UMS Concert Program, Sunday Mar. 05 To 17: University Musical Society: 1999-2000 Winter - Sunday Mar. 05 To 17 --
Season: 1999-2000 Winter
University Of Michigan, Ann Arbor
University Musical Society
1999-2000 WINTER SEASON
University Musical Society of the University of Michigan. Ann Arbor
University Musical Society
2 0 00 WINTER SEASON of the University of Michigan. Ann Arbor
On the Cover
Clockwise from upper left
Dancers from Bebe Miller Company
The Great Wall of China
Performer from Forgiveness
d V_l VXetteiJfoln the President
4 Letter from the Chair
en Corporate LeadersFoundations
13 UMS Board of Directors
13 UMS Senate
15 UMS Staff
15 Advisory Committees
JM! General Information
19 Group Tickets
19 Gift Certificates
21 UMS Card
V2B L 1 UMS History
25 UMS Choral Union
26 t Auditoria & Burton Memorial Tower
J J9 I UMS Winter 2000 Season
35 Education & Audience Development
37 Dining Experiences
39 Restaurant & Lodging Packages
41 UMS Preferred Restaurant Program
45 Sponsorship and Advertising
56 UMS Advertisers
LETTER FROM THF 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 email@example.com.
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.
Chair, UMS Board of Directors
CORPORATE LEADERS FOUNDATIONS
Richard L. Huber Chairman and CEO, Aetna, Inc. "On behalf of Aetna and Aetna Retirement Services, we are proud to sup?port the arts in southeastern Michigan, especially through our affiliation with The Harlem Nutcracker. We are delighted to be involved with the University Musical Society and their pro?grams, which help bring the arts to so many families and young people."
Don MacMillan President, Alcan Global Automotive Products "For 120 years, the University Musical Society has engaged and enriched our com?munity with the very best in performing arts and educational programs. Alcan salutes your quality and creativity, and your devotion to our youth."
Douglass R. Fox President, Ann Arbor Acura "We at Ann Arbor Acura are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
Jeanne Merlanti President, Arbor TemporariesArbor Technical StaffingPersonnel Systems, Inc.
"As a member of the Ann Arbor business community, I'm thrilled to know that by sup?porting UMS, I am helping per?petuate the tradition of bringing outstanding musical talent to the community and also provid?ing education and enrichment for our young people."
William Broucek President and CEO, Bank of Ann Arbor "As Ann Arbor's community bank, we are glad and honored to be a supporter of the cultural enrichment that the University Musical Society brings to our community."
Jorge A. Solis Senior Vice President, Bank One, Michigan "BankOne, Michigan is honored to share in the University Musical Society's proud tradition of musical excellence and artistic diversity."
Habte Dadi Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organization that provides such an important
service to Ann Arbor." .1
?Mr-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. Charia Founder CEO, Charia Breton Associates, Publishers Representatives "Music is a wondrous gift that nurtures the soul. Charia 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 & 7bncie"Deloitte & Touche is pleased to support the Universit Musical Society. Their continuec commitment to promoting the arts in our community is out?standing. Thank you for enrich ing our lives!"
S. Martin Taylor Sr. Vice President-Corporate & Public Affairs and President-Detroit Edison Foundation "The Detroit Edison Foundation is proud to sponsor the University Musical Society because we share a mis?sion of enhancing Southeastern Michigan's reputation as a great place to live and work. To this end, UMS brings the joy of the performing arts into the lives of community residents, provides an important part of Ann Arbor's uplifting cultural identity and offers our young people tremen?dous educational opportunities.'
Larry Denton Global Vice President, Dow Automotive "At Dow Automotive, we believe it is through the universal lan?guage of art and music that we are able to transcend cultural and national barriers to reach a deeper understanding of one another. We applaud the University Musical Society for its long-standing support of the arts that enriches all our lives."
Edward Surovell President, Edward Surovell Realtors "It is an honor for Edward Surovell Realtors to be able to support an institu?tion as distinguished as the University Musical Society. For over a century it has been a national leader in arts presenta?tion, and we encourage others to contribute to UMS' future."
Leo Legatski President, Elastizell Corporation of America "A significant characteristic of the University Musical Society is its ability to adapt its menu to changing artistic requirements. UMS involves the community with new concepts of education, workshops, and performances."
Peter Banks President, ERIM International "At ERIM International, we are honored to support the University Musical Society's commitment to providing edu?cational and enrichment oppor?tunities for thousands of young people throughout southeastern Michigan. The impact of these experiences will last a lifetime."
William Clay Ford, Jr.
Chairman, Ford Motor Company "At Ford, we believe the arts speak a universal language. We're proud of our long-standing association with the University Musical Society, its concerts, and the educational programs that enrich our community."
Scott Ferguson Regional Director, Hudson's "Hudson's is committed to supporting arts and cultural organizations because we can't imagine a world without the arts. We are delighted to be 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. Harm
President, KeyBank "Music is Key to keeping our society vibrant, and Key is proud to support the cultural institution rated number one by Key Private Bank clients."
Richard A. Manoogian Chairman and CEO, Masco Corporation "We at Masco applaud the University Musical Society's contribution to diversity in arts programming and your efforts to enhance the quality of life in our community."
Ronald Weiser Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud to support the University Musical Society and the cultural contribution it makes to the community."
Michael E. Korybalski
President, Mechanical Dynamics "Beverly Sills, one of our truly great performers, once said that 'art is the signature of civiliza?tion.' We believe that to be true, and Mechanical Dynamics is proud to assist the University Musical Society in making its mark -with a flourish."
Erik H. Serr Principal, Miller, Canfield, Paddock and Stone, P.L.C. "Miller, Canfield, Paddock and Stone is particularly pleased to support the University Musical Society and the won?derful cultural events it brings to our community."
continued on page 9
Charies Hall Partner, Multilogue "Music is one way the heart sings. The University Musical Society helps our hearts enjoy and participate in song. Thank you."
Phillip R. Duryea Community President, National City Bank "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
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,
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
(former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Carl A. Brauer Allen P. Britton Letitia J. Byrd Leon S. Cohan Jon Cosovich Douglas Crary Ronald M. Cresswell John D'Arms
James J. Duderstadt Robben W. Fleming David J. Flowers Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Howard Holmes Kay Hunt Stuart A. Isaac Thomas E. Kauper David B. Kennedy Richard L. Kennedy
Thomas C. Kinnear F. Bruce Kulp Patrick B. Long Judythe H. Maugh Paul W. McCracken Rebecca McGowan Alan G. Merten John D. Paul Wilbur K. Pierpont John Psarouthakis Gail W. Rector John W. Reed Richard H. Rogel
Ann Schriber Daniel H. Schurz Harold T. Shapiro George I. Shirley John O. Simpson Carol Shalita Smokier Lois U. Stegeman Edward D. Surovell Susan B. Ullrich Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker Iva M. Wilson
Kenneth C. Fischer,
President Elizabeth E. Jahn,
the President John B. Kennard, Jr.,
Administration John Peckham,
Michael L. Gowing,
Sally A. Cushing, Staff Ronald J. Reid, Assistant
Manager and Group
Conductor Edith Leavis Bookstein,
Co-Manager Kathleen Operhall,
Co-Manager Donald Bryant,
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
Ben Johnson, Director Kate Remen Wait,
Manager Susan Ratcliffe,
Sara Billmann, Director Aubrey Alter, Marketing
Coordinator Maria Mikheyenko,
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
Michael J. Kondziolka,
Director Mark Jacobson,
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
Helene Blatter Lindsay Calhoun Steven Dimos Bree Doody Aviva Gibbs Steven Jarvi Brooke McDaniel
Gail W. Rector
Dody Viola, Chair Robert Morris,
Vice-Chair Sara Frank,
Martha Ause Barbara Bach Lois Bam Kathleen Benton Barbara Hum. h 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 Harlsuff Nina E. Hauser Debbie Herbert Mercy Kasle Steve Kasle Anne Kln.uk 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 Stegcman Louise Townley Bryan Ungard Suzette Ungard Wendy Woods
TEACHER ADVISORY COMMITTEE
Fran Ampey Gail Davis Barnes Alana Barter Elaine Bennett Lynda Berg Yvette Blackburn Barbara Boyce Letitia J. Byrd Nancy Cooper Naomi Corera Gail Dybdahl Keisha Ferguson Doreen Fryling Carolyn Hanum Vickey Holley Foster Taylor lacobsen Callic Jefferson Deborah Katz Deb Kirkland Rosalie Koenig
David A. Leach
Barbara Hertz Wallgren
For persons with disabilities, all auditoria have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
For hearing impaired persons, the Power Center, Mendelssohn Theatre, and Rackham Auditorium are equipped with infrared listen?ing systems. Headphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, and Mendelssohn Theatre please call University Productions at 734.763.5213. For items lost at St. Francis of Assisi Catholic Church and the Michigan Theater, please call the UMS Box Office at 734.764.2538.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before
the performance begins. Parking is compli?mentary for UMS members at the Principal level and above. Reserved parking is available for UMS members at the Leader level and above.
UMS offers valet parking service for all performances in the Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before each performance. There is a fee for this service. UMS members at the Leader level and above are invited to use this service at no charge.
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
UMSMember Information Kiosk
A wealth of information about UMS events is available at the information kiosk in the lobby of each venue.
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the UMS Box Office. Refunds are not available; however, you will be given a receipt for an income tax deduc?tion. Please note that ticket returns do not count toward UMS membership.
Many thanks to all of the groups who have joined UMS for an event in past seasons, and welcome to all of our new friends who will be with us in the coming year. The group sales program has grown dramatically in recent years. This success is a direct result of the wonderful leaders who organize their friends, families, congrega?tions, students, and co-workers and bring them to our events.
Last season over 10,000 people came to UMS events as part of a group, and they saved more than $51,000 on some of the most popular events around! Many groups who booked their tickets early found them?selves in the enviable position of having the only available tickets to sold out events including 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.
