johnson Dr. Marilyn S. Jones John and Linda Jonides Tom and Marie Juster Mary B. and Douglas Kahn Allyn and Sherri Kantor Paul Kantor and Virginia
Weckstrom Kantor Helen and Irvine Kao Mr. and Mrs. Wilfred Kaplan Rosalie Brum Karunas Alex and Phyllis Kato Barbara Kaye and John Hogikyan Julia and Philip Kearney William and Gail Keenan Frank and Karen Keesecker Robert and Frances Keiser Janice Keller James A. Kelly and
Mariam C. Noland John B. Kennard
Linda Atkins and Thomas Kenney George L. Kenyon and
Lucy A. Waskell Paul and Leah Kileny William and Betsy Kincaid Shira and Steve Klein Peter and Judith Klein man Ruth and Thomas Knoll Patricia S. Knoy Rosalie and Ron Koenig Mr. and Mrs. Richard Krachenberg Jean and Dick Kraft Ron and Barbara Kramer Doris and Don Kraushaar Sara Kring William G. Kring Amy Sheon and Marvin Krislov Bert and Geraldine Kruse Danielle and George Kuper Dr. and Mrs. Richard A. Kutcipal William and Marie Kuykendall Christine A. LaBelle Magdalene Lampert Mr. and Mrs. Seymour Lampert Henry and Alice Landau Pamela and Stephen Landau Janet Landsberg LaVonne Lang Patricia M. Lang Joan Larsen and Adam Pritchard Mr. and Mrs. Carl F. LaRue Beth and George Lavoie Ruth Lawrence and Ari Naimark Chuck and Linda Leahy Cyril and Ruth Leder Dr. Peter J. Lee and Mrs. Clara
Hwang Mr. Richard G. LcFauve and
Mary F. Rabaut-LeFauve Diane and Jeffrey Lehman Richard and Barbara Leite Ron and Leona Leonard Sue Leong Margaret E. Leslie David E. Lcvine George and Linda Levy Deborah Lewis Tom and Judy Lewis Mark Lindlcy and Sandy Talbott Ronald A. Lindroth Dr. and Mrs. Richard H. Lincback Rod and Robin Little Jackie K. Livcsay Larry and Shirley Loewenthal
Julie M. Loftin jane Lombard Ronald Longhofer and
Norma McKenna Armando Lopez Rosas Bruce Loughry Donna and Paul Lowry Karen Ludema Pamela and Robert Ludolph Cynthia Lunan Elizabeth L. Lutton Fran Lyman Susan E. Macias Pamela J. MacKintosh Marilyn MacLean Walter Allen Maddox Hans and Jackie Maier Deborah Malamud and Neal
Plotkin
Karl D. Malcolm, M.D. Claire and Richard Malvin Ken Marblestone and
Janisse Nagel
Thomas E. and Melissa S. Mark Lee and Greg Marks Alice K. and Robert G. Marks Frederick and Deborah Marshall Rhoda and William Martel James E. and Barbara Martin Vincent and Margot Massey Jim and Ann Mattson John M. Allen and
Edith A. Maynard Susan C. Guszynski and
Gregory F. Mazure LaRuth C. McAfee Richard and Florence McBrien Maurice H. McCall Thomas and Jackie McClain David G. McConnell Dr. and Mrs. James L. McGauley Cornelius and Suzanne McGinn Michael G. McGuire Bruce H. and Natalie A. Mclntyre Mary and Norman Mclver ECO Physics, Inc. Bill and Ginny McKeachie Kevin D. McVeigh Nancy and Robert Meader Marilyn J. Meeker Allen and Marilyn Menlo Warren and Hilda Merchant Ingrid Merikoski Debbie and Bob Merion Hely Merle-Benncr Russ and Brigette Merz Julie and Scott Merz Henry D. Messer Carl A. House Robert and Bettie Metcalf Lisa A. Mets
Professor and Mrs. Donald Meyer Shirley and Bill Meyers Helen M. Michaels William and Joan Mtkkelsen Carmen and Jack Miller John Mills
Bob and Carol Milstein Dr. and Mrs. James B. Miner Olga A. Moir Dr. and Mrs.
William G. Mollcr, Jr. Bruce and Ann Moln Mr. Erivan R. Morales and Dr.
