UMS Concert Program, Sunday Mar. 26 To Apr. 12: University Musical Society: 1999/2000 Winter - Sunday Mar. 26 To Apr. 12 --
Season: 1999/2000 Winter
University Of Michigan, Ann Arbor
University Musical Society
2000 Wl NTER SEASON
University Musical Society of the University of Michigan, Ann Arbor
We 're proud to be the official vehicle and title sponsor for the Montreux Detroit Jazz Festival.
Our contributions help the Dance Theatre of Harlem trair over t.ooo students each year.
We love restoring
classics like the majestic
Detroit Opera House.
University Musical Society
2000 WINTER SEASON of the University of Michigan. Ann Arbor
On the Cover
Clockwise from upper left
Dancers from Bcbe Miller Company
The Great Wall of China
Performer from Forgiveness
;tter from the President
4 Letter from the Chair
5 Corporate LeadersFoundations 13 UMS Board of Directors
13 UMS Senate
15 UMS Staff
15 Advisory Committees
K A C C
17 General Information
19 Group Tickets
19 Gift Certificates
21 UMS Card
25 UMS Choral Union
26 Auditoria & Burton Memorial Tower
S Winter 2000 Season
35 Education & Audience Development
37 Dining Experiences
39 Restaurant & Lodging Packages
41 UMS Preferred Restaurant Program
45 Advisory Committed) Li J J J
45 Sponsorship and Advertising
56 UMS Advertisers
LETTER FROM THE PRESIDENT
Thank you for attending this UMS performance and for supporting the performing arts in our community. I hope I'll see you at some of the remain?ing UMS events this season. You'll find a list?ing beginning on page 29.
I want to introduce you to UMS' Administrative Director John Kennard, who is celebrating his tenth anniversary with UMS this season and his twenty-fourth overall with the University of Michigan. John over?sees UMS finances, human resources, and
other administrative matters. He has played a major role in bringing UMS to its stable financial situation and is highly regarded by his finan?cial colleagues both in and outside the University of Michigan for the quality of his work. A native of Ann Arbor, John is married and the father of five children. When he's not listening to recordings of his beloved Elvis, you'll find him hitting pars and birdies on the golf course.
Congratulations, John, for your outstanding contributions to UMS over the past decade.
We have had an exciting season thus far with memorable performances by Buena Vista Social Club, Les Arts Florissants, Sankai Juku, Paco de Lucia, Emerson String Quartet, and Laurie Anderson. Clearly one of the highlights of the fall was the performance of the Berlin Philharmonic Orchestra on October 20. Ann Arbor was the smallest city on the international tour the others were
Ken Fischer (I) and John Kennard
Moscow, Bonn, London, Paris, Washington, New York, Boston, and Chicago but we produced the largest single-evening audience exceeding 4,000. Over 1000 were students. U-M President Lee Bollinger and Jean Magnano Bollinger hosted a wonderful post-concert reception for Claudio Abbado, mem?bers of the orchestra, and UMS members. Orchestra members were high in their praise for the community of Ann Arbor, for the acoustics of Hill Auditorium, and for the enthusiastic response of the audience. They made it clear that they want to return!
Another highlight of the fall was the launching of Bravo! This 224-page book of recipes, legends, and lore from 120 years of UMS is the result of nearly three years of work by more than 100 UMS volunteers. We are very proud of this book and of the great response it is receiving all over the country. For information on obtaining a copy, see the notice on page 37.
I'd like to know your thoughts about this performance. I'd also like to learn from you about anything we can do at UMS to make your concert-going experience the best possi?ble. Look for me in the lobby. If we don't connect there, feel free to call my office at 734.647.1174, drop me a note, or send me an e-mail message at 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." _I
Carl A. Brauer, Jr. Owner, Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically support the University Musical Society in bringing great music to our community."
David G. Loesel President, T.M.L Ventures, Inc. "Cafe Marie's sup?port of the University Musical Society Youth Program is an honor and a privilege. Together we will enrich and empower our community's youth to carry for?ward into future generations this fine tradition of artistic talents."
Clayton Wilhite Managing Partner, CFI Group, Inc. "Can you imagine a more power?ful demonstration of Ann Arbor's quality of life than the University Musical Society We at CFI can't, and that's why we're so delighted to be a concert sponsor. We salute UMS for its accomplishments and for what it has contributed to the pride in our community."
Kathleen G. Charla Founder CEO, Charla Breton Associates, Publishers Representatives "Music is a wondrous gift that nurtures the soul. Charla Breton Associates is pleased and honored to support the University Musical Society and its great offering of gifts to the community."
Howdy S. Holmes
President and CEO, Chelsea Milling Company "'Jiffy' Mix appreciates the opportunity to support the University Musical Society. We applaud their commitment to providing nationally recog?nized educational opportunities to children in our community and to providing diverse arts programming."
Eugene Miller Chairman and Chief Executive Officer, Comerica Incorporated "Bravo to the University Musical Society! Their contributions are vital to the arts community. Comerica applauds their tradi?tion of excellence, and their commitment to the presentation of arts and promotion of arts education."
Joseph J. Yarabek Office Managing Partner, Deloitte & Towcie"Deloitte & Touche is pleased to support the University Musical Society. Their continued commitment to promoting the arts in our community is out?standing. Thank you for enrich?ing our lives!"
S. Martin Taylor Sr. Vice President-Corporate & Public Affairs and President-Detroit Edison Foundation "The Detroit Edison Foundation is proud to sponsor the University Musical Society because we share a mis?sion of enhancing Southeastern Michigan's reputation as a great place to live and work. To this end, UMS brings the joy of the performing arts into the lives of community residents, provides an important part of Ann Arbor's uplifting cultural identity and offers our young people tremen?dous educational opportunities."
Larry Denton Global Vice President, Dow Automotive "At Dow Automotive, we believe it is through the universal lan?guage of art and music that we are able to transcend cultural and national barriers to reach a deeper understanding of one another. We applaud the University Musical Society for its long-standing support of the arts that enriches all our lives."
Edward Surovell President, Edward Surovell Realtors "It is an honor for Edward Surovell Realtors to be able to support an institu?tion as distinguished as the University Musical Society. For over a century it has been a national leader in arts presenta?tion, and we encourage others to contribute to UMS' future."
Leo Legatski President, Elastizell Corporation of America "A significant characteristic of the University Musical Society is its ability to adapt its menu to changing artistic requirements. UMS involves the community with new concepts of education, workshops, and performances."
Peter Banks President, ERIM International "At ERIM International, we are honored to support the University Musical Society's commitment to providing edu?cational and enrichment oppor?tunities for thousands of young people throughout southeastern Michigan. The impact of these experiences will last a lifetime."
William Clay Ford, Jr.
Chairman, Ford Motor Company "At Ford, we believe the arts speak a universal language. We're proud of our long-standing association with the University Musical Society, its concerts, and the educational programs that enrich our community."
Scott Ferguson Regional Director, Hudson's "Hudson's is committed to supporting arts and cultural organizations because we can't imagine a world without the arts. We are delighted to be partners with the University Musical Society for the 1999-2000 season as they present programs to enrich, educate and energize our diverse community."
William S. Hann
"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
Charles Hall Partner, Multilogue "Music is one way the heart sings. The University Musical Society helps our hearts enjoy and participate in song. Thank you."
Phillip R. Duryea Community President, National City Bank "National City Bank is pleased to continue our historical sup?port of the University Musical Society, which plays such an important role in the richness of our community."
Joe E. O'Neal President, O'Neal Construction "A commitment to quality is the main reason we are a proud supporter of the University Musical Society's efforts to bring the finest artists and special events to our community."
Peter B. Corr, Ph.D. President, Parke-Davis Pharmaceutical Research & Development; Corporate Vice President, Warner-Lambert Company "The University Musical Society is a cornerstone upon which the Ann Arbor community is based: Excellence, Diversity and Quality. Parke-Davis is proud to support the University Musical Society for our community and our Parke-Davis colleagues."
Michael Staebler Managing Partner, Pepper, Hamilton & Scheetz "Pepper, Hamilton and Scheetz congratulates the University Musical Society for providing quality performances in music, dance and theater to the diverse community that makes up Southeastern Michigan. It is our pleasure to be among your supporters."
Thomas B. McMullen
President, Thomas B. McMullen Co., Inc. "I used to feel that a U-M Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational.
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. Dorfinan
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 Februarys 1896May 13, 1984."
We at UMS gratefully acknowledge the support of the following foundations and government agencies:
Ann Arbor Area Community Foundation Arts Midwest
Benard L. Maas Foundation Chamber Music America
Community Foundation for
Southeastern Michigan DaimlerChrysler
Corporation Fund The Ford Foundation The Heartland Arts Fund TheJ.F. Ervin Foundation KMD Foundation Knight Foundation LJIa 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 Baru Kathleen Benton Barbara Busch Phil Cole Patrick Conlin Erie Cook Juanita Cox Mary Ann Daane Norma Kircher Davis Lori Director Betty Edman Michael Endres
Nancy Fcrrario Penny Fischer Anne Glendon Maryanna Graves Linda Greene Karen Gundersen Jadon Hartsuff Nina E. Hauser Debbie Herbert Mercy Kasle Steve Kasle Anne Kloack Maxine Larrouy Beth LaVoie Stephanie Lord Esther Martin Ingrid Merikoski Ernest Merlanti Jeanne Merlanti Candice Mitchell
Nancy Niehoff Mary Pittman leva Rasmussen Elly Rose Penny Schreiber Sue Schroeder Meg Kennedy Shaw Morrine Silverman Maria Simonte Loretta Skewes Cynny Spencer Sally Stcgeman 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 I. Byrd Nancy Cooper Naomi Corera Gail Dybdahl Keisha Ferguson Doreen Fryling Carolyn Hanum Vickey Holley Foster Taylor Jacobsen Callie Jefferson Deborah Katz Deb Kirkland Rosalie Koenig
David A. Leach
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.
For phone orders and information, please contact:
UMS Box Office Burton Memorial Tower 881 North University Avenue Ann Arbor, Ml 48109-1011
on the University of Michigan campus
Outside the 734 area code, call toll-free 800.221.1229
Mon-Fri 10 a.m. to 6 p.m. Sat 10 a.m. to 1 p.m.
Order online at the UMS website:
Visit our Box Office in person
At the Burton Tower ticket office on the University of Michigan campus. Performance venue box offices open 90 minutes before each performance time.
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 $100. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe Ann Arbor Acura Ann Arbor Arts
Back Alley Gourmet Blue Nile Restaurant Bodywise Therapeutic
Massage Cafe Marie Chelsea Flower Shop Dough Boys Bakery Fine Flowers Gandy Dancer Great Harvest Jacques John Leidy Shop
John's Pack & Ship Kerrytown Bistro King's Keyboard
Michigan Car Services Paesano's Restaurant Regrets Only Ritz Camera One
Hour Photo SKR Blues & Jazz SKR Classical SKR Pop & Rock Shaman Drum
The UMS card also entitles you to 10 off your ticket purchases at other Michigan Presenter venues. Individual event restrictions may apply. Call the UMS Box Office for more information at 734.764.2538.
UMS enters a new interactive com?munication era with the launch of the new and improved www.ums.org!
Why should you log onto www.ums.org
Tickets Forget about waiting in long ticket lines--order tickets to UMS performances online with our secure order form.
Cyber$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
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
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Power Center for the Performing Arts, the Michigan Theater, St. Francis of Assisi Catholic Church, the Lydia Mendelssohn Theatre, and the Detroit Opera House.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many Univer?sity units, UMS is a separate not-for-profit organization, which supports itself through ticket sales, corporate and individual contri?butions, foundation and government grants, and endowment income.
UMS CHORAL UNION
Throughout its 120-year history, the UMS Choral Union has performed with many of the world's distinguished orchestras and conductors.
Based in Ann Arbor under the aegis of the University Musical Society, the 150-voice Choral Union is especially well known for its definitive performances of large-scale works for chorus and orchestra. Six years ago, the Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra. Among other works, the chorus has joined the DSO in Orchestra Hall and at Meadow Brook for subscription performances of Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe and Brahms' Ein deutsches Requiem, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd. In 1995, the Choral Union began an artistic association with the Toledo Symphony, inaugurating the partner?ship with a performance of Britten's War Requiem, and continuing with performances of the Berlioz Requiem, Elgar's The Dream of Gerontius and Verdi's Requiem. During the 1996-97 season, the Choral Union again expanded its scope to include performances with the Grand Rapids Symphony, joining
with them in a rare presentation of Mahler's Symphony No. 8 (Symphony of a Thousand).
In the past two seasons, the Choral Union has given acclaimed concert presentations of Gershwin's Porgy and Bess with the Birmingham-Bloomfield Symphony Orchestra and musical-theatre favorites with Erich Kunzel and the DSO at Meadow Brook. A 72-voice chorus drawn from the larger choir has performed Durufle's Requiem, the Langlais Messe Solenelle, the Mozart Requiem and other works, and the Choral Union Chamber Chorale recently presented "Creativity in Later Life," a program of late works by nine composers of all historical periods, at the University of Michigan Museum of Art.
During the 1998-99 season, the Choral Union performed in three major subscription series at Orchestra Hall with the Detroit Symphony Orchestra, including performances of Brahms' Ein deutsches Requiem and Rachmaninoff's The Bells, both conducted by Neeme Jarvi, and Kodaly's Psalmus Hungaricus, conducted by the legendary Gennady Rozhdestvensky. Other programs included Handel's Messiah with the Ann Arbor Symphony Orchestra, and Carmina Burana with the Toledo Symphony.