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 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 $100. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe Ann Arbor Acura Ann Arbor Arts
Back Alley Gourmet Blue Nile Restaurant Bodywise Therapeutic
Massage Cafe Marie Chelsea Flower Shop Dough Boys Bakery Fine Flowers Gandy Dancer Great Harvest Jacques John Leidy Shop
John's Pack & Ship Kerrytown Bistro King's Keyboard
House Le Dog
Michigan Car Services Paesano's Restaurant Regrets Only Ritz Camera One
Hour Photo SKR Blues & Jazz SKR Classical SKR Pop & Rock Shaman Drum
The UMS card also entitles you to 10 off your ticket purchases at other Michigan Presenter venues. Individual event restrictions may apply. Call the UMS Box Office for more information at 734.764.2538.
UMS enters a new interactive com?munication era with the launch of the new and improved www.ums.org!
Why should you log onto www.ums.org
Tickets Forget about waiting in long ticket lines--order tickets to UMS performances online with our secure order form.
Cyber$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.
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
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 firstname.lastname@example.org.
AUDITORIA & BURTON MEMORIAL TOWER
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.
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.
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
Power Center 1,390
Entertainment, formed a part?nership with the Detroit Symphony Orchestra and played host to more than 500 perform?ers and special events. As the home of Michigan Opera Theatre's grand opera season and dance series, and through quality programming, partner?ships and educational initiatives, the Detroit Opera House plays a vital role in enriching the lives of the community.
Burton Memorial Tower
Seen from miles away, this well-known University of Michigan and Ann Arbor land?mark is the box office and administrative location for UMS. Completed in 1935 and designed bv Albert Kahn. the 10-storv
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 Sunday, March 5,2000 through Friday, March 17, 2000
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.
An Evening with Audra McDonald
Sunday, March 5, 8:00pm Power Center
Wednesday, March 8, 8:00pm Hill Auditoruim
Les Ballets d'Afrique Noire
The Mandinka Epic
Thursday, March 9, 8:00pm Friday, March 10, 8:00pm Power Center
The English Concert
Saturday, March 11, 8:00pm Hill Auditorium
Maestro AM Akbar Khan
Friday, March 17, 8:00pm Hill Auditorium
An Evening with
Audra McDonald soprano
Ted Sperling, Music Director and Piano Peter Donovan, Bass Bill Hayes, Drums
Ricky Ian Gordon Langston Hughes
Michael John LaChiusa Kurt WeillOgden Nash Jason Robert Brown
Jerome Kern P.G. Wodehouse & Oscar Hammerstein II
Harold Aden Johnny Mercer
Ricky Ian Gordon Langston Hughes
GordonHughes Irving Berlin ArlenMercer
Sunday Evening, March 5, 2000 at 8:00 Power Center, Ann Arbor, Michigan
Daybreak in Alabama
See What I Wanna See
Stars and the Moon
Beat My Dog
I Had Myself a True Love
Song for a Dark Girl
Any Place I Hang My Hat is Home
Truman Capote & Arlen
Jerry Bock Sheldon Harnick
ArlenCapote & Arlen Stephen Sondheim
David Shire Richard Maltby, Jr.
Larry Grossman Ellen Fitzhugh
Jeff Blumenkrantz Kessler & Libby Saines
Stephen Flaherty Lynn Ahrens
FlahertyAhrens ArlenIra Gershwin
Steven Marzullo James Baldwin
A Sleepin' Bee
When Did I Fall in Love
I Never Has Seen Snow Live Alone and Like It Crossword Puzzle
Learn To Be Lonely I Won't Mind Your Daddy's Son
Come Down From the Tree The Man That Got Away Some Days
Musical arrangements by Jeff Blumenkrantz, Jason Robert Brown, Bruce Coughlin, Ricky Ian Gordon, Larry Hochman, Steven MarzuUo, Lee Musiker, Ted Sperling, Michael Starobin and Eric Stern.
Sixty-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 made possible with the support of the Michigan Council for Arts and Cultural Affairs.
This concert is held 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.
The piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Ms. McDonald appears by arrangement with Columbia Artists Management, Inc. Personal representation for Ms. McDonald is by CY Music.
Many of tonight's songs have been recorded by Audra McDonald on Nonesuch Records.
Large print programs are available upon request.
Soprano Audra McDonald created the title role of Marie Christine in the 1999 Lincoln Center Theater world premiere by Michael John LaChiusa. On Broadway, she has earned Tony Awards for featured roles in Ragtime (1998), the musical adaptation of the E.L. Doctorow novel; Terrence McNally's Master Class (1996); and Nicholas Hytner's production of Carousel (1994).
She made her Carnegie Hall debut on Opening Night of the 1998-99 season, singing selections from Porgy and Bess with the San Francisco Symphony and Michael Tilson Thomas. The concert, which was
televised international?ly and record?ed for BMG Classics, was repeated in San Francisco and at the Kennedy Center. In 1999, she also performed with the Cleveland Orchestra and Leonard Slatkin, the
Philadelphia Orchestra with Marin Alsop, and the Boston Pops, both at Tanglewood and on the Esplanade, in a featured perfor?mance led by Keith Lockhart for national broadcast on Evening at Pops. She made her European debut at the 1999 BBC Proms Festival under the baton of Sir Simon Rattle, and also performed a week-long run as part of the Divas at the Donmar series in London, a performance taped for nationwide PBS broadcast throughout March 2000.
Audra McDonald's most recent record?ing, How Glory Goes, features songs by Harold Aden, Leonard Bernstein and
Jerome Kern alongside works by today's generation of music-theatre writers, includ?ing the title track by Adam Guettel. Way Back To Paradise, her debut solo recording which inaugurated an exclusive contract with Nonesuch Records, was named Adult Record of the Year for 1998 by the New York Times. Other recordings include Leonard Bernstein's Wonderful Town on EMI, con?ducted by Sir Simon Rattle; the original soundtrack of Tim Robbins' film Cradle Will Rock on BMG; My Favorite Broadway: The Leading Ladies on Hybrid; and Leonard Bernstein's New York on Nonesuch.
On television, Audra McDonald was introduced as a dramatic actress in the CBS television movie Having Our Say: The Delany Sisters' First 100 Years. She appeared on ABC this season in the Walt Disney Television production of the Broadway musical Annie, and is also featured in My Favorite Broadway: The Leading Ladies, a PBS broadcast of the 1998 Carnegie Hall event. In recent seasons, Audra McDonald has appeared as part of the PBS productions Leonard Bernstein's New York and Some Enchanted Evening-A Salute to Oscar Hammerstein. She has also been featured on 60 Minutes.
Born into a musical family, Audra McDonald grew up in Fresno, California. She received her classical voca} training at The Juilliard School, graduating in 1993.
Tonight's performance marks Audra McDonald's debut under UMS auspices.
Ted Sperling was the music director for Audra McDonald's appearances last year at Joe's Pub and Town Hall in New York and the Donmar Warehouse in London. He also conducted andor arranged six songs on her new album, How Glory Goes.
Mr. Sperling's credits as music director include the New York productions of Floyd
Collins, Saturn Returns, A New Brain, How to Succeed in Business Without Really Trying, Kiss of the Spider Woman, Angels in America, My Favorite Year, and Romance in Hard Times. Mr. Sperling conducted the world-premiere recording of Ragtime and two songs for the animated film Anastasia, one of which was nominated for an Academy Award.
Bassist Peter Donovan has performed with the New York Philharmonic, New York Chamber Symphony, Orchestra of St. Luke's, American Symphony Orchestra, Brooklyn Philharmonic, and New York Virtuosi. His festival credits include the Newport Music Festival, Music Festival of the Hamptons with Lukas Foss, Sarasota Chamber Music Festival, and Summergarden Series at the Museum of Modem Art.
Mr. Donovan holds bachelor's and master's degrees from The Juilliard School, where he studied with Eugene Levinson.
Bill Hayes has played drums and percussion for over forty Broadway shows, as well as concert tours and recordings for Barbara Streisand, Frank Sinatra, Sammy Davis Jr., Charles Aznavour and Kenny Rogers. As Liza Minnelli's percussionist, Mr. Hayes' perfor?mance credits include Carnegie Hall and the Paris Opera House. His work can also be heard on a number of Disney soundtracks, including Hercules, Pocahontas, and The Hunchback of Notre Dame. His recent jazz recordings include Gerry Niewood's New Dreams and Maria Schneider's Evanessence.
Mr. Hayes was also featured in the music of classical composer Judith Sainte Croix on the critically acclaimed disc Visions of Light & Mystery and Meredith Monk on her album Atlas.
Tonight's performance marks Ted Sperling's, Peter Donovan's, and Bill Hayes' debut appearances under UMS auspices.
Bank of Ann Arbor
Paddy Moloney, Uileann Pipes Kevin Conneff, Bodhran Matt Molloy, Flute Martin Fay, Fiddle Sean Keane, Fiddle Derek Bell, Harp
Donny Golden, Traditional Irish Dancer
Wednesday Evening, March 8, 2000 at 8:00 Hill Auditorium, Ann Arbor, Michigan
The Chieftains will announce tonight's program from the stage.
Sixty-second 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.
Special thanks to Bill Broucek of Bank of Ann Arbor for his generous support of the University Musical Society.
Additional support provided by media sponsor, WDET.
This performance is made possible with the support of the Michigan Council for Arts and Cultural Affairs.
The piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
The Chieftains record exclusively for RCA Victor.
The Chieftains appear by arrangement with ICM Artists, Ltd.
Large print programs are available upon request.
Although The Chieftains early following was purely a folk audience, the astonishing range and variation of their music very quickly captured a much broader audience, resulting in their present world fame. Long before U2, The Cranberries, Boyzone, Bwitched or even the Boomtown Rats there was The Chieftains. For over thirty years, countless Grammy nominations and six Grammy awards, Paddy Moloney and The Chieftains have carried the torch of Irish music and Irish musicians to new boundaries across the globe.