Seigo Nakao
Michael Moran and Shary Brown Arnold and Gail Morawa Jane and Kenneth Moriarty James and Sally Mueller Peeler and Judith Muhlberg Tom and Hedi Mulford Bcrnhard and Donna Muller Mai 11 Mulligan and Katie
Mulligan Lora G. Myers Roscmarie Nagel Penny H. Nasatir Edward C. Nelson
Arthur and Dorothy Ncsse
John and Ann Nicklas
Susan and Richard Nisbctt
Gene Nissen
Laura Nitzbcrg and Thomas Carli
Donna Parmelee and
William Nolting Dr. Nicole Obregon Patricia O'Connor C. W. and Sally O'Dell Henry and Patricia O'Kray Cherie M. Olsen Joan and Bill Olsen Nets R. and Mary H. Olson J. L. Oncley
Robert and Elizabeth Oneal Kathleen I. Operhall Elisa Ostafin and
Hossein Keshtkar Mr. and Mrs. James R. Packard Jenny Palmer Drs. Sujit and Uma Pandit William and Hedda Panzer Penny and Steve Papadopoulos Francois and Julie Lebel Michael P. Parin Donna D. Park Frank and Arlene Pasley Brian P. Patchen Nancy K. Paul Robert and Arlene Paup Patricia D. Pawelski Edward J. Pawlak Elizabeth M. Payne Lisa A. Payne William A. Penner, Jr. Don and Gianninc Perigo Bradford Perkins Susan A. Perry Neal W. Persky, M.D. Jeff Javowiaz and
Ann Marie Petach Frank and Nelly Petrock Douglas and Gwendolyn Phelps C. Anthony and Marie B. Phillips Mr. and Mrs. Frederick R. Pickard Nancy S. Pickus Robert and Mary Ann Pierce Daniel Piesko
Dr. and Mrs. James Pikulski I .ui.i and Henry Pollack Mary AJice Power Robert and Mary Pratt John and Nancy Prince Ernst Pulgram Dr. G. Robina Quale Mr. and Mrs. Mitchell Radcliff Alex and Natasha Raikhel Jeanne Raisler and
Jonathan Allen Cohn Nancy L. Rajala Patricia Randle and James Eng Alfred and Jacqueline Raphelson Dr. and Mrs. Robert Rapp Mr. and Mrs.
Robert H. Rasmussen Gabriel M. Rebeiz Mr. and Mrs. Richard W. Redman Dr. and Mrs. James W. Reese Mr. and Mrs. Stanislav Rchak Anne and Fred Remley Glenda Rcnwick Molly Rcsnik and John Martin John and Nancy Reynolds AJice Rhodes
James and Helen Richards Elizabeth G. Richart Kurt and Lori Riegger Thomas and Ellen Riggs Mary Ann Rittcr Kathleen Roelofs Roberts Dave and Joan Robinson H. James Robinson Janet K. Robinson, Ph.D. Jonathan and Anala Rodgers Mary Ann and Willard Rodgers
Mary F. Loeffler and
Richard K. Rohrer Michael). and Yelena M. Romm Borje and Nancy Rosaen Elizabeth A. Rose Richard Z. and Edie W. Rosenfeld Charles W. Ross Daria and Erhard Rothe Mrs. Doris E. Rowan Gary Ruby
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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
Mr. and Mrs. Pal E. Barondy
Mr. HUbert Beyer
Elizabeth Bishop
Pat and George Chatas
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Beverley and Gerson Geltner
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MEMORIALS
Harlan N. Bloomer
James A. Davies
Alice Kclsey Dunn
George R. Hunsche
Thomas Michael Karun
Anna Marie Kauper
?Catherine Mabarak
Josip Matovinovic
Frederick C. Matthaei, Sr.
Glenn D. McGeoch
Valerie Meyer
Emerson and Gwendolyn Powrie
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Francis Viola III
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Peter Holderness Woods
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GIVING LEVELS
Soloists $25,000 or more
Maestro $10,000-24,999
Virtuosi $7,500 9,999
Concertmaster $5,000 7,499
Leader $2,500 4,999
Principal $1,000 2,499
Benefactor $500 999
Associate $250 499
Advocate $100-249
Friend $50 99
Youth $25
UMS ADVERTISERS
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