During the current season, the Choral Union again appears in three series with the Detroit Symphony Orchestra: the first two, conducted by Neeme Jarvi, include perfor?mances of Shostakovich's Symphony No. 13 (Babi Yar), followed by Beethoven's Symphony No. 9 paired with Stravinsky's Symphony of Psalms. The last of these three series will fea?ture performances of John Adams' Harmonium, conducted by the composer. The women of the chorus will also perform Mahler's Symphony No. 3 with the Ann Arbor Symphony, and sixty singers joined the Gabrieli Consort & Players for an Advent program based on the music of Praetorius in December. A highlight of the season will be a performance on Palm Sunday afternoon, April 16,2000, of J. S. Bach's
monumental St. Matthew Passion with the Ann Arbor Symphony in Hill Auditorium, conducted by Thomas Sheets.
Participation in the Choral Union remains open to all by audition. Representing a mix?ture of townspeople, students and faculty, members of the Choral Union share one common passion--a love of the choral art. For more information about the UMS Choral Union, call 734.763.8997 or e-mail 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
Entertainment, formed a part?nership with the Detroit Symphony Orchestra and played host to more than 500 perform?ers and special events. As the home of Michigan Opera Theatre's grand opera season and dance series, and through quality programming, partner?ships and educational initiatives, the Detroit Opera House plays a vital role in enriching the lives of the community.
Burton Memorial Tower
Seen from miles away, this well-known University of Michigan and Ann Arbor land?mark is the box office and administrative location for UMS. Completed in 1935 and designed by Albert Kahn, the 10-story
tower is built of Indiana limestone with a height of 212 feet. During the academic year, visitors may climb up to the observation deck and watch the carillon being played from noon-12:30 p.m. weekdays when classes are in session and most Saturdays from 10:15-10:45 a.m.
Power Center 1,390
University Musical Society
of the University of Michigan 19992000 Winter Season
Event Program Book Sunday, March 26,2000 through Wednesday, April 12,2000
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.
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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.
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Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event: electronic-beeping or chiming digital watches, beep?ing pagers, ringing cellular phones and clicking portable computers should be turned offduring performances. In case of emergency, advise your paging ser?vice of auditorium and seat location and ask them to call University Security at 734.763.1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS performances included in this editon. Thank you for your help.
Beaux Arts Trio 3
Sunday, March 26, 4:00pm Rackham Auditorium
Moscow Virtuosi 11
Friday, March 31, 8:00pm Rackham Auditorium
Czech Philharmonic 19
Saturday, April 1, 8:00pm Hill Auditorium
The Watts Prophets 29
Saturday, April 8, 8:00pm Michigan Theater
Trisha Brown Dance Company 33
Wednesday, April 12,8:00pm Power Center
Beaux Arts Trio
Menahem Pressler, Piano Young Uck Kim, Violin Antonio Meneses, Cello
Sunday Afternoon, March 26,2000 at 4:00 Rackham Auditorium, Ann Arbor, Michigan
Ludwig van Beethoven Trio in B-flat Major, Op. 97
Andante cantabile, ma pero con moto
Variations on "Ich bin der Schneider Kakadu," in G Major, Op. 121a
Introduction: Adagio assai Theme: Allegretto Variations I-X
Trio No. 2 in e minor, Op. 67
Allegro non troppo
Seventy-first Performance of the 121st Season
Thirty-seventh annual Chamber Arts Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by Dow Automotive.
Special thanks to Larry Denton for his generous support through Dow Automotive.
This performance is made possible with the support of the Michigan Council for Arts and Cultural Affairs.
The Beaux Arts Trio appears by arrangement with Columbia Artists Management, Inc.
Menahem Pressler performs on Steinway Pianos.
The Beaux Arts Trio records for Philips and Mercury Records and has recordings on the Deutsche Grammophon and AngelEMI labels.
Large print programs are available upon request.
Trio in B-flat Major, Op. 97
Ludwig Van Beethoven
Born December 16, 1770 in Bonn
Died March 26, 1827 in Vienna
The Trio in B-flat Major, Op. 97 prevails as one of Beethoven's most exquisite composi?tions, and is an unparalleled tour deforce of the piano trio repertoire. Its nickname, "Archduke," reflects the refinement and regality of its musical form. The work is dedicated to Archduke Rudolph of Austria (1788-1831), Beethoven's pupil and patron. Beethoven began sketches for this composi?tion in 1810, completing the work in merely three weeks, between March 3 and 26,1811. The Trio was premiered at a charity concert held at Vienna's Hotel zum Romischen Kaiser on April 11,1814, with Beethoven at the piano, violinist Ignaz Schuppanzigh, and cellist Joseph Lincke. Due to his worsening deafness, this would be the last time Beethoven played in public.
The aristocrats of Vienna who had long supported Beethoven and for whom he composed most of his music were losing their wealth and power at the time when the Trio in B-flat Major was composed. Suffering financial duress, and increasingly irritated by his duties to Archduke Rudolph, Beethoven still managed to create a work of purest inspiration. In addition to the dimin?ishing affluence of aristocratic society, a similar decline occurred in the amount of time that they were able to devote to mas?tering instrumental techniques and per?forming the works of Beethoven and other composers. Ultimately, professional musi?cians from the middle-class replaced the amateur aristocrats and most chamber music-making took place in public concert halls instead of palace salons. The Trio marks the beginning of a wave of music composed expressly for professional players and to be performed in a public hall for a middle-class audience.
The "Allegro moderato" opens with a gentle, stately theme presented by the solo piano. After expanding to include the strings, the opening theme continues in uni?son and proceeds into the second subject, a commanding theme in G Major using stac?cato articulation consisting of pairs of descending phrases. The development, divided into three distinct sections, is alter?nately lively and modest. The movement then progresses to the recapitulation, which presents a slightly embellished version of the opening theme. A radiant coda com?pletes the movement.
Instead of the conventional slow second movement, Beethoven introduces a sprightly "Scherzo," which more often sounds like a minuet than a scherzo. The movement begins with a rhythmic figure by the cello, until it introduces a striking chromatic pas?sage contrasting with bursts of a waltz melody. The second theme, a lighthearted dance melody, is introduced shortly there?after. Both sections are repeated creating an overall form of A-B-A-B-A-coda.
One of Beethoven's most beautiful slow movements, the "Andante cantabile" is based on a theme of exquisite simplicity in D Major that he states at the beginning and then subjects to five interconnected varia?tions. He refashions the original melody by expanding on the rhythmic motif while maintaining the elemental melodic and har?monic characteristics, creating music of indescribable beauty.
The finale, is a casual romp in rondo form and brings to mind images of Beethoven himself at the keyboard. Prior to his deafness, Beethoven was a superior pianist, although he was probably known more for his intensity and brilliance than for any air of delicacy. This dynamic last movement boldly intrudes on the serenity Beethoven had created in the "Andante cantabile." Following the "Andante" without a pause, the finale springs forth with the B-
flat refrain, repeating and refining it five times. The last two manifestations are modi?fied into 68 meter. Increasing in momen?tum, the final refrain simplifies the theme and spins hastily into an extended coda, marked Presto. Beethoven concludes the Trio in a brilliant, colossal sweep.
Program note by lleen Zovluck.
Variations on "Ich bin der Schneider Kakadu," in C Major, Op. 121a
Beethoven was the first composer to give the violin and, particularly, the cello equal roles with the piano in music for this combina?tion of instruments. Prior to Beethoven, the cello was relegated to doubling the bass line of the keyboard, and often the violin had a subservient role to the piano as well. As a pendant to the six well-known piano trios by Beethoven, there are three smaller-scaled works employing the same forces. Of these, one is an Allegretto single movement written around 1812; the other two are sets of varia?tions on a theme. The Trio in G Major is one such set of variations; in this case, the theme that undergoes variational treatment is the song "Ich bin der Schneider Kakadu" (I am the tailor cockatoo). This particular song is found in Die Schwestern von Prag (The Sisters from Prague), a light opera by Wenzel Miiller (1767-1835).
Little is known about the composi?tional history of this trio by Beethoven. The "Kakadu" Variations, as they are often called, were composed around 1803 during the composer's early period, but were revised in 1816. The work represents an excellent example of the humor often found in Beethoven's creations. Moreover, it pro?vides ample evidence that Beethoven could,
when necessary, draw the most magnificent and deeply felt music from lackluster or trivial material as he had done previously in the Diabelli Variations. All told, the "Kakadu" Variations is a genuine, if minor, masterpiece.
To set off the humor of the naive theme and variations, Beethoven wrote a slow, seri?ous, and profound introduction; this lengthy "Adagio" in 44 time and in the tonic minor introduces segments of the theme. Once the theme proper is introduced with the change to a 24 "Allegretto," the eleven variations then feature all three instruments in virtuoso roles, both solo and in combination, alternating between delightfully brilliant displays and highly aca?demic sections of contrapuntal mastery. Variation I is for the piano solo; the theme is presented in elaborate figuration over a dotted rhythm in the left hand. The violin joins for Variation II playing the theme lightly over an arpeggiated and chordal piano accompaniment. The sweetly gentle Variation III is for the cello and piano. Variation IV starts with the theme in the piano, but the strings playing in sixths soon take over. For Variation V, the three instru?ments engage in a soft and sweet canon. Variation VI hides the theme in the piano figuration as the strings provide sporadic, single-note commentaries. A graceful duet for the strings alone makes up the next vari?ation; marked delicatamente, the theme is dealt with in canonic fashion. Over a stacat-to accompaniment, the piano alternates with the string duet in the handling of the theme for Variation VIII. An "Adagio espressivo" (Variation IX) in the minor key momentari?ly dispels the lightness of the proceedings; in this variation, the theme is elongated and played in a canon at the seventh. The jocu?larity of the piece returns with the "Presto" Variation X; as the meter changes to 68, the theme is now heard in the piano in triplets, with the strings alternating between unison
statements and harmonizations in sixths, with some fugal treatment adding contra?puntal interest. The last variation provides an extended finale for the work; it begins with a highly contrapuntal duet for strings, with the piano promptly adding its dis?course, and culminating in an impetuous and effective virtuoso ending.
Trio No. 2 in e minor, Op. 67
Born September 25, 1906 in St. Petersburg,
Russia Died August 9, 1975 in Moscow
Dmitri Dmitriyevich Shostakovich was the first major Russian composer to receive his entire musical education under the Soviet regime. He first achieved international recognition, and governmental approval, with his Symphony No. 1; written as a grad?uation piece, it was acclaimed at its pre?miere in May of 1926 in Leningrad, as well as at its first Western performance in May of 1927 in Berlin (conducted by Bruno Walter) and at its US premiere in November of 1928 in Philadelphia (led by Leopold Stokowski). Throughout his lifetime, however, Shostakovich went in and out of favor with the authorities, even if his loyalties were unquestioned. Even after his opera Lady Macbeth of the Mtsensk District had been internationally recognized as a masterpiece, in a 1936 editorial entitled "Chaos Instead of Music," Pravda denounced the score as "fidgety, screaming, neurotic," and as "coarse, primitive and vulgar;" this assault -to which many fellow composers con?tributed was meant as a warning against "modernism," "formalism" (or music which seemingly was comprehensible only to the composer's inner vision) and other per?ceived transgressions against "socialist real?ism." One year later he was declared "reha-
bilitated" upon the premiere of Symphony No. 5 in d minor, Op. 47, which was deservedly hailed as a masterpiece and described by the authorities as "the creative reply of a Soviet artist to justified criticism." In 1948, he was named a People's Artist of the Republic of Russia, only to be again denounced that same year. He was eventual?ly named Composer Laureate of the Soviet Union.
Shostakovich's fame rests largely upon a number of his fifteen symphonies. Among his chamber works, which share many fea?tures in common with his symphonic music, there are no less than fifteen string quartets. Of his two piano trios, the first one, written in 1923 and in one continuous movement with contrasting sections, remains unpublished. The Trio No. 2 in e-minor, Op. 67 was written during the summer of 1944 as a memorial to the composer's close friend, Ivan Sollertinsky, an eminent musicologist, who had died the previous February in a Nazi concentration camp. Officially, the e-minor Trio is not program?matic in nature, but as with most Soviet music written at this time, this work is certainly and inexorably concerned with the devastation of World War II. The Trio is introspective and full of melancholy, with occasional flourishes of the brilliance and playfulness shown in many of Shostakovich's other works.
The plaintive "Andante" introduction to the first movement features the striking effect of a theme in high cello harmonics to a counterpoint in the low-lying violin. The "Moderato" main body of the movement is in fairly clear-cut sonata form and continues the polyphonic texture typical of the work as a whole. Here there is a kinship to the music of Mahler, in which outwardly com?monplace material is given weight by the emotional context in which it is delivered.
The second movement is a whirlwind
of a scherzo, wherein the gaiety has a rather forced, almost drunken quality that is compelling. The "Largo" third movement is an elegiac passacaglia, in which a dramatic succession of chords in the piano are repeat?ed six times as the basis for deeply moving contrapuntal lines in the string instruments. The third movement proceeds into the fourth without pause. The finale contains a theme of Hebrew origin as a tribute to Sollertinsky's heritage; this theme has been likened to a dance of death. The rhythm here is steady, relentlessly driving to an impassioned climax. In this section, a sub?ject derived from the opening first move?ment theme makes an appearance. The music gradually becomes more and more ethereal, and there is a poignant reference to the third movement before the work reaches its quiet conclusion.
Program notes courtesy of Columbia Artists Management, Inc.