The Chieftains don't just play, they watch, look, listen, learn and create ground?breaking results in the process. The ensem?ble not only takes traditional music and brings it boldly to the rest of the world, but they also absorb the music of these specific
Irish counties and cultures and mold them into something far richer and greater. It can truly be claimed that The Chieftains are world class musicians, having helped invent what audiences now refer to as world music. The Chieftains' musical story is a highly personal account of the state of the tradi?tional nation of Ireland. In a thousand years someone may retrace their musical journey through the Irish landscapes and wonder what they will find. Of course the chances are that they will find Paddy Moloney and The Chieftains, still making music, soaking in the sounds from their surroundings, breathing their musical adventures and per?forming the remarkable music from their homeland Ireland.
Tonight's performance marks The Chieftains' second appearance under UMS auspices.
Simply committed to the best in dance for Michigan.
Les Ballets d'Afrique Noire
The Mandinka Epic
Mamadou Mansour Gueye, General Director and Producer Jean Pierre Leurs, Artistic Director
Maimouna Cissokho, Mouscouta Camara
Mamadou Badji, Idrissa Diatta, Mohammed Badji, Saidou Ba, Djibril Camara, Alain Godonou D.M. Zinsou, Malang Diatta, Bourama Diatta, Fode Moussa Camara, Mame Adama Gueye, Adama Fall, Binetou Ly, Ramatoulaye Diallo, Marie Diagne, Awa Gaissiry Camara, Aminata Sonko, Dianke Diatta, Aminata Gueye
Oscar Aboubacar Camara, Ballet Master Seidy Ababbacar Gueye, Rehearsal Director
Thursday Evening, March 9, 2000 at 8:00 Friday Evening, March 10, 2000 at 8:00 Power Center, Ann Arbor, Michigan
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 the Detroit Edison Foundation.
Special thanks to S. Martin Taylor of the Detroit Edison Foundation for his generous support of the University Musical Society.
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 the support of the Michigan Council for Arts and Cultural Affairs.
Special thanks to Frank Gunderson, North American Secretariet for the International Center for African Music and Dance, Ibrahima (Ibu) Niang and Amadou Sarr, Senegalese Community of Southeastern Michigan, Michael Naylor, Washtenaw Community College, U-M Department of Dance, U-M African Student Association, Ann Arbor Public Schools, U-M Center for Afroamerican and African Studies, Dr. Lester Monts, and the U-M Office of the Provost for their assistance in this residency.
The Mandinka Epic US Tour is presented in association with the Kennedy Center African Odyssey Program, sponsored by American Express.
Ballet d'Afrique Noire appears by arrangement with ICM Artists, Ltd.
Large print programs are available upon request.
The Mandinka Epic
US Premiere, January 28, 2000 at Grand Opera House, Wilmington, DE
Aboubacar Camara, Sumanguru Kante Idrissa Diatta, Sundiata Keita Mamadou Badji, Abu Bakari Mohammed Badji, Kankan Musa
Aboubacar Camara, Balafon Ousmane Coulibaly, Flute Mady Kouyate, Kora Djibril Sissoko, Khalam
Dikory Seydi, Pape Assane Mbaye, El Hadji Mbor Faye,
Cheikh Ahmed Tidiane Ndong, Bakary Cisse
Producer and Artistic Advisor Mamadou Mansour Gueye
Creator and Artistic Director Jean Pierre Leurs
Composer and Lyricist Guimba Diallo
Oscar Aboubacar Camara, Jean Pierre Leurs, Mamadou Diop
Lighting Concept Jean Pierre Leurs
Lighting Adaptation Jim Alexander
Oumou Sy, Jean Pierre Leurs, Mamadou Mansour Gueye
Spanning across several countries in West Africa, the Mandinka civilization dates back almost a thousand years to approximately 1075. The professional oral historians (also known as jelis and griots) of today's Mandinka society have taken great care in preserving their history and heritage through stories and songs passed down to each generation. The Mandinka Epic (L'Epopie Mandinque) is a compilation of songs and short stories that give a brief chronological history of the Mali Empire that was led by the Mandinka tribe. At the height of the Mali Empire (thir?teenth-fifteenth centuries), the tribe controlled the Saharan trade industry by taxing and transporting lucrative goods. There was much prosperity during that time creating a rise in cultural and educational institutions.
The Mandinka Epic features costumes, songs, music and ritual dances that were exten?sively researched for this production. The songs are sung entirely in the Mandinka language in various dialects. This production is a choreographic, lyrical and musical homage to the Mandinka culture. Les Ballets d'Afrique Noire began working on the production in 1994 from a proposal by creator Jean Pierre Leurs. The result is a collaborative effort over a six-month period by Leurs, Mansour Gueye, Mamadou Diop, a drama professor at the National Douta Seek Conservatory, and Oscar Aboubacar Camara, a former dancer and choreographer of The National Dancers of Guinea. This is the first international tour of The Mandinka Epic.
A brief history of events leading up to the Mali Kingdom of West Africa
Circa late twelfth century
Early morning in a small Mandinka tribal
village. The women begin their chores and
the fishermen cast their nets. The villagers
gather in the Market Square.
An invasion of the village by Sumanguru Kante, king of the Susu tribe, and his war?riors. The villagers chant of Sumanguru's mystical powers. Other villages join the fight and the entire kingdom breaks out in war. Our storyteller consoles King Maghan, leader of the Mandinka tribe, telling him to be brave and that the Mandinka people shall overcome. Most of the royal clan is assassi?nated and King Maghan is driven into exile.
Early thirteenth century A few years later, the Mandinka village is under the rule of a puppet king controlled by Sumanguru. Although Sumanguru is a tyrant, he has a great appreciation for music and introduces new instruments to the Mandinka. A celebration takes place in honor of Sumanguru featuring the dance of the bolong instruments. Sumanguru demon?strates his magical power that makes he and his warriors invulnerable to iron made arrowheads and bullets.
The arrival of the famous King Sundiata
Keita approximately 1240 While the Mandinka people are under the oppressive rule of Sumanguru, a young frag?ile son of the royal clan has been hidden and protected in a distant land. This royal son named Sundiata Keita becomes a remark?able athlete and grows into a mighty hunter. Our storyteller tells Sundiata to be a strong leader and the people will follow him.
Sundiata leads a rebellion and rallies the Mandinka people to fight Sumanguru. The courageous Sundiata shoots and kills Sumanguru with an arrow tipped with the spur of a rooster. Under Sundiata's leadership, the Mandinka tribe gains dominance and he establishes the powerful Mali Kingdom.
King Sundiata Keita's funeral approximately
A fearless warrior, King Sundiata is killed in a battle. Without the leadership of Sundiata, there is much anxiety and fear among the people. Battles ensue between the tribes for more power and the kingdom falls apart. Our storyteller tells the Mandinka people to be strong and not to worry.
Late thirteenth century
Soothsayers inform a woman the future of her unborn child. They predict he will be the next great king of the Mandinka people.
And so it happens she gives birth to a royal son named Abu Bakari. As the child grows, he is beloved by all the people.
Several years later, Abu Bakari inherits the throne. He leads the Mandinka people and neighboring tribes back to peace and pros?perity. Once again the Mali Kingdom con?trols trade in West Africa. Everyone joins the celebration and honors the new king.
The launch of 2000 ships approximately 1307 King Bakari has always been attracted to the sea and its mystical nature. There are rumors among the fisherman and traders that there are other worlds beyond the great western sea. He envisions a vast voyage to seek new trade for his kingdom. As King Bakari builds a massive fleet of ships, he consults the soothsayers and they confirm the belief of distant unknown lands. To protect the Mali Kingdom, King Bakari bestows power and authority to his younger brother Kankan Musa with instructions that he is to assume the throne if he himself does not return.
Despite the fears of the royal family and their advisors, King Bakari decides to embark on the voyage.
After a long and treacherous journey, King Bakari's armada arrives in the New World. The natives welcome the foreigners and show respect towards the foreign leader. King Bakari believes he has found his destiny. He sends home an emissary to announce his safe arrival and his decision to stay.
A new Mandinka king approximately 1312 A celebration begins to honor the emissary's arrival home and the coronation of King Kankan Musa.
Les Ballets d'Afrique Noire is one of the oldest active folk music and dance companies in Senegal. Based in Dakar, the company was officially established on July 25,1958. More than 150 artists are trained annually at the company's school and studio. In addition to a few guest artists, the per?formers in this production were selected from the school for their exceptional talent. Small ensembles for Les Ballets d'Afrique Noire tour in Europe, particularly in Spain, on hotel circuits. The Mandinka Epic repre?sents one of the largest productions created by the company. This is Les Ballets d'Afrique Noire's first tour to the US.
These performances mark Les Ballets d'Afrique Noire's debut appearances under UMS auspcies.
Mamadou Mansour Gueye, a former mem?ber of the National Ballet of Senegal, has been an artist and administrator with Les Ballets d'Afrique Noire since its inception in 1958.
For twenty years, Mr. Gueye supported himself working at the NOSOC, a commer?cial society in Dakar. Then in 1978, he devoted himself entirely to the performing arts. He founded Mansour Spectacles to produce and tour music and dance ensem?bles. Without government or private aid, Mr. Gueye has continued to promote Senegal's performing arts. Under his direc?tion, Les Ballets d'Afrique Noire produced its largest production to date, The Mandinka Epic.
Jean Pierre Leurs, has conceived and direct?ed productions for both the National Ballet of Senegal and Les Ballets d'Afrique Noire. Fascinated with the history of the Keitas and Mali court, he envisioned The Mandinka Epic and proposed it to Mansour Gueye. Mr. Leur's latest production, Sarraouinia, is based on a Nigerian queen. In 1995, he received the Laureate of the Grand Prize for Scenic Arts from the President of Senegal.
Staff for Ballet d'Afrique Noire El Hadji Mamadou Ndiaye, Administrator Ibrahima Guisse, Adjoint Rehearsal Director Magatte Seye Gueye, Assistant
US Tour Staff for Ballet d'Afrique Noire Mor Thiam, Artistic Consultant Richmond Davis, Company Manager Jim Alexander, Production Stage Manager
Staff for ICM Artists, Ltd.
Lee Lamont, Chairman
David V. Foster, President & CEO
Byron Gustafson, Executive Vice President & Director,
Touring Division Jane Hermann, Vice President & Director, Dance
Division Leonard Stein, Vice President & General Manager,
Touring Division Annette DiPerno, Associate, Dance Division
Special thanks to Kephra Burns for epic and historical background.
J. S. Bach Series
The English Concert
TREVOR PiNNOCK, Music Director and Harpsichord
Saturday Evening, March 11, 2000 at 8:00 Hill Auditorium, Ann Arbor, Michigan
J.S. bach's Six 'Brandenburg Concertos
Brandenburg Concerto No. 1 in F Major, BWV 1046
Movement 1: without tempo indication
Menuetto Trio I Polacca Trio II
Podger, Clark, Rutherford, Spreckelsen, Wood, McKenna, Grazzi
Brandenburg Concerto No. 3 in G Major, BWV 1048
Movement 1: without tempo indication
Podger, Reiter, Golding, Jones, Rogers, Martin, Coe, Kraemer, Campbell, McCarthy
Brandenburg Concerto No. 5 in D Major, BWV 1050
Pinnock, Podger, Beznosiuk
Brandenburg Concerto No. 6 in B-flat Major, BWV 1051
Movement 1: without tempo indication
Adagio ma non tanto
Jones, Rogers, Campbell, Gillespie, Coe, McCarthy
Brandenburg Concerto No. 4 in G Major, BWV 1049
PODGER, THORBY, SpRECKELSEN
Brandenburg Concerto No. 2 in F Major, BWV 1047
Movement 1: without tempo indication
Podger, Thorby, Spreckelsen, Bennett
Sixty-fifth Performance of the 121st Season
121st Annual Choral Union Series
The photographing or sound recording of this concert or possession of any device far such photographing or sound recording is prohibited.
Tonight's performance is sponsored by Miller, Canfield, Paddock and Stone, P.L.C.
Additional support provided by media sponsor, WGTE.
This performance is made possible with the support of the Michigan Council for Arts and Cultural Affairs.
Special thanks to Dr. Steven Whiting for leading this evening's Pre-Performance Educational Presentation (PREP).
The English Concert appears by arrangement with ICM Artists, Ltd.
Large print programs are available upon request.
Six Brandenburg Concertos, BWV 1046-1051
Johann Sebastian Bach
Born March 21, 1685 in Eisenach, Germany
Died July 28, 1750 in Leipzig, Germany
Your Royal Highness,
As I had a couple of years ago the pleasure of appearing before Your Royal Highness, by virtue of Your Highness' commands, and as I noticed then that Your Highness took some pleasure in the small talents which Heaven has given me for Music, and as in taking leave of Your Royal Highness, Your Highness deigned to honor me with the command to send Your Highness some pieces of my Composition: I have then in accordance with Your Highness' most gra?cious orders taken the liberty of rendering my most humble duty to Your Royal Highness with the present Concertos, which I had adapted to several instruments; beg?ging Your Highness most humbly not to judge their imperfection with the rigor of the fine and delicate taste which the whole world knows Your Highness has for musical pieces; but rather to infer from them in benign Consideration the profound respect and the most humble obedience which I try to show Your Highness therewith. For the rest, Sire, I beg Your Royal Highness very humbly to have the goodness to continue Your Highness' gracious favor toward me, and to be assured that nothing is so close to my heart as the wish that I may be employed on occasions more worthy of Your Royal Highness and Your Highness's service I, who without an equal in zeal am,
Sire, Your Royal Highness' most hum?ble and obedient servant
Johann Sebastian Bach Cothen, March 24,1721
With these words did Bach send off six of his concertos for various instrumental com?binations to Christian Ludwig, Margrave of Brandenburg and uncle of King Friedrich Wilhelm I of Prussia. The dedicatory letter -
sent by one German to another was written in French, a language many German aristo?crats, impressed by the splendor of Versailles, had adopted for formal occasions. A careful reader of the above letter will notice that its effusive humility, so much in accordance with Baroque conventions, culminates in the last few lines where Bach is actually asking the Margrave for employment. In fact, the thirty-six-year-old composer was looking for a new job. Since the sudden death of his wife in 1720, Bach had been restless at the tiny court of Cothen. His position there (1717-23) was unlike any other he held before or after, in that he was not employed as an organist or church music director. The court was Calvinist, not Lutheran, and required very little music for its religious services. Instead, Bach devoted himself to instrumen?tal composition during those years, writing most of his chamber music, the unaccompa?nied violin and cello works, and his concertos (except those for one or more harpsichords) in Cothen. But after a while, Bach evidently longed for a wider range of activities in a less isolated location.
The six Brandenburg Concertos, submit?ted as a bid for employment, were meant to show the full extent of what Bach could do with the concerto form. This form, developed in Italy in the preceding decades, was enriched by Bach to a degree never seen before. The six concertos exude a spirit of cheerfulness and joy, suggesting that the composer was having supreme fun writing them; at the same time, they represent a most serious effort on Bach's part to realize the maximum of tonal, thematic and textural diversity the concerto form was capable of having.
Put plainly, the fast movements of Baroque concertos consist of an alternation of a recurrent theme for the full orchestra, called the ritornello, with a number of solo episodes. The ritornello may return in differ?ent keys in the course of the movement, but its first and last appearances must be in the
home key. This simple scheme allows for a great number of variations. The ritornellos can be relatively short and straightforward, or longer and of considerable complexity. They may be subject to fragmentation into smaller melodic units with lives of their own. More keys (and more distant ones) can be visited in the course of the move?ment. And the instrumental forces can be utilized in many imaginative ways.
These possibilities (and many others) are explored in the six Brandenburg Concertos. Concertos No. 1,3 and 6 represent an older type of concerto, with no promi?nent solo instruments. In these concertos, the various sections of the orchestra are con?trasted and joined in ever-changing combi?nations. Some instruments (or groups) will temporarily emerge as soloists, then make way for others. (According to leading Bach scholar Christian Wolff, these concertos may actually date from Bach's Weimar period, prior to his move to Co then.) Concertos No. 2,4 and 5, by contrast, belong to a more modern type, each having a permanent group of solo instruments prominent throughout the piece, in front of a string ensemble for the tutti sections.
Each movement has a basic rhythmic pulse, established in the first measure, that always remains the same (with a single exception, see below). Within this steady beat, the articulation points are often irreg?ular and unpredictable. Bach's combination of continuity and diversity contributes more than a little to our listening pleasure.
Concerto No. 1 in F Major,
Concerto No. 1 requires the largest ensemble in the set, including two horns, three oboes, and a violino piccolo, a smaller-sized violin tuned a minor third higher than the normal
violin. This concerto, the grandest and most festive of the set, begins with a fanfare played by the two horns whose rhythm openly clashes with the orchestral ritornello. As musicologist Michael Marissen recently showed, Bach used an actual hunting-horn signal from the time, and throughout the piece he consciously exploited the social meanings attached to the various instru?ments. The horn was primarily used during hunts and other (mostly outdoor) aristocrat?ic functions and was not a regular member of the orchestra. Bach only used horn on exceptional occasions; in this concerto, their presence tends to overshadow the solo vio?lin, the instrument one would most logically expect to see in a solo role. The violinist uses a smaller instrument that, in Marissen's words, "vainly strives for independence.. .or fails to sustain being the principal voice when it is independent." When the horns are silent, as in the second movement, the violin has a solo oboe to contend with, as they alternate in playing the beautifully ornate melody. The third movement is again dominated by the horns and their fanfare-like material. This movement contains the one instance where the basic pulse suddenly stops, with the unexpected insertion of a two-measure adagio, after which the allegro tempo promptly returns.
This is also the only Brandenburg Concerto to have four, rather than three, movements. The "Allegro" is followed by a "Minuet," stately and elegant, and played by the full orchestra. The "Minuet" has no fewer than three trios. The first is a real "Trio" in the original sense of the word, as it is played by three instruments: two oboes and a bassoon. The second, not called trio but "Polacca" (Polish dance), is scored for strings only. The last "Trio" is for two horns and three oboes, but since the latter play in unison, it qualifies as a real trio, or three-part composition. The "Minuet" is repeated after each trio.
Concerto No. 3 in G Major, BWV1048
The ritornello of Concerto No. 3, for strings only, is characterized by a strong rhythmic unity in all voices. This uniformity translates in a feeling of high energy and dynamism; and it contrasts with moments of relative instability. The tonality temporarily shifts to the minor, daring dissonances appear, and the instruments go their separate ways for a while until they are reunited by the periodic returns of the ritornello.
This concerto lacks a written-out sec?ond movement. In its place, Bach merely notated two chords, evidently expecting the performers to improvise over them. The last movement, then, is a perpetuum mobile in which two rhythmic figures (eighth-notes and sixteenths) are passed back and forth between the musicians like balls in a game.
Concerto No. 5 in D Major, BWV 1050
In the other concertos, the harpsichord was relegated into the background as the "grey eminence" of the group, essential for har?monic support but rarely noticed in its own right. In Concerto No. 5, the harpsichord takes center stage in what is probably the first concerto for a keyboard instrument. The harpsichord joins a violin and a flute (this time, Bach explicitly called for a trans?verse flute, not a recorder) as the other solo instruments. Like in Concerto No. 3, there is an energetic ritornello in a square rhythm; this contrasts with the more fluid figures in the solo sections. The harpsichord is cer?tainly the most important solo instrument here; this is clear from the spectacular (and fully written-out) cadenza at the end of the first movement, the first such solo in the concerto literature.