Recognized for over forty years as having set the standard for performance of piano trio lit?erature, the Beaux Arts Trio continues to ignite over?whelming enthusiasm from audiences around the world. From the US to Russia, from Japan to Germany, from Israel to Brazil, this renowned ensemble's extensive engagements have brought it the highest praise. The Trio has received ovations from all of the world's major music centers including New York, Boston, Chicago, Washington DC, London, Paris, Berlin, Munich, Vienna, Amsterdam, Moscow, Tel Aviv, Tokyo, Hong Kong and Sydney. Chosen as Musical America's "Ensemble of the Year" in 1997, the Trio has been invited and re-invited by these centers for over 100 concerts and master classes each year. The Beaux Arts Trio's superb musicians, distinguished history, compre?hensive repertoire and expansive discogra-phy, contribute to its reputation as a hall?mark of chamber music.
The Beaux Arts Trio, com?prised of pianist Menahem Pressler, violinist Young Uck Kim and cellist Antonio Meneses, continues the musical tradition which saw its official public debut at the 1955 Berkshire Music Festival, known today as the Tanglewood Festival. Each member of the Trio brings a highly acclaimed and exem?plary musical career to this ensemble, forming one of chamber music's most pow?erful collaborations.
Through the years, the Beaux Arts Trio has main?tained its freshness, while preserving its distinctive musical heritage. Founded by Menahem Pressler,
Daniel Guilet, and Bernard Greenhouse, the Trio has evolved from the replacement of Guilet in 1969 with violinist Isidore Cohen, and the replacement of Greenhouse with cellist Peter Wiley in 1987. In June 1992, the Trio made its debut with violinist Ida Kavafian, in two extraordinary perfor?mances of Beethoven's Triple Concerto with the Gewandhaus Orchestra of Leipzig under Maestro Kurt Masur.
The Beaux Arts Trio's mark in American culture is far-reaching. The ensemble has played a major and ongoing role in the programs of important cultural and educational centers throughout North America, with annual concert series at such revered institutions as the Metropolitan Museum of Art in New York, the Celebrity Series of Boston, and the Library of Congress, where the Trio is in residence. Its repeated annual engagements extend to numerous associations and chamber music series, including those of San Francisco, Vancouver, Denver, Portland, Kansas City, Louisville, Saint Paul, Detroit, Philadelphia, Toronto, Cambridge, and New York. The Trio's engagements at major North American music festivals include Mostly Mozart, Caramoor, Ravinia and Tanglewood. The Trio's regular University performances include appearances at Harvard, Princeton, Yale, Johns Hopkins, Berkley, the University of Illinois at Urbana-Champaign and the University of Michigan in Ann Arbor. The Trio's annual interna?tional engagements include appearances at the festivals of Edinburgh, Lucerne, Vienna, Helsinki, Warsaw, Hong Kong and Israel, as well as performances in the chamber music series of the world's major foreign cities.
The Beaux Arts Trio's many landmark projects include its participation in the "December Evenings" Festival in Moscow, at the invitation of Maestro Sviatoslav Richter, and a performance at the 1988 Summer Olympics in Seoul, South Korea. Several
contemporary composers have written pieces for the Trio. Among the Trio's recent premieres are Ned Rorem's Spring Music, commissioned by Carnegie Hall as part of Carnegie's Centennial Celebration; George Rochberg's Summer, 1990, commissioned by the Philadelphia Chamber Music Society; and David N. Baker's Roots II, commis?sioned by the McKim Foundation.
The Beaux Arts Trio's extensive discog-raphy on Philips Records encompasses the entire piano trio literature. The Trio's recordings have brought several coveted awards, including the Prix Mondial du Disque, three Grand Prix du Disques, the Union de la Presse Musicale Beige Caecilia Award, the Gramophone Record of the Year, and the Stereo Review Record of the Year Award. The Beaux Arts Trio continues its exclusive relationship with Philips, and its last recording of music by Spanish com?posers was nominated for a Grammy in 1998.
This afternoon's performance marks the Beaux Arts Trio's ninth appearance under UMS auspices. The ensemble made its UMS debut on February 25, 1962 and last appeared in Ann Arbor on April 18, 1994. This perfor?mance also marks Menahem Pressler's tenth appearance under UMS auspices.
Columbia Artists Management, Inc. R. Douglas Sheldon & Denise Pineau
Vladimir Spivakov, Violin and Conductor
Friday Evening, March 31,2000 at 8:00 Rackham Auditorium, Ann Arbor, Michigan
Suite in Olden Style for Violin and Chamber Orchestra
Pastorale: Moderato Ballet: Allegro Minuet
Fugue: Allegro Pantomime: Andantino
Vladimir Spivakov, Violin
Sonata for Violin and Orchestra
Vladimir Spivakov, Violin Sergei Bezrodny, Harpsichord
Piotr Ilyich Tchaikovsky
Souvenir de Florence, Op. 70
Allegro con spirito Adagio cantabile e con moto Allegretto moderato Allegro vivace
of the 121st Season
Thirty-seventh annual Chamber Arts Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Special thanks to Edward Surovell for his generous and continued support.
This performance is made possible with the support of the Michigan Council for Arts and Cultural Affairs.
The Moscow Virtuosi tour is sponsored by Accent.
The Moscow Virtuosi can be heard on BMG Classics on the RCA Victor Red Seal label.
The Moscow Virtuosi appear by arrangement with Columbia Artists Management, Inc.
Large print programs are available upon request.
Suite in Olden Style for Violin and Chamber Orchestra
Born November 24, 1934 in Engels, near
Saratov, Russia Died August 3, 1998 in Hamburg, Germany
Alfred Schnittke was born on November 24, 1934 in Engels on the Volga, near Saratov, in the Russian steppes, 500 miles southeast of Moscow. He showed enough musical ability to receive an audition at the Central Music School for Gifted Children in Moscow in May 1941, but the following month the Germans invaded Russia, and the opportu?nity for early training vanished. Life was dif?ficult in Engels during World War II, and opportunities to hear and study music neg?ligible performances were few, and all radios had been confiscated at the beginning of the War. In 1945, after the War, Harry Schnittke, a journalist, got a job on a German-language newspaper in Vienna published by the occupying Russian forces. He brought his family to the city the follow?ing year, and there twelve-year-old Alfred had the world of music opened to him through his first piano lessons and atten?dance at operas and concerts. The city of Mozart and Schubert inspired Schnittke's earliest attempts at composition.
When the Viennese paper ceased opera?tions in 1948, the Schnittkes returned to Russia, moving into a small house in Valentinovka, a village an hour's train ride from Moscow. Though his training had been limited, Alfred was determined to fol?low a career in music, and he gained admit?tance to the October Revolution Music College in Moscow and took private lessons with Iosif Ryzhkin, a well-known theorist and teacher who oversaw his first serious compositions and prepared him for study at the prestigious Moscow Conservatory. In the autumn of 1953, Schnittke entered the Conservatory, and during his four years
there developed into a fully professional musician, studying the traditional Classical and Russian musical literature, learning the works of Shostakovich directly from the composer himself, taking advantage of the thaw in Soviet intellectual life during the Khrushchev regime to immerse himself in the previously unavailable music of such modernists as Schoenberg, Webern, Orff, Kodaly, Berg and Stravinsky, and trying out a variety of styles in his own compositions. Of those early years, he recalled, "my musical development took a course across piano-concerto romanticism, neoclassic academi?cism and attempts at eclectic synthesis (Orff and Schoenberg), and took cognizance also of the unavoidable proofs of masculinity in the self-denial of twelve-tone serialism."
Unconventional techniques found their way into Schnittke's graduation composi?tion, an oratorio based on a poem about the bombing of Hiroshima, in which he tried to imitate the explosion of an atomic bomb with howling trombones, strident har?monies and tone clusters. Such iconoclasm gained him a reputation as a modernist, and he was accepted as a member of the Composers' Union following his graduation in 1958 as much to tame his avant-garde tendencies as to promote his creative work. He tried writing Party-sanctioned pieces during the next few years the 1959 cantata Songs of War and Peace was his first pub?lished score but the fit was uncomfortable on both sides, and during the 1960s and early 1970s, when performances of his works were officially discouraged, he devoted most of his creative energy to scoring three or four films a year, an activity that not only provided him with a decent living but also allowed him to experiment with electronics, serialism and other previously discouraged modern techniques under the guise of sup?porting the screen story. In 1962, he also started teaching part-time at the Moscow Conservatory leaving little opportunity for
original creative work. He managed to com?plete some orchestral and chamber pieces during the next few years, but by 1972, he had decided to resign from the Conservatory to devote himself to composition.
Schnittke composed prolifically during the following years, and by the early 1980s, recordings of his music started appearing internationally. His works began being heard at concerts of leading European and American ensembles and soloists, presti?gious commissions arrived from around the world (at one time, he had orders for thirty works waiting to be filled), and by 1987, he had been elected to membership in the West Berlin Academy of Arts, the Arts Academy of the German Democratic Republic, the Bavarian Academy of Fine Arts and the Swedish Royal Academy of Music. Festivals of his music were held in Gorky, Stockholm, Berlin, London and other music capitals; the 1989 Lucerne Festival included him with Glinka, Mussorgsky and Shostakovich as a defining personality in a series of concerts demonstrating "Directions in Russian Music." In October 1989, he accepted a grant which allowed him to live in Berlin for a year, after which he settled in Hamburg. During his later years, Schnittke was invited regularly to attend performances of his works from Tokyo to Leipzig to Santa Fe, but he was limited in traveling because of allergies, migraines, kidney disease and three serious strokes suffered between 1985 and 1994, though he proved remarkably resilient in carrying on his creative work, producing three operas, four ballets, eight symphonies, more than twenty concertos and concern grossi, many independent orchestral scores, choral and vocal pieces and a wealth of chamber com?positions before his death in Hamburg.
In developing his own distinctive musical language, Schnittke sifted through a wide range of music, old and new, and came to under?stand that he could forge a style of personal expression which could encompass, perhaps
might even be formed from, references to other music and other ages. "A mixture of styles which are worked with as they are," he explained, "not in the sense of a synthesis but as 'poly-stylism,' in which the various idioms appear to speak as individual keys on a large keyboard." Such "poly-stylism" might well never rise above an amorphous collection of assorted oddments, but Schnittke always molded his works into large, dramatic struc?tures which achieve the necessary intellectual control of time and content while allowing the richly layered references of the music's moment-to-moment unfolding to be evident. The Suite in Olden Style was composed in 1972 for violin and keyboard (piano or harpsichord), and arranged in 1987 for viola d'amore and chamber orchestra. (Vladimir Spivakov and Mikhail Milman made a tran?scription for chamber orchestra alone the following year.) The work is in a mock-Baroque style that places it in the line of such earlier musical homages to bygone eras as Tchaikovsky's Mozartiana Suite, Stravinsky's Pukinella and Ravel's Le Tombeau de Couperin. Schnittke's lilting "Pastorale" glows with a sunny sweetness that recalls tender movements by Vivaldi and Handel; the music stops before it reaches its apparent final cadence chord. The "Ballet" is nimble and bustling, with a brief central section that is more veiled in expression. The "Minuet" is slow in tempo and surprisingly lugubrious, giving it the effect of a sad lullaby. The "Fugue" is more a jaunty contrapuntal dia?logue than a formally developed example of its genre. The closing "Pantomime," a sort of modern "musical joke," tosses satiric gibes at the banalities of some lesser Baroque music. Some dissonant harmonies escape to mark the movement's mid-point, after which the banal music resumes unflustered. Like the "Pastorale," the "Pantomime" ends before it makes it to the expected final resolution.
Program note by Dr. Richard E. Rodda.
Sonata for Violin and Orchestra
Alfred Schnittke's music holds a prominent position in the post-Shostakovich Russian avant-garde school and illuminates him as a particularly distinctive and significant con?temporary composer. Although his early compositions were cast in a Neo-Classicist aesthetic and are generally programmatic and concerned with topical issues, he entered a period wherein his music was pre?dominantly based upon twelve-tone serial organization (1963-66). This, in turn, was followed by a particularly interesting and fruitful period wherein Schnittke's music begins to elaborate forms of a dramatic nature and employs instrumental-theatrical elements, musical quotations from other composers' works, associative material, and so forth. Later in life, Schnittke developed a very unique musical language reminiscent of a description found in Herman Hesse's great novel, The Glass Bead Game, "...whole vast musical space of the last centuries... alive and vibrant...."
The Sonata for Violin and Orchestra was transcribed by the composer in 1968 from his own Sonata for Violin and Piano written in 1963. In its newer form with orchestral accompaniment, the Sonata received its pre?miere performance on February 5, 1986 at the Great Hall of the Conservatory in Moscow; for that occasion, Saulus Sondeckis led the Lithuanian Chamber Orchestra, with soloist Oleg Kagan. In this work, the com?poser unifies post serial techniques with the style of Shostakovich.
The first movement, "Andante," begins as the soloist presents an a cappella melody based on a twelve-tone row; as the soloist reaches the melody's last, held-over note, the harpsichord provides halting chords. The strings gradually and quietly lend some sup?port, as the soloist explores the tonal impli?cations of the initial melody. A second
theme of repeated notes and arpeggiated figures is then presented by the soloist, who follows this with an inverted image, two octaves-and-a-third higher. A somber line in the cellos and basses, to which the soloist adds pizzicato interjections, brings the movement to its conclusion.
Against a broken accompaniment from the harpsichord and brief string commen?taries, the soloist presents a Stravinskian theme in the "Allegretto." Over an agitated ascending and descending pattern from the violas and cellos, the soloist plays the second theme. Promptly, the harpsichord takes over the theme as the soloist plays nervous figu?rations, which continue over violent chords from the strings. Next, the harpsichord pre?sents a playful third theme which is repeated by the soloist. The disjointed fourth theme is introduced by pizzkatos in the solo violin. Eventually the movement's initial theme is heard again in a fugato section, starting from the bottom of the strings, and building up to a climax where the soloist joins in and moderates the proceedings, decreasing the energy level.