I am often asked, "What made The English Concert decide to play on period instruments"
The answer is simple we wanted to use the most suitable tools for the job. These instruments were good enough for Bach -surely they must be good enough for us. Together we set out to rediscover and develop lost playing techniques in order to reveal the special colors and expressive qualities of the period instruments, and gradually they revealed their secrets, shedding new light on the music. Even the most frequently heard compositions were refreshed by their clarity and blend. The historical aspect is interesting, but history has little place on the concert platform. For us as musicians, the instruments have gone beyond history to become a natural part of our musical expression.
The second movement, "Affettuoso," is a soulful conversation among the three solo instruments, with the orchestra silent throughout. The last movement is impossi?ble to label: it begins as a fugue with the solo instruments, the orchestra joining in later. A non-contrapuntal section follows, but the fugue theme keeps intruding. The fragmen?tation of the fugue theme results in some?thing similar to the development sections in sonata form, anticipating Classical tech?niques by some sixty years. Somewhat later, the music suddenly stops in b minor, to "jump-start" after a short rest in the home key of D Major. The Baroque ritornello seems to be transformed into the Classical recapitulation before our very eyes.
Concerto No. 6 in B-flat Major, BWV 1051
Written for two violas, two violas da gamba and continuo, this concerto is unique in its omission of the violins. It has a wonderful dark-hued quality; the sound spectrum is narrower than usual and the voices are clos?er together. In the absence of the violins, the violas become the leaders. With their inter?locking voices imitating one another, they create a dense structure in the first move?ment. (Marissen has pointed out the pecu?liar reversal of the instruments' traditional roles; the viola da gamba, which was a high?ly respected if slightly old-fashioned solo instrument, was given a secondary role, while the violas, usually an accompanying instrument, got the most important parts.) The second movement is an accompa?nied duo for violas; its heart-rending melody, which wanders through many keys, is treated contrapuntally, and ends on a dominant chord, the musical equivalent of a question mark, followed by a jovial "Allegro" in the rhythm of the gigue dance.
Concerto No. 4 in G Major, BWV 1049
Concerto No. 4 is the only one to have a first movement in triple meter; this makes the opening much more dance-like than that of the other concertos. It is also one of the longest and most complex ritornellos in the set, with solos for the three protagonists (two recorders and violin) from the very start. The two recorders form a "team" that is consistently opposed to the solo violin on one hand and the orchestra on the other. The slow movement the only one in the six concertos to use the entire ensemble is a dramatic dialogue between the solo group and the orchestra, with carefully marked
forte-piano contrasts, bittersweet chromatic harmonies, and occasional big moments for the first recorder.
The last movement is a fugue that bril?liantly combines erudite counterpoint with virtuoso display. Concerto and fugue are two very different forms; they are combined here with an ease that almost makes us forget what a tour deforce it is. The orchestra becomes independent to a degree rarely seen in the Brandenburgs. The tutti fugue is followed by a second fugue for the soloists only, after which the tutti fugue returns as any ritornello would. Later the whole fugue idea is brushed aside as the solo violin launches into cascades of scales and arpeg?gios (at one point during these, the orches?tra subtly reminds us of the fugue theme). The fugue eventually returns in its full form, and counterpoint continues to dominate proceedings until the very end, when all the voices suddenly come together in the same rhythm, to end the piece with a cadence of startling originality.
Concerto No. 2 in F Major, BWV 1047
Concerto No. 2 has four solo instruments: trumpet, recorder, oboe, and violin. Of these, the trumpet, which appears in none of the other concertos, is of special impor?tance. In Bach's time, both the trumpet and the horn were "natural" instruments, which means that they could only play the natural overtones of their fundamental pitch. The higher we go in the series of overtones, the closer the tones will be to another. For this reason, Baroque trumpet parts make fre?quent use of the instrument's highest regis?ter, where a full octave is available. So the sustained notes or fast passage-works of the trumpet soar high above the other instru?ments, determining the character of the first
and last movements. The slow movement, however, dispenses with the trumpet (as it does with the orchestra as well); it is scored for recorder, oboe, and violin solos with continuo, with the three voices engaging in a lyrical dialog, repeating and continuing one another's phrases. The last movement opens with a spirited trumpet call, imitated in turn by the other solo instruments in a quasi-fugal manner.
The Margrave of Brandenburg duly received Bach's manuscript. But, as it turned out, he had only a small band of musicians at his disposal, who were not equal to the intrica?cies of Bach's music. Therefore, the concer?tos were unperformed, and we don't know whether the Margrave ever replied to Bach or whether he ever opened the score. Fortunately, he kept it in his archives, which after his death were inherited by members of the royal family. Bach himself did not have a copy made, since he intended the works as the Margrave's exclusive property; so it was not until much later that the Brandenburg Concertos finally began to cir?culate in manuscript copies. They were not printed until the nineteenth century.
Program notes by Peter Laki.
The renowned English musician Trevor Pinnock has established a unique rapport with audi?ences worldwide as director of The English Concert, as a guest conductor with many of the world's leading orchestras, and as a harpsichord soloist of international distinction.
Having received his musical education as a chorister at Canterbury Cathedral and as a scholar at the Royal College of Music, Trevor Pinnock formed The English Concert in 1973. Since then, he and the
ensemble have earned an outstanding repu?tation for their many recordings of seven?teenthand eighteenth-century music, and most importantly, have won a vast interna?tional following for the exceptional quality and irresistible enthusiasm of their concert performances.
The orchestras with which Trevor Pinnock has appeared recently include the Boston, San Francisco and Detroit sympho-
ny orchestras and the St. Paul and Los Angeles cham?ber orchestras. His opera engage?ments in 1998 included Handel's Rodelinda with the Karlsruhe Opera and a new production of Monteverdi's Ritorno d'Ulisse in Patria in Athens.
The latter production, by Luca Ronconi, will be revived for this year's Maggio Musicale Festival in Florence and Cremona.
Firmly established as one of the world's great harpsichord virtuosos, Trevor Pinnock has made solo recordings of Scarlatti sonatas, Handel's harpsichord suites and J.S. Bach's Goldberg Variations and complete partitas. He has also recorded the Bach harpsichord concertos and the Haydn piano concertos directing The English Concert, as well as the Poulenc Harpsichord Concerto with Seiji Ozawa and the Boston Symphony Orchestra.
Trevor Pinnock received a C.B.E. in the Queen's Birthday Honors list in 1992.
Tonight's performance marks Trevor Pinnock's second appearance under UMS auspices.
Founded by Trevor Pinnock in 1973, The English Concert has for many years been regarded as Britain's leading period-instru?ment ensemble and has established a world?wide reputation for the expressive vitality and technical quality of its music making.
The orchestra's international profile during the 1999-2000 season includes con?cert tours and festival appearances in Belgium, France, Germany, Austria, Holland, Italy, Spain and Greece. The ensemble gave concerts in Hong Kong, Singapore and Kuala Lumpur in 1999 and tours the US, Japan and South America in 2000. In addition, The English Concert promotes its own series of concerts in London each season.
The English Concert reaches an even wider international audience through its best-selling recordings on Deutsche
Grammophon's Archiv label. The orchestra's discography includes more than seventy recordings, many of which have won major prizes, including Gramophone awards and the Grand Prix du Disque. Recent releases include Vivaldi's Seven Concerti for Woodwinds and Strings, Vivaldi's Sacred Works with soloist Michael Chance, classical opera arias with Anne Sofie von Otter and J.S. Bach's Orchestral Suites. The orchestra's most recent release is a new recording of Handel's Music for the Royal Fireworks in its original version for twenty-four oboes, twelve bassoons, nine trumpets, nine horns and three pairs of kettledrums.
Tonight's performance marks The English Concert's second appearance under UMS auspices.
The English Concert Trevor Pinnock, Music Director and Harpsichord
Rachel Podger, Leader
Violin II Walter Reiter Catherine Martin Silvia Schweinberger Fiona Huggett
Trevor Jones Jane Rogers Catherine Martin
Violoncello Jane Coe
Timothy Kraemer Richard Campbell
Doublebass Peter McCarthy
Recorder Pamela Thorby
Katharina Spreckelsen Lorraine Wood Sophia McKenna
Bassoon Alberto Grazzi
Andrew Clark Christian Rutherford
Trumpet Mark Bennett
The English Concert Administration Felix Warnock, General Manager Sarah Fenn, Orchestra Manager Maurice Cochrane, Keyboard Advisor
ICM Artists Touring Division
Byron Gustafson, Director and Senior Vice President
Leonard Stein, General Manager and Vice President
Pete Pantaleo, Company Manager
Geoffrey Holland, Tour Program Coordinator
Maestro Ali Akbar Khan
with special guest artists Alam Khan, Sarod Zakir Hussain, Tablet
James Pomerantz, Tanpura
Friday Evening, March 17, 2000 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Tonight's program will be announced from the stage.
Sixty-sixth 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.
Tonight's performance is sponsored by Megasys Software Services, Inc. a subsidiary of Silverline Technologies, Inc.
Special thanks to Ashwani Narula of Megasys Software Services, Inc. for his generous support of the University Musical Society.
Additional support provided by media sponsor, WDET.
This performance is made possible with the support of the Michigan Council for Arts and Cultural Affairs.
Large print programs are available upon request.
The Classical music of North India is an uplifting and extra?ordinary music, dating back thousands of years. Ali Akbar Khan is one of today's most accomplished Indian Classical musicians. Considered a "National Living Treasure" in India, he is admired by both Eastern and Western musicians for his brilliant composi?tions and his mastery of the sarod (a beauti?ful, twenty-five-stringed Indian instrument). Concert violinist Yehudi Menuhin called Ali Akbar Khan, "an absolute genius...the great?est musician in the world," and many have considered him the "Indian Johann Sebastian Bach."