The last held chord of the preceding movement leads directly into the "Largo." In this texturally uncomplicated movement, the soloist plays a sad lyrical melody, sus?tained by the orchestra's chordal accompa?niment, requiring the strings to divide into fifteen parts. After the theme appears in the harpsichord, the movement concludes with the soloist playing stratospheric harmonics.
The finale, "Allegretto scherzando," con?sists of two sections. The first section is given to a jazzy syncopated theme presented by the harpsichord, and developed through?out by the soloist. Suddenly, the orchestra adopts a march-like tempo and the soloist introduces a carefree theme. This is taken over to the end, until the momentum of the movement dissipates, as the orchestra slowly retracts leaving the soloist holding a low 'G.' Over a diminuendo C-Major chord, the vio-
lin plays a five-note pizzicato motif derived from previous thematic material, as the sonata quietly comes to an end.
Souvenir de Florence, Op. 70
Piotr Ilyich Tchaikovsky
Born May 7, 1840 in Kamsko-Votkinsk, Russia
Died November 6, 1893 in St. Petersburg
Tchaikovsky's works do not exhibit the raw national and folksong idiom to the extent of Mussorgsky's music, for instance, and his colors are not quite as brilliant as Rimsky-Korsakov's; yet, Tchaikovsky's works are considered by musicians over the world to be the epitome of Russian music. While he adhered to Western European forms of tech?nical skill and lyric style, Tchaikovsky essen?tially remains a Russian of the most classic tendencies his language is emotionally Slavic. His music glows with the peculiar fire that burned in his soul; rapture and agony, gloom and joy seem in perpetual struggle for expression.
In 1886, Tchaikovsky was elected to the prestigious Petersburg Society of Chamber Music. To acknowledge the honor, he promised the Society's chairman that he would write a piece for the group. The resulting work was the string sextet entitled Souvenir de Florence. The composer began work on this piece in the summer of 1887, but, with other pressing commitments, he was forced to lay it aside. It was not until May 1890 while vacationing in Italy that Tchaikovsky was able to pour his creative energies towards completing the piece. The work was given a private performance at the Society at the end of November that year, but the composer was not satisfied with it and resolved to revise the sextet. In December 1891, Tchaikovsky was finally able to carry out his revisions and the work was completed in its present state during a visit to Paris in January. The first public per-
formance took place in November 1892.
Souvenir de Florence marks the end of the composer's neoclassical journey, which had endured for nineteen years. The whole piece has a relaxed quality, quite unlike his opera The Queen of Spades, from the same period. Interestingly, while the sextet was well received, The Nutcracker and his Iolanthe, which premiered in the same period, were not.
Souvenir de Florence consists of the tra?ditional four movements as one would find in a symphony or string quartet. The first movement, "Allegro con spirito," is cast in a sonata-allegro form. The first theme is a strident waltz in the minor mode and the ingratiating second theme is in the major mode. After a short development and reca?pitulation, the coda returns to the melan?cholic minor mode.
The second movement, marked "Adagio cantabile e con moto," introduces the Italian mood for the first time in the work. Employing an A-B-A structure, the outer sections deal with a plaintive melody remi?niscent of an Italian opera aria, first intro?duced by the first violin against a broken chord accompaniment from the rest of the instruments. A slightly agitated episode pro?vides the contrasting middle section. The "Allegretto moderato" that follows has the character of a divertissement. It is notable for its colorful bowing effects, play?ful rhythms and uncomplicated texture. The exciting "Allegro vivace" finale is once again in sonata form. In the recapitulation of the themes there is an extended fugal section, and the coda which concludes the work demands virtuosity from its performers.
Tchaikovsky's sense of passion and sen?sitivity are in sufficient evidence in Souvenir de Florence -a work which he wrote "with the greatest enthusiasm and without the least exertion."
Program notes courtesy of Columbia Artists Management, Inc.
Vladimir Spivakov, who became Music Director and Principal Conductor of the Russian National Orchestra in September 1999, is a remark?able musician with a multi-faceted career. He is a prominent violinist who has appeared both as recitalist and orchestral soloist in major music capitals throughout the world, a respected guest conductor with such renowned orchestras as the Los Angeles Philharmonic and the London Symphony
the founder, conductor and violin soloist of the Moscow Virtuosi, which under his lead?ership has devel?oped into one of the world's lead?ing chamber ensembles. He is a musician of conscience whose many humanistic
activities range from providing musical instruments to children to work on behalf of victims of the Afghan war, the earthquake in Armenia and the Chernobyl nuclear disaster.
A student of Yuri Yankelevich at the Moscow Conservatory, Mr. Spivakov quickly established himself as one of Russia's promi?nent violinists and made his US debut with the New York Philharmonic in 1975. Soon afterwards, he appeared as guest soloist with the orchestras of Cleveland, Dallas, Pittsburgh and San Francisco. Mr. Spivakov launched his conducting career in a tri?umphant 1979 performance with the Chicago Symphony Orchestra at the Ravinia Festival. The success of his conducting debut encouraged him to establish the Moscow Virtuosi.
Vladimir Spivakov has appeared as a guest conductor with the Santa Cecilia Orchestra in Rome, the London Symphony, the St. Petersburg Philharmonic, the Houston Symphony, the English and Scottish chamber orchestras as well as the chamber orchestra of Dresden, Rome and the Netherlands. He continues to pursue his solo career and in recent seasons has per?formed with orchestras such as the New York Philharmonic, the Seattle Symphony, the San Francisco Symphony, The Philadelphia Orchestra and L'Orchestre National de France. In 1989, Mr. Spivakov was appointed the Artistic Director of the Colmar International Festival in France, which under his direction has become one of Europe's leading music festivals.
Mr. Spivakov has made twenty record?ings with the Moscow Virtuosi of works ranging from Bach, Haydn and Mozart to Shostakovich, Schnittke and Shchedrin for the BMGRCA Red Seal label. Also for RCA Red Seal, he has recorded concertos by Brahms, Prokofiev, Sibelius and Tchaikovsky.
Vladimir Spivakov has been decorated with Russia's highest prize, the National Cultural Heritage Award, and is Ambassador of the Arts at the World Forum in Davos, Switzerland. He has also worked on behalf of victims of the Stalin regime and children who suffered from the nuclear disaster at Chernobyl. In May 1994, Mr. Spivakov established an international charity founda?tion that provides creative and financial support to talented young people and needy children from his homeland.
Mr. Spivakov is the recipient of numer?ous honors and awards, including First Prize at the Montreal Competition, the Marguerite Long St. Jacques Thibaud Competition in Paris, the Nicolo Paganini International Violin Competition in Genoa and the International Tchaikovsky Competition in Moscow. On his birthday,
September 12, 1994, Russia's International Observatory named a star "Spivakov."
Tonight's performance marks Vladimir Spivakov's third appearance under UMS auspices.
The Moscow Virtuosi, today one of the world's preeminent chamber ensembles, was formed in 1979 by Vladimir Spivakov, following his con?ducting debut with the Chicago Symphony Orchestra at the Ravinia Festival. Comprised of top-ranking soloists and former principal chairs of the great orchestras of Russia, the Moscow Virtuosi has been in demand since its inception and has toured extensively throughout the world, including appear?ances in Europe, Japan, North and South America, the Soviet Union and Eastern Europe. In April 1992, the Moscow Virtuosi celebrated its 1000th concert at the Moscow Conservatory of Music.
In the first years after it was formed, the Moscow Virtuosi appeared internationally to great acclaim, but was absent from the US, as were all Soviet musicians following the 1979 invasion of Afghanistan and the lapse of the USUSSR Cultural Exchange agreement. The orchestra made its long-awaited debut in this country in 1987 to so triumphant a reception that since 1989 it has returned to North America for seven consecutive seasons, performing more than 100 concerts on tour and appearing in such music capitals as Montreal, Toronto, Mexico City, Los Angeles, San Francisco, Ann Arbor, Chicago, Philadelphia, Washington, DC and New York City's Avery Fisher Hall and Carnegie Hall.
The Moscow Virtuosi and Vladimir Spivakov have an extensive discography on the BMGRCA Victor Red Seal label. Their recorded repertoire ranges from Vivaldi,
Bach, Haydn, Mozart and Schubert to such twentieth-century composers as Prokofiev, Penderecki, Hartmann, Shostakovich and Schnittke.
The Moscow Virtuosi is the Resident Orchestra and Mr. Spivakov, Artistic Director, of the widely acclaimed Colmar International Festival in France, celebrating the festival's eleventh anniversary in 1999. In 2000, the Moscow Virtuosi will participate in a new international festival in Oviedo, Spain.
Mr. Spivakov is the founder of the European Sakharov Foundation, for which the Moscow Virtuosi gave the inaugural concert before the European Parliament on December 10, 1990 Human Rights Day. The Moscow Virtuosi also performed at the first international Sakharov Congress in Moscow in May, 1991, in which Sviatoslav Richter and Mstislav Rostropovich were soloists. The concert's finale was a perfor?mance of the "Lachrimosa" from Mozart's Requiem, with a Lithuanian choir, in memo?ry of Sakharov.
This 2000 tour of the Moscow Virtuosi marks their ninth North American tour, performing throughout the US and Canada.
Tonight's performance marks the Moscow Virtuosi's third appearance under VMS aus?pices.
Moscow Virtuosi Valdimir Spivakov, Conductor and Music Director
Alexei Loundine, Concertmaster
Andrei Mijlin Alexandre Moussaelian Evgeny Levin Vladimir Agilin Evgueni Choulkov Vitaly Khandras
Violas Igor Suliga Jury Jurov Alexandre Korolev Anton Koulapov
Mikhail Milman Denis Chapovalov Viatcheslav Mariniouk Gueorgui Goriounov
Doublebasses Grigory Kovalevski Andrey Stepin
Oboes Alexei Utkin Mikhail Evstigneev
Piano & Harpsichord Sergei Bezrodny
Managing Director Georgy Ageev
Vice Director Pavel Toropygin
Stage Manager Vladimir Khusainov
Columbia Artists Management, Inc.
Mary Jo Connealy, General
Denise A. Pineau, Associate Kami Morasco, Assistant Ann Woodruff, Company Manager Ileen Zovluck, Programs Maestro Touring & Travel,
Travel and Hotels
Vladimir Ashkenazy, Chief Conductor
Saturday Evening, April 1, 2000 at 8:00 Hill Auditorium, Ann Arbor, Michigan
The Frescoes of Piero della Francesca, H352
Andante poco moderato
Leos Jandcek, An. Vaclav Talich
Suite from The Cunning Little Vixen
Movement I: Andante Movement II: Andante
Symphony No. 7 in d minor, Op. 70
Allegro maestoso Poco adagio Scherzo: Vivace Finale: Allegro
of the 121st Season
121st Annual Choral Union Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by Pepper Hamilton LLP.
Special thanks to Michael Staebler and Rebecca McGowan for their generous and continued support.
Additional support provided by media sponsor, WGTE.
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 Czech Philharmonic appears by arrangement with Columbia Artists Management, Inc. in association with HarrisonParrott, Ltd.
Large print programs are available upon request.
The Frescoes of Piero della Francesca, H352
Born December 8, 1890 in Polica, Bohemia Died August 28, 1959 in Liestal, Switzerland, near Basel
The glory of the church of San Francesco in Arezzo, Italy, is the gigantic mural by Piero della Francesca, painted during the 1450s. Generally agreed to be the Renaissance master's most important work, this fresco, which covers the entire wall surface in the choir, tells the Legend of the True Cross, based on the medieval Golden Legend writ?ten by Jacopo da Voragine, Bishop of Genoa in the thirteenth century. According to this legend, the wood out of which Christ's cross was made had a history going back all the way to Adam, the first man. The fantastic story is worth retelling: from Adam's tomb there arose a tree which flourished until King Solomon's time, at which point it was cut down. The Queen of Sheba, visiting Solomon, had a vision at the very moment she was about to step on a footbridge, made of that same tree. The vision told her that "on that wood would be crucified One for whose death the kingdom of the Jews would be destroyed."1 She refused to step on the wood, which Solomon then removed. Skipping the Crucifixion itself, the story picks up in the fourth century A.D. with the dream of the Roman emperor Constantine, whose vision of the cross causes him to con?vert to Christianity and gives him the power to defeat his opponent Maxentius. Constantine's mother Helena (later St. Helena) finds the three crosses (those of Jesus and the two thieves); a miracle the resurrection of a dead man when the cross touches his head helps her tell the "true" cross from the other two. Even later (in the
1 Needless to say, the kingdom of the Jews was destroyed long before the crucifixion of Jesus.
year 615) the cross was stolen by the Persian King Chosroes but recovered by the Christian (Byzantine) emperor Heraclius.
Every visitor to San Francesco can learn about this much from the guidebooks on sale there, and it is likely that Bohuslav Martinu read the legend too, when he visit?ed Arezzo in early 1955. He was deeply moved by the beauty of Piero's frescoes and decided to write an orchestral work based on his impressions. He composed with his usual speed and finished the new work in Nice, France, where he made his home at the time, on April 13, 1955. The score was dedicated to Martini's fellow countryman, the famous Czech expatriate conductor Rafael Kubelik, who conducted the first per?formance at the Salzburg Festival in 1956. The US premiere was given the following year by George Szell and The Cleveland Orchestra.