Ustad Ali Akbar Khan's family traces its gharana (ancestral tradition) to Mian
Tansen, a sixteenth-century musical master and court musician of Emperor Akbar. Ali Akbar Khan's father, the late Padma Vibhusan Acharya Dr. Allauddin Khan, was acknowl?edged as the greatest figure in North Indian music in this
Born in 1922 in East Bengal (Bangladesh), Ali Akbar
Khan (Khansahib) began his studies in music at the age of three. He studied vocal music from his father and drums from his uncle, Fakir Aftabuddin. His father also trained him on several other instruments, but decided finally that he must concentrate on the sarod and on his vocal abilities. For over twenty years, he trained and practiced eighteen hours a day. After that, his father continued to teach Khansahib until he was over 100-years-old, and left behind such a wealth of material that Khansahib feels he is presently still learning from it.
Ali Akbar Khan gave his first public per?formance in Allahabad at age thirteen. In his early twenties, he became the court musi?cian for the Maharaja of Jodhpur. The State
Tor us, as a family, music is like food. When you need it you don't have to explain why, because it is basic to life." Ali Akbar Khan
of Jodhpur bestowed upon him the title of Ustad, or Master Musician. Since his father's death in 1972, Khansahib has continued his father's tradition, that of the Baba Allauddin Seni Gharana of Maihar in Central India. At the request of Yehudi Menuhin, Ali Akbar Khan first visited the US in 1955 and performed an unprecedented concert at the Museum of Modern Art in New York. He also made the first Western LP recording of Indian Classical music, and the first televi?sion performance of Indian music, on Allistair Cooke's Omnibus, sowing the seed for the wave of popularity of Indian music in the 1960s. Since then, he has continued to tour extensively in Asia, Africa, Europe, The Netherlands, Australia, Canada, and the US.
In 1963, and again in 1966, Khansahib was presented with the "President of India" award, the highest honor given to an artist in India. He also holds the distinguished award of the Government of India, the Padma Bitusan, as well as the Padma Vibrusan, awarded to him in 1988. Khansahib was awarded the Kalidas Sanman in 1991, by the Madya Pradesh Academy of Music and Fine Arts, and an honorary Doctorate Degree in Arts from the California Institute of the Arts, in Valencia, CA. In June of 1991, Ali Akbar Khan became the first Indian musician to be awarded the most prestigious MacArthur Foundation Fellowship, the "genius grant," in recognition of his excellent work in the field of creating, cultivating and transmitting the highly complex musical tradition of Northern India. He has received four Grammy award nominations: in 1970 for Shree Rag, in 1983 for Misra Piloo, in 1996 for Then and Now, and recently in 1997 for Legacy. He has also received the degree of Doctor of Literature, honoree causa, from the Rabindra Bharati University in Calcutta. He received additional awards from Dacca University (for his international contribu?tion to the arts and music), from Delhi University and from Shantiniketan (Tagore University). In February 1997, he was the second recipient of the Asian Paints Shiromani Award Hall Of Fame, following filmmaker Satyajit Ray.
Khansahib founded the Ali Akbar College of Music in Calcutta, India, in 1956. Later, recognizing the extraordinary interest and abilities of his Western students, he began teaching in America in 1965. In 1968, he founded the Ali Akbar College of Music in Marin County (CA), where he continues to teach six classes a week for nine months of the year. There is also a branch of his col?lege in Basel, Switzerland, run by his disciple Ken Zukerman, where he visits every year to teach during his yearly world tour.
When Ali Akbar Khan first received the
title of Ustad as a relatively young man, his father merely laughed. But later, when the patriarch was a centenarian, he told his son one day that he was very proud of him: "I am so pleased with your work in music that I will do something which is very rare. As your Guru and father, I am giving you a title, Swara Samrat (Emperor of Melody)," and so, with the blessings of his father, mother and uncle, Khansahib received this highest title.
Tonight's performance marks AH Akbar Khan's second appearance under UMS auspices.
Zakir Hussain is appreciated today both in the field of per?cussion and in the music world at large as an international phenomenon. A classical tabla virtuoso of the highest order, his consistent?ly brilliant and exciting performances have not only established him as a national trea?sure in his own country, India, but gained him worldwide fame. The favorite accompa?nist for many of India's greatest classical musicians and dancers, from Ali Akbar Khan and Ravi Shankar to Birju Maharaj and Shivkumar Sharma, he has not let his genius rest there. His playing is marked by uncanny intuition and masterful improvisa-tional dexterity, grounded in formidable knowledge and study.
Widely considered a chief architect of the contemporary world music movement, Mr. Hussain's contribution to world music has been unique, with many historic collabo?rations, including Shakti, which he founded with John McLaughlin and L. Shankar, the Diga Rhythm Band, Making Music, Planet Drum with Mickey Hart, and recordings and performances with artists as diverse as George Harrison, Joe Henderson, Van Morrison, Jack Bruce, Tito Puente, Pharoah Sanders, Billy Cobham, the Hong Kong
Symphony and the New Orleans Symphony. A child prodigy, Mr. Hussain was tour?ing by the age of twelve, the gifted son of his great father, tabla legend Ustad Alia Rakha. Mr. Hussain came to the US in 1970, embarking on an international career that includes no fewer than 150 concert dates a year. He has composed and recorded many albums and soundtracks and has received
widespread recognition as a composer for his many ensem?bles and historic collaborations. Most recently, he composed soundtracks for the films In Custody, Ismail Merchant's directorial debut; Little Buddha by
Bernardo Bertolucci, for which he com?posed, performed and acted as Indian music advisor; and Vanaprastham, which was cho?sen to be screened at the Cannes Film Festival in May, 1999.
Mr. Hussain received the distinct honor of co-composing the opening music for the Summer Olympics in Atlanta, 1996, and in 1998 was commissioned to compose music for San Francisco's premiere contemporary ballet company, Lines, and the San Francisco Jazz Festival. He has received numerous grants and awards, including participation in the Meet the Composer programs funded by the Pew Memorial Trust.
In 1987, his first solo release, Making Music, was acclaimed as "one of the most inspired East-West fusion albums ever recorded." In 1988, he became the youngest percussionist to ever be awarded the title of Padma Shri by the Indian government, a title given to civilians of merit. In 1990, he
was awarded the Indo-American Award in recognition for his outstanding cultural contribution to relations between the US and India. In 1992, Planet Drum, an album co-created and produced by Mr. Hussain and Mickey Hart, was awarded a Grammy for Best World Music Album, the Downbeat Critics Poll for Best World Beat Album and the NARM Indie Best Seller Award for World Music Recording. Planet Drum, with Mr. Hussain as music director, toured nationally in 1996 and 1997.
Mr. Hussain is the recipient of the 1999 National Heritage Fellowship, the US' most prestigious honor for a master in the tradi?tional arts, presented by First Lady Hillary Clinton at the Senate on September 28,1999.
Alam A. Khan, seventeen-year-old son of Ali Akbar Khan, has been studying sarod with his father since he was seven. At his first per?formance he accompanied his father at a recital in Portland, Oregon and received blessings from Swami Chetanananda. His first public performance was in 1998 at the Spirit of India Festival that celebrated the Ali Akbar College of Music's thirtieth anniver?sary in America. He has since accompanied his father in India at the Jodhpur Palace for the King and Royal Family, and at the presti?gious Dover Lane Festival in Calcutta.
James Pomerantz began formal study of the sitar with Pandit Nikhil Banerjee in 1969, and in 1972 with the great Ali Akbar Khan. For well over two decades, James has studied with his Guru as well as accompanying him on tanpura and sitar throughout the US, India and Europe. James has performed on Khansahib's recordings and is currently con?tinuing his studies as well as teaching and performing.
Tonight's performance marks Zakir Hussain's, Alam Khan's, and James Pomerantz' debut appearances under UMS auspices.
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.
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 lulien featuring Bebe Miller and Ralph Lemon. Friday, January 14,7 p.m., Betty Pease Studio, 2nd Floor, U-M Dance Building. In conjunction with the Institute for Research on Women and Gender, Center for Afroamerican and African Studies, Center for Education of Women, and U-M Department of Dance.
Advanced Modem Dance Master Class Saturday, January 15,10:30 a.m., U-M Dance Department, Studio A. $ PREP "Identity and Process in Bebe Miller's Choreography" by Ben Johnson, UMS Director of Education and Audience Development. Saturday, January 15,7 p.m., Michigan League, Koessler Library, 3rd Floor. Meet the Artist Post-performance dialogue from the stage. Dance Department Mini Course "Four Women of the Dance: a mini-course based on the UMS sponsored performances of four major American women choreographers" taught by Gay Delanghe, U-M Professor of Dance. Winter Term, 2000. Mass Meeting, Saturday, January 8,12 noon. For infor?mation, email@example.com 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.
Monday, January 17, 8 p.m. Hill Auditorium Sponsored by Butzel Long Attorneys with support front Republic Bank. Media sponsors WEMUand 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 Schlime
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 AndnS, 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
Master of Arts Interview with Martha Clarke, interviewed by Susan Isaacs Nisbett, Music and Dance writer for the Ann Arbor News. Friday, February 11,12 noon, Betty Pease Studio, U-M Dance Building, 2nd Floor. In conjunc?tion with the Institute for Research on Women and Gender, and the U-M Department of Dance. Meet the Artist Post-performance dialogue from the stage. Advanced Modern Dance Master Class Saturday, February 12,10:30 a.m., U-M Dance Building, Studio A. $ This project is supported in part by a grant from the National Endowment for the Arts.
Anne-Sophie Mutter, violin
Lambert Orkis, piano
Saturday, February 12, 8 p.m.
Sponsored by KeyBank. Media sponsor
Estonian Philharmonic Chamber Choir
Tonu Kaljuste, director
Sunday, February 13, 8 p.m.