In his brief notes to accompany the first performance, the composer noted:
The first movement takes as its subject the group of wives with the Queen of Sheba from one of Piero della Francesca's frescoes. The source of the second movement is the depiction of the Dream of Constantine, and in this movement comes the only really descriptive moment, when the viola raises its voice like the military call of a trumpet. The third and last movement takes no par?ticular fresco as its subject but is a kind of general view of the frescoes, calling atten?tion to the two battle scenes and the many fascinating details.
Yet in the score the three movements do not bear any subtitles linking them to individual segments of the mural; it is likely that Martinu was responding to the entire fresco (a total of twenty units!) as much as to the individual episodes. As he wrote: "I have tried to express in music the kind of solemn, frozen silence, and the opaque, col?ored atmosphere which contain a strange, peaceful, and moving poetry."
He created a twenty-minute work that stands out among his more than 400 com?positions by virtue of its exceptionally rich orchestral coloring and melodic invention. The first movement ("Andante poco moder-ato") features three solo violins rising above the rest of the divided string section. The music expresses ecstacy and magnificence -it could be either the revelation made to the Queen of Sheba or the feelings of the com?poser admiring Piero's work. There is a slower, sparser middle section with a sinu?ous English horn solo, ("its exotic strain suggests perhaps the Queen of Sheba," Mary Ann Feldman speculated in a program note for the Minnesota Orchestra), after which the lush opening music returns.
The second movement has been elo?quently described by Ms. Feldman:
Over a long pedal point and hushed tremo?los, a six-part choir of clarinets and bas?soons introduces this central "Adagio" keyed to suspense. Within moments a brilliant vision erupts. The fulsome orchestration presents color within color, freshly tinted at every turn much like the Debussy that Martinu had admired from his youth. An initial climax resounds in organ-like tones, whereupon the music grows increasingly meditative, then ecstatic and seldom soft -before delivering a long expressive melody portending an inner drama of the soul.
Particularly noteworthy is the "military" viola solo in the more animated central sec?tion of the movement (it is significant that the composer was careful not to use a real trumpet, to avoid being too programmatic!). The military call finds its likely explanation in the inscription on the cross, in letters of gold, that Constantine saw in his dream: "In this sign shalt thou conquer."
The third movement ("Poco allegro") is highly agitated music that often suggests a battle (between Constantine and Maxentius, or Heraclius and Chosroes). There are many lyrical moments, perhaps to convey the spir-
itual reasons behind the fighting. At any rate, we don't have to wait long for the vic?tory, which arrives in the beautiful, radiant B-flat Major harmonies of the work's con?clusion.
Suite from The Cunning Little Vixen
Born July 3, 1854 in Hukvaldy, Moravia
Died August 12, 1928 in Moravskd, Ostrava
Arranged by Vaclav Talich Born May 28, 1883 in Kromifiz,
Czechoslovakia Died March 16, 1961 in Beroun,
In his seventh opera, The Cunning Little Vixen, Janacek achieved a true miracle: he took a rather light-hearted story about ani?mals, itself based upon a series of humorous drawings, and turned that story into a deeply moving paean to nature, and into "human" qualities sometimes shown more strongly by animals than by humans. Apparently, it was Janacek's housekeeper, Marie Stejskalova, who first drew the com?poser's attention to Rudolf Tesnohlidek's novel, published by installments in Brno's daily newspaper Lidove Noviny, and said to him: "Wouldn't it make a marvellous opera" This happened in 1920; the opera, whose libretto was arranged by Janacek himself after Tesnohlidek's story, was com?pleted in January 1924 and premiered in Brno, Czechoslovakia, in November of the same year.
In the opera, a young female fox is caught in the forest by a gamekeeper. He brings her home and raises her in his farm?yard. Disgusted by the amorous advances of a dog and the servility of the hens, she makes her escape to the forest, where she meets and falls in love with a handsome young fox. They marry and have some cubs.
In Act III, the Vixen is shot by the tramp HaraSta; but the gamekeeper cherishes her memory, and when he spies one of her daughters in the forest, he is moved to reflect on the passing of time and the eter?nal renewal of nature.
Because of the numerous animal char?acters, this opera is extremely hard to put on stage, and during the first decades after it was written, there weren't as many produc?tions as the wonderful music would have deserved. For that reason, the conductor Vaclav Talich, one of Janacek's first great champions, made an orchestral suite in two movements which contains most of the music from the opera's first act. There is a large number of purely orchestral segments in the opera (preludes and interludes), but even where there is singing, the instrumen?tal parts are remarkably self-sufficient. Most of the melodic material is, as a matter of fact, played by the orchestra, as the singers sing in a particular vocal style closely fol?lowing the speech patterns of the Czech lan?guage (and, in the case of the Vixen, its Moravian dialect).
Therefore, in the suite, we witness the awakening of nature in the forest, with the waltz of the mosquito, the skipping of the frog, the capture of the Vixen and the dance of the dragonfly all from the opera's first scene. This is followed by the scene where the Vixen dreams she is a young girl. Then she wakes up, attempts unsuccessfully to incite the hens to rebel against the rooster, and finally escapes.
Vaclav Talich made many changes in the original orchestration, making the sound more sensuous and, in the words of one commentator, simplifying "some of the hair-raising instrumental difficulties in which Janacek delighted, and thus to facili?tate problems of orchestral balance and ensemble."
Symphony No. 7 in d minor, Op. 70
Born September 8, 1841 in Miihlhausen,
Bohemia Died May 1, 1904 in Prague
When Dvorak first conducted his own music in London in March 1884, both the audience and the critics responded enthusi?astically. The forty-three-year-old Czech master received the same warm welcome from the English that Mendelssohn had in the 1830s and '40s, and Haydn during the 1790s. After the success of the Symphony in D Major (No. 6), Dvorak was immediately invited by the Philharmonic Society to write a new symphony for the following season. Elated by his international triumphs, Dvorak had to face a much less uniformly favorable opinion closer to home. Although he was clearly emerging as the greatest living composer in Bohemia (Smetana had died, after a long illness, in 1884), he was facing a serious artistic dilemma concerning his rela?tionship with Viennese musical circles. Bohemia being part of the Austro-Hungarian empire, Vienna (the Imperial capital) was naturally the artistic arena in which a Czech composer's reputation had to be established. By going to London, Dvorak had bypassed that arena in which he had not done too well. It is true that, in 1879, Hans Richter had performed the Third Slavonic Rhapsody in Vienna; but Symphony No. 6, the work that Richter had asked Dvorak to write, could not be premiered in Vienna due to nationalistic prejudice. The redoubtable critic Eduard Hanslick, one of the supreme arbiters of musical taste in Vienna, recom?mended that Dvorak follow the Germanic tradition more closely; he exhorted him to write songs to German texts, and informed him in a letter that the Court Opera might welcome a German opera by Dvorak. (There was little interest in Dvorak's Czech operas at the Hofoper.) To Dvorak, an ardent Czech
patriot, this would have meant a betrayal of some of his most deeply held convictions. The Austrians, after all, were regarded as political and cultural oppressors of Bohemia. And yet, the temptation was great; hence what Dvorak biographers see as the compos?er's "spiritual crisis" in 1884-85. This crisis was resolved when Dvorak finally decided not to write the German opera for Vienna.
It is generally believed that Dvorak's dilemma is reflected in the two major works he composed around this time: the Piano Trio in f minor, Op. 65 and Symphony No. 7, Op. 70. But despite Dvorak's nationalistic feelings that made him reject, or at least limit, the Austro-German influence on his music, he could never completely escape that influence. In his youth, he had been a Wagnerian. He later turned away from Wagner and became an admirer of Brahms, in whom he also found a great supporter and a personal friend.
Brahms himself, unlike his friend Hanslick, never wanted to persuade Dvorak to give up his Czechness; nor did he want his younger colleague to imitate his (Brahms') style. Yet Brahmsian echoes may be found in many of Dvorak's works; Symphony No. 7, written shortly after Brahms' Symphony No. 3, is certainly one of the works in which these links are the strongest.
Much has been made of a superficial resemblance of the first movement's second subject to the cello solo from the third movement of Brahms' Piano Concerto, No. 2 (1881). The two melodies share a common melodic line at the beginning but they con?tinue differently and their rhythm, harmo?nization, tempo, and general character are not the same. A deeper kinship between Brahms and Dvorak may be found, however, in the methods of motivic development employed. In his d-minor symphony Dvorak used a tighter dramatic construction than elsewhere; he didn't dwell on his themes for as long as he usually did, but
instead emphasized the connections among them. We do not often get the feeling in Dvorak, as we do in Symphony No. 7, that everything follows inevitably from previous events; this sensation is almost always pre?sent in the music of Beethoven and Brahms.
Dvorak achieved this Brahmsian inten?sity by melodic means that were entirely his own. The opening theme of the symphony, for instance, played by the violas and cellos over a rumble of horns, double basses and timpani, displays that characteristic "modal seventh" that Dvorak often preferred to the classical leading tone. The modal seventh, which is found in many folk-music tradi?tions, gives this theme a slightly exotic fla?vor. The theme is then developed along clas?sical lines: the opening theme is taken from pianissimo to fortissimo, then followed by a lyrical second theme, after which the open?ing idea returns to close the exposition.
The development and the recapitulation are much condensed. The two main ideas quoted above continue to alternate, and their contrast ensures dramatic tension to the end. In a highly effective closing gesture, the reca?pitulation concludes on a fortissimo climax followed by an entirely soft coda. The open?ing "rumble" returns and the main theme disintegrates into short phrases played by the strings, the solo flute, and two horns, before a quiet d-minor chord brings events to a halt.
The second movement begins with a hymn-like melody not unlike that of the slow movement of Beethoven's "Emperor" concerto. As in the first movement, however, there is a single note that profoundly changes the character of the otherwise clas?sical melody. The theme would be perfectly conventional if the next-to-the-last note of the first phrase were a 'G.' Since it is an 'A,' however, we get an unusual harmonic pro?gression that is unmistakably Dvofakian. This melody becomes the starting point for highly expressive and rhythmically complex developments, with much beautiful solo
writing for horn, clarinet, and flute; after a powerful climax, the hymn melody returns in its original form and the second move?ment closes in a triple piano, as the first did. The third-movement scherzo is based on the rhythm of the Czech folk dance furiant, in which triple and double meters mix according to the scheme "one-two-three one-two-three one-two one-two one-two." This insistent rhythm relents in the slower trio whose themes have a more legato character (the notes slurred rather than separated). At the same time, the unsettling tremolos of the cellos and basses prevent the music from becoming too relaxed. The transition back to the furiant is particularly memorable, as is the coda at the end in which the violas suddenly play a new lyrical melody as the tempo slows down once again. But this time, Dvorak doesn't allow the movement to fade away in a whisper; the furiant theme returns, assuming a truly "furious" character (pun intended: the name of the dance has nothing to do with "fury").
The finale begins in a dark mood with a brooding melody that in contrast to most melodies heard so far in the symphony is full of expressive half-steps. The dramatic character of the theme is emphasized by the frequent use of the augmented second inter?val. After expanding on this material with a rhythmic regularity that recalls Schumann, a lyrical second subject is reached, introduced by the cellos in the major mode. This theme is, like the first, taken from the initial low volume to a full orchestral fortissimo, fol?lowed immediately by another, mystical-sounding pianissimo as a new section (the development section) begins. The move?ment's main theme is now fragmented and transposed to a number of remote tonalities (the volume remains hushed); then a vigor?ous fugato section (one part imitating the other) leads back to the original form of the main theme. The symphony closes with a few measures of maestoso, which does not
resolve the movement's tensions but rather freezes them in a grand gesture full of pathos and passion.
Program notes by Peter Laki.
Vladimir Ashkenazy has often been quoted as saying that for him music is indivisible. This conviction is borne out by his passionate engagement with so many different aspects of music-making, whether as conductor, piano recitalist or chamber musician or as the architect of large-scale projects encompassing the full range of musical activities.
The first part of his long life as a musi?cian was devoted to the piano. Building on the foundation of his studies at the Central School of Music and Moscow Conservatoire and his success in winning second prize at the Chopin Competition in Warsaw in 1955 and first prizes in the Queen Elizabeth Competition in Brussels in 1956 and the Tchaikovsky Competition in Moscow in 1962, he spent three decades touring the great musical centers of the world, perform?ing an ever-growing repertoire in recitals and concertos and appearing with chamber music partners such as Itzhak Perlman, Pinchas Zukerman, Lynn Harrell, Elisabeth Soederstroem, Barbara Bonney and Matthias Goerne. During this time, he built up one of the largest and most comprehensive recording catalogues of our day, encompassing almost all the major works of the piano repertoire.
From the 1970s onwards, he became increasingly active as a conductor and held positions over the years with the Philharmonia Orchestra (Principal Guest Conductor), Royal Philharmonic Orchestra (Music Director), Cleveland Orchestra (Principal Guest Conductor) and the Deutsches Symphonie-Orchester Berlin (Chief Conductor and Music Director). In addition, he made
guest appearances with some of the world's finest orchestras including the Berlin Philharmonic, Boston Symphony, Los Angeles Philharmonic, San Francisco Symphony, Philadelphia and Concertgebouw Orchestras. He continues to have a particularly close and rewarding relationship with the Philharmonia Orchestra whom he led in the immensely successful Rachmaninov Festival at the South Bank Centre in London in May 1999. Over this and the coming seasons, they will work together again in major series of works by Strauss, Sibelius and Prokofiev, and in JanuaryFebruary 2000 they embarked on
a major tour of the Far East, Australia and Japan.
In January 1998, Ashkenazy took up the position of Chief Conductor of the Czech Philharmonic Orchestra and since then has devoted himself to a broad
range of tours, recordings and special pro?jects with the aim of focussing appropriate attention on this great orchestra with its very rich and individual musical tradition. The 19992000 season is an important one for the orchestra, coinciding as it does with the tenth anniversary of the Velvet Revolution. Over the coming months, audiences around the world will have the opportunity to hear it in repertoire which is at the very heart of the orchestra's history and cultural identity from Mozart and Mahler to Krasa, Janacek and Martinu as they tour through Europe, Japan, the US and South America.
Alongside his conducting activities, Vladimir Ashkenazy continues to perform in recital throughout Europe, the Far East and America and to add to his recording catalogue with major releases such as the recent critically-acclaimed complete Shostakovich Preludes & Fugues.
Tonight's performance marks Vladimir Ashkenazy's ninth appearance as both conductor and pianist under UMS auspices. He made his UMS debut on July 10, 1968 and last appeared in Ann Arbor conducting the Royal Philharmonic Orchestra on November 16, 1992.
Renowned for its impeccable standards of musical excellence, the Czech Philharmonic dis?plays a warmth, resonance and depth of artistry that has evolved through the inspiration and guid?ance of generations of the Czech Republic's finest musical talents.
The orchestra's legacy of prominent guest and resident conductors began with Dvorak, who led the ensemble's first perfor?mance in 1896. Since that auspicious occasion, a string of musical luminaries have conducted the orchestra including Herbert von Karajan, Richard Strauss, Edward Grieg, Artur Nikisch, Leonard Bernstein, Karl Bohm, George Szell, Erich Kleiber, Felix Weingartner, Rafael Kubelik, Sir John Barbirolli, Charles Munch, Otto Klemperer, Wolfgang Sawallisch, Sir Thomas Beecham, Sir Adrian Boult, Bruno Walter, Vaclav Neumann, Antal Dorati, Nikolai Malko, Zubin Mehta, Erich Leinsdorf and Lorin Maazel.
The world standard of the Czech Philharmonic has also been demonstrated during its regular tours to Great Britain, Belgium, France, the former Soviet Union, the Netherlands, Germany, Scandinavia, Yugoslavia, Hungary, the Near and Far East, as well as Canada and the US. The orchestra has also performed at the world's leading music festivals including Salzburg, Montreaux and Edinburgh. This visit marks the orchestra's eighth tour to the US since its debut tour in 1959 which also included concerts in New Zealand, Australia, Japan, China and India. The gallery of soloists who have per-
formed with the ensemble includes the leg?endary artists Artur Rubinstein, Pablo Casals, Emil Gilels, David Oistrach, Sviatoslav Richter, Henryk Szeryng and Arturo Benedetti Michelangeli. The great twentieth-century composers Sergei Prokofiev and Igor Stravinsky also conducted their own works with the Czech Philharmonic.
This illustrious ensemble stands at the pinnacle of musical life of Prague, a city so musically rich that it has earned the surname, the "Conservatory of Europe." Founded in the late nineteenth century by members of the Prague National Theatre Orchestra who wished to develop the symphonic repertoire, the Czech Philharmonic finally achieved recognition as the first independent Czech symphony orchestra when it received state subsidy, and its own concert hall, in 1945. This autonomy was the result of the dispute between the National Theatre management
and the orchestra's members. Prior to the strike, the orchestra functioned as the National Theatre Orchestra, dividing activi?ties between the presentation of symphonic music and the operatic repertoire. To celebrate the significance of the Czech Philharmonic's exclusive dedication to the symphonic repertoire, an annual festival was inaugurat?ed in 1946 with the participation of Rafael Kubelik to commemorate this landmark achievement. Known as the Prague Spring Festival (whose first year honored the fifti?eth anniversary of the Czech Philharmonic), this cultural highlight attracts musicians and ensembles from virtually every country. The occasion affords a review of the Czech musical traditions, past and present.
The orchestra's discography is enriched with recordings of symphonies by Mahler, Dvorak and Martinu. Many have received international awards, including the Grand Prix de I'Academie Charles Cros, the Grand Prix de I'Academie du Disque Francais Award, the Wiener Flotemthr prize, the Gold Orpheus prize and numerous other presti?gious prizes, nine of which have been from Japan alone. Their most successful recording to date is Honegger's Joan of Arc, which has garnered four awards. During Vaclav Neumann's tenure, the cooperation between the orchestra and Czechoslovakian TV had been established. As a result, two popular public educational series aired under the title, Czech Philharmonic Plays and Talks.
After 1989, Czech artists who had not appeared in Czechoslovakia for forty years were able to reappear with the orchestra again. In particular, the performances of Rafael Kubelik's conducting My Country and Dvorak's Piano Concerto with the late pianist Rudolf Firkusny, will always be cherished.
Tonights performance marks the Czech Philharmonic's third appearance under UMS auspices. The orchestra made its UMS debut on October 29, 1965 under the baton of Maestro Vaclav Neumann and last appeared in Ann Arbor on March 25, 1984.
Vladimir Ashkenazy, Chief Conductor
First Violins Bohumil Kotmel Miroslav Vilimec Concertmasters
Petr Kristian Petr Novobilsky Jifi Kubita Jan Buble Jan Jouza Stanislav Bodlak Vlastislav Horak Vojtech Jouza Otakar BartoS Alexadr Balek Vaclav Rehak Jindfich Vacha Zdenek Zelba Viktor Mazacek Jifi Pospichal Pavel Nechvile Milan Vavfinek Zdenek Stary
Second Violins Frantisek Havlin Pavel Arazim Vaclav Prudil Frantisek Bartik Jan Ludvik Frantisek Vokil Petr MareS Petr Hadraba Jan Jiru
Marcel Kozanek Zuzana HijkovS Jifi Seveik Jan Kvapil Petr Havlin Veronika Jiru Aida Shabuova
Karel Spelina Karel Rehak Jaroslav Pondeliiek Stanislav Kodad Ivan Pazour Jaromir Paviiek Petr 2darek Jaroslav Kroft ReneVacha Jan Simon Jan Marecek Jifi Rehak Lukai Valasek Jifi Posledni
FrantiSek Host Josef Spaiek Josef Dvorak Jifi Sladeiek Ladislav PospiSi] Vladimir ManouSek Vlasta Velan Jan Kopeck Cestmir Vrinek Karel Stralczynsky Frantifck Lhotka Jakub Dvorak Peter Misejka Jan Stros Tomai Hostifka
Double Basses Jifi Hudec Vit Mach Pavel Nejtek Jifi Valenta Zdenek Benda Jaromfr Cernik Martin Hilsky Roman Koudelka Jakub Waldmann Ondfej li.ik.ir
Flutes JiriValek Radomir Pivoda Karel Novotny Roman Novotny Jan Machat
FrantiSek Kimel Ivan S?quardt Jifi Mihule Vojtech Jouza Jifi Zelba
Clarinets FrantiSek Blaha TomaS Kopafek Zdenek Tesaf Ivan Doksansty Petr Sinkule
Bassoons Jifi Seidl
FrantiSek Herman Ondfej Roskovec Jaroslav Kubita Josef Ketner
Zdenek Tylsar TomaS Secky Jifi Havlik Stanislav Suchanek Zdenek Divoky Emanuel Hrdina Bedf ich Tylsar Ondfej Vrabec Jindfich Kolaf
Trumpets Miroslav Kejmar Zdenek Sediy Jifi Sediy Antonin Pecha
Jaroslav Halif Trombones Jifi Odchazel Bfetislav Kotrba Jaroslav Tachovsky Jaroslav Lisy Jifi Sulicky Karel Kucera
Percussion Vaclav Mazacek Jifi Svoboda Vaclav Vojak Daniel Mikolasek Pavel Polivka
Piano Jaroslav Saroun
Technicians Jaroslav Sura Vit Kindl
General Director Ing. Jifi Kovaf
Ing. Miroslav Klat
Operations Manager Ing. Bohumil Antony
Tour Physician Dr. Milan Minaf
Columbia Artists Management, Inc.
Tim Fox & Diane Saldick
The Watts Prophets
Richard Dedeux, Amde Hamilton, and Otis O'Solomon
with special guest Ton i Blackman joined by Dada (aka Dwayne Richardson) and Boogieman Ghost (aka Jerome Brisbane)
Program Saturday Evening, April 8,2000 at 8:00
Michigan Theater, Ann Arbor, Michigan
Talk UpNot Down
of the 121st Season
The photographing or sound recording of this concert or possession of any device for such photographing or sounil recording is prohibited.
Support provided by media sponsors, WEMU and Metro Times.
This performance is made possible with the support of the Michigan Council for Arts and Cultural Affairs.
Special thanks to Abbey Stewart and Alishy Fenty, Institute for Research on Women and Gender, the U-M Girls, U-M Department of Theater, Angie Beatty, Center for Afroamerican and African Studies, and Amit Pandya, Tony Smith and Addis Mitchell for their assistance in this residency.
The piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Booking Direction by David Lieberman Artists Representative.
Large print programs are available upon request.
The history of The Watts Prophets began prior to 1965, when few white Americans out?side of Los Angeles were aware of the community of Watts an enclave of working class African-Americans just south of the downtown skyscrapers. Forty square blocks of shops, churches, parks and families with a unique cultural and eco?nomic base were slowly deteriorating under the outside pressures of urban renewal and the overall population growth of the greater Los Angeles area.
In the 1950s, Watts supported an aston?ishing array of creative endeavors. Seminal artists like Ornette Coleman, Charlie Mingus and Don Cherry gave birth to much of their artistic legacy in the small clubs and theatres along Central Avenue in the community of Watts.
The anonymity of Watts in the 1950s and early 1960s was lost forever after the explosive confrontation between the com?munity and a Los Angeles police force in 1965. Walter Cronkite and a vast part of America called it The Watts Riots. For the community it was more a rebellion, an inevitable confrontation with what they experienced as an occupying army. However one sees it now, the event brought the com?munity of Watts to the consciousness of all America and sustains it there now more than thirty years later.
Out of the smoke and ashes, the process of rebuilding included the efforts of Budd Schulberg (Academy Award-winning screen?writer for On the Waterfront) to create in his Watts Writers Workshop an opportunity for local citizens to express themselves and their culture by encouraging art and literacy. It was the Watts Writers Workshop that bore the Watts Prophets.
The Watts Prophets are Richard Dedeux, Amde Hamilton and Otis O'Solomon, who live, work and create in Watts, California, something they have done for more than
thirty years. In 1967, these three, the best of the students in the prestigious Watts Writers Workshop, won their first amateur talent contest as a nameless group. But then, after they recitedchanted spokesungwitnessed their unique jazz-accompanied topical poem, an audience member dazzled by their performance shouted, "They must be the Watts Prophets!"
The earliest work by the twenty-some?thing aged poets (as documented in their earliest recordings) was an expression of their rage against powerlessness. Racism, poverty and violence were their everyday realities and provided the thematic founda?tion for what become a very unique style -what many today acknowledge as the roots of rap.
Tonight's performance marks The Watts Prophet's Michigan debut as well as their debut appearance under UMS auspices.
After a few years as one of The Watts Prophets, Richard Anthony Dedeaux started working as a freelance producer for KCET, KNBC and other radio stations. He has worked as a creative writing instructor for the Los Angeles City Schools, the Mafundi Institute in Watts and at the Pasadena Community Center. Mr. Dedeaux has acted with the Irish Repertoire Theater and has toured the country reading poetry. He has appeared opposite to Richard Pryor, Marvin Gaye, Minnie Riperton and Stevie Wonder.
Upon joining the Watts Writers Workshop under Budd Schulberg (WhatMakes Sammy Run, On The Waterfront), Amde Anthony Hamilton entered into a new phase in his life and emerged as one of The Watts Prophets. Success was fleeting and more emotionally satisfying than financially remunerative. Hamilton spent a year teach-
ing poetry at San Francisco State University but quickly came back to his roots in Watts, doing social work with the Brotherhood Crusade, working as coordinator of special programs at Drew Postgraduate Medical School, serving as associate director of the Black Commission on Alcoholism, serving as president of Classic Cut (contractors) and working as a youth counselor.
Otis O'Solomon became one of The Watts Prophets after joining the Watts Writers Workshop. Once the initial success had passed, O'Solomon embarked on a career in the arts, editing and designing a book of original poetry from The Watts Prophets' work and other poets, writing for the Los Angeles Times, producing poetry exhibitions and contests under the banner of his com?pany, Artistic Heart; and presenting programs on black history for Xerox, TRW, Rockwell, and Hughes Aircraft. He wrote the commen?tary material for songbooks on Quincy Jones, Marvin Hamlisch and Cannonball Adderly and has worked in television, film and the music industry.
Hip-hop artist and educator Toni Blackman has won acclaim as a rap lyricist, vocalist, actress and writer. She has served as co-produc?er and featured artist with the Washington Performing Arts SocietySmithsonian and the Words, Beats and Movement festival; performed at the NEA Spring Arts Festival and the Paul Robeson Festival with the Hip-Hop Arts Movement (HHAM), which she founded; was featured in 360 Degrees: The National Back Poetry Festival, the 1999 International Spoken Word Festival, the 1999 Lilith Fair Tour, Fox News, BET's Teen Summit, RapCity, and Buy the Booh, co-authored and acted in The Hip-Hop Nightmares of Jujube Brown, which was per-
formed at the 1999 National Black Theater Festival and the Nuyorican Poets Cafe; and produced I Hate Valentine's Day: A Plea for Real Love.
Ms. Blackman founded and serves as the artistic director of the Freestyle Union, a non-profit organization dedicated to the elevation of hip-hop music and culture. The Africa Exchange Foundation and Arts
International funded her and the Freestyle Union for collabo?ration between Freestyle Union artists and the African hip-hop community. Recently, the organization was invited to a White House reception
with Bill and Hillary Clinton and performed in America's Millennium Celebration.