St. Francis of Assisi Catholic Church
Murray Perahia, piano
Wednesday, February 16, 8 p.m. Hill Auditorium
Master of Arts Interview of Murray Perahia, 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 Parke-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.
Wednesday, March 8, 8 p.m. Hill Auditorium Sponsored by Bank of Ann Arbor. Media sponsor WDET.
Ballet d'Afrique Noire The Mandinka Epic
Jean Pierre Leurs, director Thursday, March 9, 8 p.m. Friday, March 10, 8 p.m. Power Center
Mandinka Epic Symposium "Rethinking the African Epic." Thursday, March 9,4 p.m., Rackham Assembly Hall. In conjunction with the Center for Afroamerican and African Studies, U-M Office of the Provost, and the North American Secretariat for the International Center for African Music and Dance. With reception. Drumming Master Class Saturday, March 11,10 a.m., Washtenaw Community College. Call 734.647.6712 for more information. African Dance Master Class Saturday, March 11,2 p.m., Betty Pease Studio, U-M Dance Building, 2nd Floor. Call 734.647.6712 for more information. Sponsored by Detroit Edison Foundation. Media sponsors WEMU and Metro Times. 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 AN Akbar Khan accompanied by Zakir Hussain
Friday, March 17, 8 p.m. Hill Auditorium
Sponsored by Megasys Software Services, Inc. Media sponsor WDET.
American String Quartet
Beethoven the Contemporary Sunday, March 19,4 p.m. Rackham Auditorium Meet the Artist Post-performance dialogue from the stage. Media sponsor Michigan Radio.
Thomas Quasthoff, baritone
Justus Zeyen, piano Monday, March 20, 8 p.m. Lydia Mendelssohn Theatre PREP "The Art is Song" with Richard LeSueur, Vocal Arts Information Services. Monday, March 20, 7 p.m., Michigan League, Koessler Room, 3rd Floor. Meet the Artist Post-performance dialogue from the stage. Media sponsor WGTE.
J.S. Bach Birthday Celebration Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music Wednesday, March 22, 8 p.m. Rackham Auditroium Complimentary Admission
Chen Shi-Zheng, director Friday, March 24, 8 p.m. Michigan Theater Mini-Course "Japan, China, Korea and the United States: Theater Across the Borders." For more information, con?tact Brett Johnson at 734.764.6307. Korean Dance Master Class taught by Song Hee Lee, Wednesday, March 22,11 a.m., U-M Dance Building. Noh Theater Master Class taught by Akira Matsui, Wednesday, March 22,
3 p.m., Arena Theater, Frieze Building. Master of Arts Interview with Chen Shi-Zheng, Artistic Director of Forgiveness. Wednesday, March 22, 6 p.m., Room 1636, International Institute, School of Social Work Building. Chinese Opera Lecture Demonstration by Zhou Long and Museum Tour of the U-M Museum of Art Chinese Art Exhibit, Thursday, March 23,6:30 p.m. Meet the Artist Post-performance dialogue from the stage. Presented with the generous support of Dr. Herbert Sloan. Additional support provided by Ideation.
Beaux Arts Trio
Sunday, March 26, 4 p.m. Rackham Auditorium Sponsored by Dow Automotive.
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.
Open Rehearsal and Master of Arts
Interview with Vladimir Ashkenazy,
Saturday, April 1, time TBA, Hill
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 Afroamerican and African Studies. Media sponsors WEMU and Metro Times.
Season Listing continued on page 33
Trisha Brown Company
Wednesday, April 12, 8 p.m. Power Center
Institute of the Humanities Brown Bag Lunch "Form and Structure: The Cycles in Trisha Brown's Choreographic Career" by Ben Johnson, UMS Director of Education and Audience Development. Tuesday, February 1,12 noon, U-M Institute for the Humanities. Master of Arts Interview with Trisha Brown, choreographer. Interviewed by Ben Johnson, UMS Director of Education and Audience Development. Wednesday, April 12,12 noon, U-M Dance Building, Betty Pease Studio, 2nd Floor. In conjunction with the Institute for Research on Women and Gender and the U-M Department of Dance. PREP "Trisha Brown's Music Cycle: A Choreographer's Journey" by Ben Johnson, UMS Director of Education and Audience Development. Wednesday, April 12, 7 p.m., Michigan League, Koessler Library, 3rd Floor. Meet the Artist Post-performance dialogue from the stage. This project is supported in part by a grant from the National Endowment for the Arts.
Susanne Mentzer, mezzo-soprano Sharon Isbin, guitar
Thursday, April 13, 8 p.m. Lydia Mendelssohn Theatre Vocal Master Class with Susanne Mentzer. Friday, April 14, 2:30 p.m., U-M School of Music Recital Hall. Presented with the generous support of Ronald and Sheila Cresswell. Media sponsor WGTE.
Australian Chamber Orchestra
Richard Tognetti, conductor Anne-Marie McDermott, piano Friday, April 14, 8 p.m. Rackham Audtorium Made possible by a gift from the estate of William R. Kinney.
J.S. Bach's St. Matthew Passion UMS Choral Union Ann Arbor Symphony
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
1998 Garrick Ohisson
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
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.
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
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:
? Bebe Miller
' Doudou D'Diaye Rose
? Martha Clarke
? 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.
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 Mandinha Epic
Chen Shi-Zheng's Forgiveness
The Watts Prophets
Trisha Brown Company
ATTENTION TEACHERS AND EDUCATORS!
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
Workshops focusing on the UMS youth performances are:
"Opera in the Classroom"
"African Drumming in the Classroom"
? "Jazz in the Classroom" with the Jazz at
Lincoln Center Sextet
? "Modem Dance in the Classroom"
For information and registration, please call 734.615.0122.
The Kennedy Center Partnership
The University Musical Society and Ann Arbor Public Schools are members of the Performing Arts Centers and Schools: Partners in Education Program of the John F. Kennedy Center for the Performing Arts. Selected because of its demonstrated com?mitment to the improvement of education in and through the arts, the partnership team participates in collaborative efforts to make the arts integral to education and creates a multitude of professional development opportunities for teachers and educators.
Special Discounts for Teachers and Students to Public Performances
UMS offers special discounts to school groups attending our world-class evening and weekend performances. Please call the Group Sales Office at 734.763.3100 for more infor?mation about discounts for student and youth groups.
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
Monday, January 24
Russian National Orchestra
? Saturday, February 5
Gothenburg Symphony Orchestra
Saturday, February 12
Wednesday, February 16
? Saturday, March 11
The English Concert
Saturday, April 1
Czech Philharmonic Orchestra
RESTAURANT & LODGING PACKAGES
Celebrate in style with dinner and a show, or stay overnight and relax in comfort! A delicious meal followed by priority, reserved seating at a performance by world-class artists makes an elegant evening -add luxury accommodations to the package and make it a complete get-away. The University Musical Society is pleased to announce its cooperative ventures with the following local establishments:
The Artful Lodger Bed & Breakfast
1547 Washtenaw Avenue 734.769.0653 for reservations Join Ann Arbor's most theatrical host and hostess, Fred & Edith Leavis Bookstein, for a weekend in their massive stone house built in the mid-1800s for U-M President Henry Simmons Frieze. This historic house, located just minutes from the performance halls, has been comfortably restored and furnished with contemporary art and performance memorabilia. The Bed & Breakfast for Music and Theater Lovers!
Package price ranges from $200 to $225 per couple depending upon performance (subject to availability) and includes two nights stay, breakfast, high tea and two prior?ity reserved tickets to the performance.
The Bell Tower Hotel & Escoffier Restaurant
300 South Thayer
734.769.3010 for reservations and prices Fine dining and elegant accommodations, along with priority seating to see some of the world's most distinguished performing artists, add up to a perfect overnight holiday. Reserve space now for a European-style guest room within walking distance of the perfor?mance halls and downtown shopping,
a special performance dinner menu at the Escoffier restaurant located within the Bell Tower Hotel, and priority reserved "A" seats to the show. All events are at 8 p.m. with dinner prior to the performance.
Sat. Jan. 15 Bebe Miller Company Sat. Jan. 29 Barbara Hendricks, soprano Fri. Feb. 4 Jazz at Lincoln Center Sextet
Sat. Feb. 5 Gothenburg Symphony Orchestra
Sat. Feb. 12 Anne Sophie Mutter, violin Sat. Feb. 19 New York City Opera National
Company: The Barber of Seville Fri. Mar. 10 Ballet d'Afrique Noire:
The Mandinka Epic
Fri. Mar. 17 AH Akbar Khan and Zakir Hussain Fri. Apr. 14 Australian Chamber Orchestra
Package includes valet parking at the hotel, overnight accommodations in a European-style guest room, a continental breakfast, pre-show dinner reservations at Escoffier restaurant in the Bell Tower Hotel, and two performance tickets with preferred seating reservations.
Package price is $228.00 per couple.
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
isit and enjoy these fine restaurants. Join us in thanking them for their generous support of UMS this season.
625 Briarwood Circle 734.747.9500 Experience the culture of fourteen Mediterranean countries with our authentic cuisine and cerulean bar. Reservations accepted for preand post-UMS performances. Visit us at 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.
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.
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.
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.
401 Depot Street 734.769.0592 Located in the historic 1886 railroad depot. Specializing in fresh seafood. Lunches Monday-Friday 11:30-3:30. Dinners Monday-Saturday 4:30-10, Sunday 3:30-9. Award win?ning Sunday brunch 10:00-2:00. Reservations recommended.
326 South Main Street 734.663.5555 Celebrated, award-winning Italian cuisine served with flair and excitement. Sidewalk and balcony seating. Open for lunch and dinner. Reservations accepted.
The Kerrytown Bistro
At the corner of Fourth Ave and Kingsley in Kerrytown 734.994.6424 The Kerrytown Bistro specializes in fine French Provincial inspired cuisine, excellent wines and gracious service in a relaxed, inti?mate atmosphere. Hours vary, reservations accepted.