Last year, Ms. Blackman won a two-year fellowship with Echoing Green Foundation in New York and spoke at the Harvard University Summit on Social Capital and the Arts. She is also a published poet whose work has appeared in the Omawe Journal, Fast Talk, Full Volume, and 360: The Anthology.
Ms. Blackman received the Mayor's Art Award for Outstanding Emerging Artist in 1998 and the 1995 Community Achievement Award and Rapper of the Year awards from the Washington Area Music Association (WAMA). This month she is serving as an artist-in-residence at the University of Michigan (and is the first MC to do so) and later will serve in the same position at Miami-Dade College.
Tonight's performance marks Toni Blackman's debut under UMS auspices.
Trisha Brown Dance Company
Trisha Brown, Artistic DirectorChoreographer
Trisha Brown, Kathleen Fisher, Diane Madden, Mariah Maloney, Brandi Norton, Seth Parker, Stacy Matthew Spence, Todd Stone, Katrina Thompson, Keith A. Thompson, Abigail Yager
LaRue Allen, Executive Director
Program Wednesday Evening, April 12,2000 at 8:00
Power Center, Ann Arbor, Michigan
Seventy-fifth Performance of the 121st Season
J. S. Bach Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is made possible with the support of the Michigan Council for Arts and Cultural Affairs.
Additional support provided by the National Endowment for the Arts.
Special thanks to the U-M Department of Dance, the Institute for Research on Women and Gender, and the Center for Education of Women for their assistance in this residency.
Trisha Brown Dance Company appears by arrangement of IMG Artists, New York, NY.
Large print programs are available upon request.
CantoPianto (1998) running time thirty-seven minutes
Choreography Trisha Brown
Music Claudio Monteverdi, L'Orfeo
Conductor Rene Jacobs,
Sound Effects James Dawson
Lighting Jennifer Tipton
Costumes Burt Barr
Dresses by Suzanne Gallo
Prologue Decor Roland Aeschlimann
Dancers Kathleen Fisher, Mariah Maloney, Brandi Norton,
Seth Parker, Stacy Matthew Spence, Todd Stone, Katrina Thompson, Keith Thompson, Abby Yager
Flying by Foy
Musica invites us to listen to the story of Orpheus, son of the god Apollo and master of the lyre, and his beloved Eurydice. Once scorned by the beau?tiful Eurydice, Orpheus wins her love only to lose her when she is bitten by a snake on their wedding day. A messenger brings him the tragic news and he vows to do the unthinkable descend to the underworld to gain her release from death. He assents to one condition, not to look upon his wife until she is safely back on earth. In a moment of uncertainty he glances back to reassure himself that Eurydice is with him, and suffers a devastating second loss. Grief stricken, he now rejects the company of all women. To punish him for this slight, the Bacchae, female followers of the god Bacchus, send him to his own death, tearing him limb from limb.
La Musica Katrina Thompson
The Snake The Company
Lasciate Shepherds and Nymphs The Company
Rosa del del Orfeo Euridice Dancer Keith Thompson Abigail Yager Mariah Maloney
lo non dirb Orfeo Euridice Keith Thompson Abigail Yager
Lasciate Shepherds and Nymphs The Company
Ecco Pur Orfeo Shepherds and Nymphs Keith Thompson The Company
Messaggiera Kathleen Fisher
Journey to the Underworld
Nulla Impresa Dancer Com di Spiriti Abigail Yager The Company
Possente Spirto Dancer Orfeo Kathleen Fisher Seth Parker, Stacy Matthew Spence, Todd Stone, Keith Thompson
Second Loss Orfeo Euridice Spirits Todd Stone Abigail Yager Kathleen Fisher, Seth Parker, Stacy Matthew Spence, Keith Thompson
The Death of Orfeo
Kathleen Fisher, Mariah Maloney, Brandi Norton, Seth Parker, Stacy Matthew Spence, Keith Thompson, Abigail Yager Todd Stone
This work was made possible in part by the commissioning support of the American Dance Festival, De Singel Antwerpen, Hebbel Theater, La Monnaie, and Springdance Utrecht 1999.
Additional funding has also been contributed by the Nathan Cummings Foundation, The National Endowment for the Arts, New England Foundation for the Arts, The New York State Council on the Arts, the Shubert Foundation, and the Margaret Cullinan Wray Charitable Lead Annuity Trust.
running time fifty-five minutes
Choreography Trisha Brown
Music Johann Sebastian Bach
Musical Offering, BWV 1079
Vioion i Unisono
Canon a 2
Canon a 4
Musical Director and Kenneth Weiss
Lighting Jennifer Tipton
Dancers Kathleen Fisher, Mariah Mai
Seth Parker, Stacy Matthew Spence, Todd Stone, Katrina Thompson, Keith Thompson, Abigail Yager
The creation of this work was made possible in part with the commissioning support of La Monnaie, the KunstenFESTIVALdesArts, the Hebbel Theater, the Krannert Center -University of Illinois at Urbana-Champaign, Lincoln Center Productions and Montpellier Danse Festival International. Additional funding has also been provided by the National Endowment for the Arts and the Andrew W. Mellon Foundation, JCT Foundation, Engelhard Foundation, Nathan Cummings Foundation, and the National Dance Residency Program, a program underwritten by the Pew Charitable Trusts and administered at the New York Foundation for the Arts.
In 1960, at the age of twenty-three, Trisha Brown became one of the lead?ers of New York's Judson Dance Theater, the revolutionary movement that changed modern dance forever. Ms. Brown and her collaborators were hailed as the creators of "post-modern dance" and were positioned in the center of a "hot-bed of dance revolution." From that moment she has had a continuous influence on contemporary choreography, imposing visual arts standards on the body, and creat?ing a dance vocabulary that is reinvented with each new work.
Ms. Brown's early choreography used the city's architecture; performances took place on rooftops, rafts, interior walls, and the sides of buildings. After founding the Trisha Brown Company in 1970, she began a series of large-scale theatrical productions which transformed traditional stage space, collaborating with such artists as Robert Rauschenberg, Donald Judd, Laurie Anderson, Nancy Graves, Fujiko Nakaya, and John Cage. In 1986, she choreographed and danced in Bizet's Carmen, directed by Lina Wertmiiller.
Ms. Brown creates work in cycles, typi?cally exploring movement ideas over the course of three or four dances. The first work in her Music Cycle was M.O., a fifty-five-minute dance set to Bach's Musical Offering. That was followed by Twelve Ton Rose, with music from Anton Webern's Opus Nos. 5 and 28, a work hailed by Jennifer Dunning of The New York Times as "a dance so filled with mystery and beauty that it promises to become a signature work for the choreog?rapher." Ms. Brown's highly acclaimed pro?duction of Monteverdi's opera L'Orfeo had its world premiere at the Theatre Royal de la Monnaie in Brussels in May 1998, then traveled on to the Barbican Centre in London, the Festival International d'Art Lyrique et de Musique in Aix-en-Provence, and the Theatre des Champs Elysees in Paris. L'Orfeo
had its American premiere in June 1999 at the Brooklyn Academy of Music. A revival and world tour are planned for 2002.
Ms. Brown is currently at work on a full-evening jazz trilogy, with original music by composer Dave Douglas, visual presenta?tion by renowned artist Terry Winters, and lighting design by Jennifer Tipton. The first two parts of the trilogy, Five Part Weather Invention and Rapture to Leon James, had their respective premieres at Antwerp's de Singel and the Kennedy Center in Washington, DC, and will have their New York premieres at the Company's Thirtieth Anniversary Season at the Joyce Theater in May 2000. Jennifer Dunning of The New York Times described Five Part Weather Invention as "fresh and sweet and filled with surprising gaiety," and Jean Battey Lewis of The Washington Times praised Rapture to Leon James as "freewheeling" and "marvelous." The entire trilogy will be presented at the American Dance Festival this summer.
Tonight's performance marks the Trisha Brown Dance Company's debut under UMS auspices.
The first woman to receive the coveted MacArthur Foundation Fellowship in choreography, Trisha Brown has received many other honors and awards, including five fellowships from the National Endowment for the Arts, and two John Simon Guggenheim Fellowships. In 1987, she received both a Dance Magazine Award for "twenty-five years of sustained innova?tion," and the Laurence Olivier Award for "most outstanding achievement in dance." In 1994 Ms. Brown was the recipient of the Samuel H. Scripps American Dance Festival Award; in 1996 she was awarded the Prix de la Danse de la Societe des Auteurs et Compositeurs Dramatiques; and in 2000 she
was named Officier dans VOrdre des Arts et des Lettres in France, where she has been dubbed the "high priestess of post-modern dance." Ms. Brown served on the National Council on the Arts from
May 1994 to November 1997. She received an honorary doctorate from Mills College and was inducted as an Honorary Member of the American Academy of Arts and Letters in May 1997.
Ms. Brown's work has been performed throughout the US and in Australia, Canada, China, Japan and the former Soviet Union as well as in France, Germany, Belgium, England, Italy, Switzerland, Poland, the Czech Republic, and Hungary.
Born in Aberdeen, Washington, Ms. Brown received her formal dance training at Mills College in California and studied with Louis Horst at the American Dance Festival at Connecticut College. Her choreography has been documented in numerous books, periodicals, videos and television programs.
Kathleen Fisher was born in Bradford, Illinois. At the University of Illinois in Champaign, Urbana, she studied dance and music and was the recipient of an Illinois State Scholarship and Lisa Carducci Memorial Award. Currently, Ms. Fisher studies Alexander technique with June Ekman and enjoys investigating improvisa-tional forms. She has been continually inspired watching and studying with Andrew Harwood. She has taught and per?formed for the Trisha Brown Company since December 1992.
Mariah Maloney was born and raised in Homer, Alaska where she studied creative movement with Jill Berryman. She earned a BFA in dance performance from SUNY Purchase. She has danced with Wally Cardona, KIPOS, Meg WolfeWild Angels Unlimited and David Hurwith. Ms. Maloney currently studies at the Klein studio with Barbara Mahler and Susan Klein. Ms. Maloney joined the Trisha Brown Company in September 1995.
Brandi L. Norton began her dance training with Norman Shelburne in Alaska where she was born and raised. She continued her studies at The Julliard School under the direction of Benjamin Harkarvy, and received her BFA in 1996. She has since danced with the Carolyn Dorfman Dance Company and Brian Brooks Moving Company. She joined the Trisha Brown Company in 1998.
Seth Parker comes from Kathleen, Florida. Following his graduation in 1998, from Harrison Performing Arts Center in Lakeland, Florida, he moved to New York to pursue a career in dance. Seth joined the Trisha Brown Company in 1999.
Stacy Matthew Spence was born in Louisiana and raised in Colorado. He received his BA in Dance from Loretto Heights College in Denver and his MFA from Tisch School of the Arts at New York University. Stacy has danced and collaborated with choreographer Polly Motley and filmmaker Molly Davies, Aleta Hayes, Eun Me Ahn, Regina Nejman, Sarah Suatoni, Linda Austin, The Phyllis Lamhut Dance Company, Hilary Easton and Dancers, and has performed at The Yard as part of the Choreographers and Dancers Residency. Stacy has also shown his own work at Context Hall, Tisch School of the Arts under the guidance of Bessie Schonberg, and Movement Research at Judson Church. He joined die Trisha Brown Company in July 1997.
Ann Arbor Archive
Tonight's performance is the UMS debut of Trisha Brown and her company. While many might assume that it marks Ms. Brown's Ann Arbor and Michigan debuts, one need only look back to the now-mythic Ann Arbor Once Festival for the real story:
"In 1966, Brown performed A String. The piece was exactly that, a string of three dances, Motor (1965), Homemade (1965), and Inside (1966). Motor, originally done in a parking lot in Ann Arbor, Michigan for the Once Again Festival, was a duet for Brown on a skate?board (which provided the time structure) and an unrehearsed driver in a Volkswagen (whose headlights provided the lighting)."
Quote taken from Terpsichore in Sneakers: Post-Modern Dance by Sally Banes.
Todd Lawrence Stone has danced with Irene Hultman Dance Company and Wil Swanson. He has also worked with Pearl Lang Dance Company, Bill T. JonesArnie Zane Dance Company, and Neta Pulvermacher and Dancers. Todd graduated from SUNY Purchase in 1995 with a BFA in Dance. He was selected to tour with the SUNY Purchase Dance Company in Taiwan and at the La Boule Dance Festival in France. Todd was first invited in 1993 to act as guest teacher and choreographer for the Music In Motion Dance Company of VA. His own work has been presented at various New York City venues. Todd studies with Janet Panetta.
Katrina Thompson was born and raised in Alaska. She earned a BFA in Dance from Cornish College of the Arts in Seattle, WA. While in Seattle, she performed in the works of Wade Madsen, Joanna Mendl Shaw, and Lila York. Since moving to New York she has worked with Michael Mao Dance, Artichoke Dance Company, American Dance Ensemble, and Mary Seidman and Dancers at the Jacob's Pillow Dance Festival. This is Katrina's first season with the Trisha Brown Company.
Keith A. Thompson comes from Dayton, Ohio. He began his dance training at Ohio State University. From there, he moved to
Minneapolis where he was a member of Zenon Dance Company. Mr. Thompson has worked with Doug Varone, Danny Buraczeski and Bebe Miller. Since moving to New York City in 1991, he has danced with Dan Wagoner and Dancers, Jacob's Pillow Men Dancers and CreachKoester. Mr. Thompson joined the Trisha Brown Company in December of 1992.