La Dolce Vita
322 South Main Street 734.669.9977 Offering the finest in after-dinner pleasures. Indulge in the delightful sophistication of gourmet desserts, fancy pastries, cheeses, fine wines, ports, sherries, martinis, rare scotches, hand-rolled cigars and much more. Open nightly.
106 South First Street 734.665.8226 Award-winning classic Japanese food based on the freshest ingredients. Dinner reserva?tions suggested. Open for weekday lunch and dinner every day until 10 p.m. and 11 p.m. on Friday and Saturday.
The Moveable Feast
326 West Liberty 734.663.3278 Located just west of Main Street in the restored Brehm estate. Fine American cuisine with global fare. Full service catering, bakery, wedding cakes.
347 South Main Street-734.930.6100 Zestful country Italian cooking, fresh flavors inspired daily. Featuring the best rooftop seating in town. Open for dinner nightly. Reservations accepted, large group space available.
Real Seafood Company
341 South Main Street 734.769.5960 As close to the world's oceans as your taste can travel. Serving delightfully fresh seafood and much more. Open for lunch and dinner. Reservations accepted.
Red Hawk Bar & Grill
316 South State Street 734.994.4004 Neighborhood bar & grill in campus historic district, specializing in creative treatments of traditional favorites. Full bar, with a dozen beers on tap. Lunch and dinner daily. Weekly specials. Smoke-free. No reservations.
Sweet Lorraine's Cafe & Bar
303 Detroit Street 734.665.0700 Modern American cooking in a casual, fun & sophisticated setting. Daily vegetarian specials, seafood, pasta & steaks. 30 wines by the glass, cool cocktails, and courtyard dining. Brunch served Saturday and Sunday.
3050 Jackson Road 734.665.3636 Great American restaurant since 1937. Featuring prime rib, live lobster, Cruvinet wine tasting flights, homemade pastries and desserts. Breakfast, Sunday brunch, lunch, dinner. Reservations accepted.
216 South State Street 734.994.7777 Contemporary American food with Mediterranean & Asian influences. Full bar featuring classic and neo-classic cocktails, thoughtfully chosen wines and an excellent selection of draft beer. Spectacular desserts. Space for private and semi-private gatherings up to 120. Smoke-free. Reservations encour?aged.
UMS Volunteers are an integral part of the success of our organization. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome you to the UMS family and involve you in our exciting programming and activities. We rely on volunteers for a vast array of activities, including staffing the education residency activities, assisting in artist services and mailings, escorting students for our popular youth performances and a host of other projects. Call 734.763.0611 to request more information.
Now 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.
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.
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
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
Targeting messages to specific demographic groups
? Making highly visible links with arts
and education programs Recognizing employees
? Showing appreciation for loyal customers
For more information, please call 734.647.1176.
Internships with UMS provide experience in performing arts administration, marketing, publicity, promotion, production and arts education. Semesterand year-long intern?ships are available in many of the University Musical Society's departments. For more information, please call 734.763.0611.
Students working for UMS as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, event planning and production. If you are a college student who receives work-study financial aid and who is interest?ed in working UMS, please call 734.763.0611.
Without the dedicated service of UMS' Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing program books and pro?viding that personal touch which sets UMS events above others.
The UMS Usher Corps comprises 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.
Great performances--the best in music, theater and dance --are presented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, members of the Society. ' The list below represents names of current donors as of November 3, 1999. If there has been an error or omission, we apologize and would appreciate a call at 734.647.1178 so that we can correct it right away. ? UMS would also like to thank those generous donors who wish to remain anonymous.
Dr. Kathleen G. Charla
Dr. and Mrs. James Irwin
The Lohr Family
Randall and Mary Pittman
and several anonymous donors
Aetna Financial Services
Bank One, Michigan
Ford Motor Company Fund
Forest Health Services
Corporation Hudson's Project Image Parke-Davis Pharmaceutical
Research Office of the Provost,
University of Michigan
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
Ronnie and Sheila Cresswell Robert and Janice DiRomualdo Charles N. Hall Roger and Coco Newton Prudence and Amnon Rosenthal
Bank of Ann Arbor
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.
Detroit Edison Foundation Elizabeth E. Kennedy Fund Benard L. Maas Foundation Mid-America Arts Alliance
Edward Surovell and Natalie Lacy
CFI Group Holnam, Inc.
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
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
Chamber Music America Jewish Community Center of
Washtenaw County THE MOSAIC FOUNDATION
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
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
Ann Arbor Area Community
Foundation Shiftman Foundation Trust
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
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
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An Evening with Audra McDonald
By Barry Singer
'ho is Audra McDonald
There are an awful lot of answers to that one question.
Audra McDonald is a leading lady of the American musical theater. Entire shows and individual songs are written for her these days in thrilling profusion. A three-time Tony Award winner, she is the only theater artist ever to achieve this distinction before the age of thirty.
Audra McDonald is also a Fresno-born African-American daughter whose parents and grandparents were all musicians.
And an accomplished dramatic actress who has appeared on television in the acclaimed Delaney Sisters mem?oir, Having Our Say, the acclaimed Broadway musical adaptation, Annie, and the acclaimed cop series, Homicide, playing characters who, respectively, balance independence, even militancy, with a sense of romance.
She is also a sister. And a fiance'e.
Audra McDonald is the sum total of a rich genetic musical inheritance plus a ton of hard work, as a performer since the age of nine. A Juilliard-trained singer who only wanted to be a working actor, she walked into an open audition for Carousel some seven years ago and walked out as Carrie Pipperidge. At a time when Broadway has been conquered by Disney, she recently created a modern Medea, Marie Christine, for Lincoln Center Theater.
In the zero-sum game of commercial theater she is that rarest commodity, an artist a box office draw, like Merman and Martin, Streisand and Garland but also a muse who, in less than a decade has matured into a lead?ing voice for American music in the twenty-first century.
"An Evening with Audra McDonald" displays all of these facets in a single setting the fortissimo and the legato, Broadway swagger to oper?atic virtuosity. Exploring the standards of Harold Arlen and Jerome Kern alongside the adventurous new music of Adam Guettel, Michael John LaChiusa and other young composers of her generation, Ms. McDonald takes us on her own very personal journey through musical-theater his?tory, merging the substance of the past with the promise of tomorrow.
These are songs that defy easy cat?egorization. Taken together, however, they constitute a portrait of a remark?able young singing-actress and a moment in time her time. In some ways she is a throwback to an era when Broadway shows and songs were truly important. In other ways she is a forward-looking adventurer, navigat?ing waters yet to be charted. In all ways, she is herself. Come share the wonder of what will come next.
Barry Singer is a New York-based writer ami frequent contributor to The New York Times.
Bach around-the-clock tonight and all day tomorrow
71 Twenty-'Four-Ofour Tribute to 'Johann Sebastian 'Bach
Kenneth KibsLer,Arstc Director
Saturday, March 11 and Sunday, March 12, 2000 Hill Auditorium
UMS presents the complete Brandenburg Concertos The English Concert plays these lasting favorites of Bach
Margo Halsted, Carillon
The Bells of Burton Tower ring out the Brandenburgs and ring in
Marimba Ensemble, Michael Udow, Director Mellow mallets: ensemble and solos
Violin Sonatas and Partitas
Performed by students of Andrew Jennings, Stephen Schipps,
and Paul Kantor
A rare opportunity: the complete violin books in three concerts
Jazz Ensembles, Andy Thompson, Arranger, Christian Imboden, Guitar Bach was the Great Improviser: Bach-based jazz!
Digital Music Ensemble, Christian Matjias, Director Bach synthesized as you have never heard it before.
John Burkwall, Christopher Lees, and Jeremy Tarrant, Organ The King of Instruments: the great organ music of Bach
Jee-Hye Baek, Piano Bach's Goldberg Variations
Jon Jackinchuk, Mark Rich, Julie Berra, and Michael Elsbernd, Organ More great organ music on the Hill Auditorium Frieze Memorial Organ
Logan Skelton, Piano
Piano pieces popular in Bach's day
Violin Sonatas and Partitas
The second installment of three
Chamber Music followed by Elena Tsai, Harpsichord Purity, imagination, brilliance: intimate music by the master
Louis Nagel, Piano
An array of the keyboard giant's greatest works
Wind Ensemble fames Tapia, Conductor
Freda Herseth, Mezzo-soprano
Favorite Arias from Bach Cantatas
Violin Sonatas and Partitas
The complete Partitas and Sonatas conclude
Margo Halsted and Lan Chang, Carillon More Bach for Burton's Bells
Amy Porter, Flute Arthur Greene, Piano
Faculty professors illuminate Bach
Yizhak Schotten, Louis Nagel, Amy Kessler, Justin Bruns University Chamber Orchestra
Concertos with orchestra: Oboe and Violin, Keyboard and "new" Viola Concerto
Tubas and Euphoniums play the solo Cello Suites
Students from the studio of Fritz Kaenzig on these singing brass instruments
Erlincj Blbndal Bengtsson, Cello
Back to Bach: the original Suites on the cello
St. John Passion
Excerpts from one of Bach's great passion settings for voices and orchestra. Conducted by students of Theodore Morrison
Judy Ogden plays the Carillon of Burton Tower
Bach for Brass Ensemble
The glorious brilliance of brass!
A Final Flourish on the Hill Auditorium Frieze Memorial Organ
University Symphony Orchestra
Kenneth Kiesler, Conductor
James Kibbie, Organ
Bach's orchestral music, orchestrated by Mahler, Broxton Blake,
and Stokowski's Toccata and Fugue (of Fantasia fame)
'The Brmulenburg Concertos arc presented by the University Musical Society. This is a ticketed event.
All other HachPcst programs arc sponsored by the School of Music and are FREE. No tickets are required.