Abigail Yager is originally from Boston, Massachusetts. She received her BA from Mount Holyoke College where she com?bined studies in Philosophy, Art History, and Dance Composition. In 1991 she was awarded a full scholarship by the American College Dance Festival Association to attend the Bates Dance Festival and in previous years was given funding from Mount Holyoke College to attend the American Dance Festival and the Harvard Summer Dance Center. Since moving to New York she has worked with Sungsoo Ahn Pick Up Group, Robin Becker, Emma Diamond, Amy Cox, The Yard, JoAnna Mendl Shaw and Donna Uchizono. Currently, she studies Klein Technique with Susan Klein, yoga with Susan Braham, and Alexander Technique with Shelly Senter. Ms. Yager joined the Trisha Brown Company in 1995.
The Trisha Brown Company wishes to express deepest appreciation to the following government agencies, corporations, and foundations for their generous support:
The National Endowment for the Arts The New York State Council on the Arts
The AT&T Foundation
LeBoeuf, Lamb, Greene, & MacRae
Management Consultants for the Arts, Inc
Saff and Company
Time Warner Foundation, Inc.
Universal Limited Art EditionsULAE
The Don G. Abel and lane M. Abel
Living Trust The Brown Foundation Mary Flagler Cary Charitable Trust The Robert Sterling Clark Foundation Nathan Cummings Foundation Gladys Krieble Delmas Foundation Charles Engelhard Foundation The Fan Fox and Leslie R. Samuels
The Fifth Floor Foundation Foundation for Contemporary Performance Arts, Inc. The Fund for U.S. Artists at International Festivals and Exhibitions The Harkness Foundation for Dance Houston Endowment The Sydney & Frances Lewis Foundation The Ninah and Michael Lynne
Andrew W. Mellon Foundation Robert & Jane Meyerhoff Foundation, Inc. James E. Robison Foundation Louisa Stude Sarofim Foundation The Shubert Foundation The Andy Warhol Foundation for the
Visual Arts Margaret Cullinan Wray Charitable Lead
"These performances were made possible with public funds from the New York State Council on the Arts, a State Agency.
Over the years, Trisha Brown has enjoyed a dynamic dialogue with New York's art community, both in the exchange of ideas and in her collaborations with major painters and sculptors. Very special thanks are due to the many artists who have so generously contributed works to support the company's development:
Robert Rauschenberg Roland Aeschlimann Burt Barr John Cage Merce Cunningham Carroll Dunham Dan Flavin Nancy Graves Roni Horn Nicholas Howey Shigeko Kubata Benje LaRico Julian Lethbridge Roy Lichtenstein Elizabeth Murray Fujiko Nakaya John Newman Claes Oldenburg Nam June Paik Ellen Phelan James Rosenquist Ed Ruscha Joel Shapiro Laurie Simmons Pat Steir Billy Sullivan Robert Wilson Terry Winters Joe Zucker
Board of Trustees
Robert Rauschenberg, Chairman
Klaus Kertess, President
Jewelle Bickford, Vice-President
Michael Hecht, Treasurer
David Blasband, Secretary
Douglas Baxter, Samantha Brous, Trisha
Brown, Riccarda de Eccher, William
Goldston, Fredericka Hunter, Dorothy
Lichtenstein, Anne Livet, Ruth
Cummings-Sorensen George W.
Sweeney, Hendel Teicher, Joan Wicks
LaRue Allen, Executive Director Melissa Jacobs, Company Manager Stanford Makishi, Senior Development
Officer Diane Madden, Rehearsal Director
Carolyn Lucas, Choreography
Keith Thompson, Rehearsal
Abigail Yager, Music
Diane Madden, G. Bernardi, CantoPianto
Jan Schollenberger, Asst. to the Executive
Director Christopher Johnson, Asst. to the Artistic
Stacey Epstein, Development Associate Laura Hymers, Education Administrator Colette Barni, Production Supervisor Melissa Caolo, Stage Manager Edward De Jesus, Carpenter
Therese Barbanel, European Booking
Representation IMG Artists, Domestic Booking
Representation Ellen Jacobs and Company, Press
Representative Barbara Groves, Development Consultant
In addition to performances, the company offers classes in technique and repertory. Please call the Trisha Brown Company for more information.
The copyrights of all works performed on this program are the property of Trisha Brown all rights reserved.
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. 77i 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 from Republic Bank. Media sponsors WEMU and WDET. Co-presented with the U-M Office of Academic Multicultural Initiatives.
Yo-Yo Ma, cello Kathryn Stott, piano
Thursday, January 20, 8 p.m. Hill Auditorium Sponsored by Forest Health Services. Media sponsor WGTE.
American String Quartet
Beethoven the Contemporary Sunday, January 23, 4 p.m. Rackham Auditorium Media sponsor Michigan Radio.
Russian National Orchestra
Mikhail Pletnev, conductor Francesko Tristano 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 onin de sicclc Russian Culture with Arthur Greene, Professor of Music and Michael Makin, Professor of Slavic Languages and Literature. Winter Term, 2000. For information, http:www.umich.edu -iinetcrees or call 734.764.0351. Pre-concert Performance traditional SlavonicRussian songs performed by St. Romano's Ensemble. Monday, January 24, 7-7:45 p.m., Hill Auditorium Lobby. Free with paid admission to Russian National Orchestra concert.
Sponsored by Charla Breton Associates. Media sponsor WGTE.
Barbara Hendricks, soprano
Staffan Scheja, piano Saturday, January 29, 8 p.m. Lydia Mendelssohn Theatre PREP with Naomi Andre, U-M Professor of Music and Musicology. Saturday, January 29,7 p.m., Michigan League, Koessler Library, 3rd Floor. Presented with the generous support of The Shiffman Foundation, Sigrid Christiansen and Richard Levey. Additional support provided by Randy Parrish Fine Framing and Art. Media sponsor WGTE.
Mozart and Friends --
A Birthday Celebration Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music Sunday, January 30, 4 p.m. Rackham Auditorium Complimentary Admission
Jazz at Lincoln Center Sextet
Friday, February 4, 8 p.m. Saturday, February 5, 2 p.m. (One-Hour Family Performance) Michigan Theater
UMS Performing Arts Teacher Workshop "Jazz in the Classroom" Wednesday, February 2,4 p.m. To register call 734.615.0122. $ Jazz Combo Master Classes with the Jazz at Lincoln Center Sextet. Thursday, February 3,7 p.m., U-M School of Music. Observation only. Sponsored by Blue Nile Restaurant with support from Hudson's and the Lila Wallace-Reader's Digest Audiences for the Performing Arts Network. These concerts are part of Chamber Music America's "A Musical Celebration of the Millennium." Media sponsors WEMU and WDET.
Gothenburg Symphony Orchestra
Neeme Jarvi, conductor Yuri Bashmet, viola Saturday, February 5, 8 p.m. Hill Auditorium Made possible by a gift from David and Martha Krehbiel, "to honor the memory of Bertha and Marie Krehbiel for whom music was life." Additional support pro?vided by SAS Scandinavian Airlines, Consul Lennart Johansson and Karin Johansson, Bengt and Elaine Swenson and The Swedish Round Table Organizations. Media sponsor WGTE.
Meredith Monk Magic Frequencies A Science Fiction Chamber Opera
Wednesday, February 9, 8 p.m. Power Center
Master of Arts Interview with Meredith Monk interviewed by Beth Genne U-M Professor of Art History Dance HistoryDance. Tuesday, February 8,12 noon, U-M School of Music Recital Hall. In conjunction with the Institute for Research on Women and Gender, U-M School of Music, Center for Education of Women, U-M Department of Composition and the U-M Department of Dance. PREP "Goddess Meredith: The Genius of Meredith Monk" by Ben Johnson, UMS Director of Education and Audience Development. Wednesday, February 9, 7 p.m., Michigan League Koessler Library, 3rd Floor. Meet the Artist Post-performance dialogue from the stage. Funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from the National Endowment for the Arts and the Doris Duke Charitable Foundation. This project is supported in part by a grant from the National Endowment for the Arts. Media sponsors WDET and Metro Times.
Doudou N'Diaye Rose,
master drummer Drummers of West Africa
Thursday, February 10, 8 p.m. Hill Auditorium Master of Arts Interview with Doudou N'Diaye Rose. Interviewed by Dr. Lester Monts, Associate Provost for Academic Affairs. Thursday, February 10, 3 p.m., U-M School of Music Recital Hall. In conjunction with the Center for Afroamerican and African Studies and the U-M Office of the Provost; and the North American Secretariat for the International Center for African Music and Dance. Sponsored by Comerica, Inc. Media sponsors WEMU and Metro Times. This is a Hearland Arts Fund Program with the National Endowment for the Arts and the Michigan Council for Arts and Cultural Affairs.
Martha Clarke Vers la flamnte
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 CFl 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 Mand'mka 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 Ali Akbar Khan
Friday, March 17, 8 p.m.
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-Chavti-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.
The Ford Honors Program is made possible by a generous grant from the Ford Motor Company Fund and benefits the UMS Education Program. Each year, UMS honors ____ a world-
renowned artist or ensemble with whom we have maintained a long-standing and significant relationship. In one evening, UMS pays trib?ute to and pre?sents the artist with the UMS Distinguished Artist Award, and hosts a dinner and party in the artist's honor. This sea?son's Ford Honors Program will be held on Friday, May 5, 2000. The recipient of the 2000 UMS Distinguished Artist Award will be announced in January.
:ord Honors Program Honorees
1998 Garrick Ohlsson
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
? Murray Perahia
? Vladimir Ashkenazy
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 Mandinka 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 ? "Modern Dance in the Classroom"
For information and registration, please call 734.615.0122.
The Kennedy Center Partnership
The University Musical Society and Ann Arbor Public Schools are members of the Performing Arts Centers and Schools: Partners in Education Program of the John F. Kennedy Center for the Performing Arts. Selected because of its demonstrated com?mitment to the improvement of education in and through the arts, the partnership team participates in collaborative efforts to make the arts integral to education and creates a multitude of professional development opportunities for teachers and educators.
Special Discounts for Teachers and Students to Public Performances
UMS offers special discounts to school groups attending our world-class evening and weekend performances. Please call the Group Sales Office at 734.763.3100 for more infor?mation about discounts for student and youth groups.
UMS Camerata Dinners
Hosted by members of the UMS Board of Directors, Camerata dinners are a delicious and convenient beginning to your concert evening and are welcome to all. Our dinner buffet is open from 6:00 to 7:30 p.m. offering you the perfect opportunity to arrive early, park with ease, and dine in a relaxed setting with friends and fellow patrons. All dinners are held in the Alumni Center unless otherwise noted below. Dinner is $25 per person. Reservations can be made by calling 734.647.8009. UMS members receive reservation priority.
We are grateful to Al Rental, Inc. for their support of these special dinners.
Thursday, January 20
Yo-Yo Ma ? Monday, January 24
Russian National Orchestra
Saturday, February 5
Gothenburg Symphony Orchestra
Saturday, February 12
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 Ali Akbar Khan and Zakir Hussain Fri. Apr. 14 Australian Chamber Orchestra
Package includes valet parking at the hotel, overnight accommodations in a European-style guest room, a continental breakfast, pre-show dinner reservations at Escoffier restaurant in the Bell Tower Hotel, and two performance tickets with preferred seating reservations.
Package price is $228.00 per couple.
326 South Main Street
734.663.5555 for reservations and prices
Mon. Jan. 17 Take 6
Fri. Feb. 18 New York City Opera National
Company: The Barber of Seville Sat. Apr. 1 Czech Philharmonic Orchestra Wed. Apr. 26 Oscar Peterson Quartet
Pre-performance dinner Package includes guaranteed reservations for a preor post-performance dinner (choose any selection from the special package menu plus a non-alcoholic beverage) and reserved "A" seats on the main floor at the performance. Package price is $63.25 per person.
UMS PREFERRED RESTAURANT PROGRAM
Visit and enjoy these fine restaurants. Join us in thanking them for their generous support of UMS this season.
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
treasures. And there are numerous benefits that accrue from your investment. For exam?ple, UMS offers you a range of programs that, depending on level, provide a unique venue for:
Enhancing corporate image Launching new products
? Cultivating clients
Developing business-to-business relationships
Targeting messages to specific
Making highly visible links with arts
and education programs
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
(ofR. &P. Heydon)
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. il.ill.itin James and Cathie Gibson William and Ruth Gilkey Drs. Sid Gilman and
Carol Barbour Sue and Carl Gingles Alvia G. Golden and
Carroll Smith-Rosenberg Norm Gottlieb and
Vivian Sosna Gottlieb Linda and Richard Greene Frances Greer Alice Berberian Haidostian Taraneh and Carl Haske Anne and Harold Haugh David and Phyllis Herzig Bertram Herzog Julian and Diane Hoff Janet Woods Hoobler Robert M. and
Joan F. Howe Sun-Chien and
Betty Hsiao John and
Patricia Huntington Stuart and Maureen Isaac Mercy and Stephen Kasle Richard and
Sylvia Kaufman Thomas and
Shirley Kauper Bethany and Bill Klinke Michael and
Phyllis Korybalski Dimitri and
Suzanne Kosacheff Barbara and
Michael Kusisto Lee E. Landes Jill Latta and
David S. Bach Mr. and Mrs.
Henry M. Lee Leo and Kathy Legatski Evie and Allen Lichter Mrs. Frances M. Lohr Dean and Gwen Louis
John and Cheryl MacKrell Judy and Roger Maugh Margaret W. Maurer Paul and Ruth McCracken Joseph McCune and
Georgiana Sanders Rebecca McGowan and
Michael B. Staebler Hattie and Ted McOmber Dr. and Mrs.
Donald A. Meier Dr. H. Dean and
Dolores Millard Andrew and
Candice Mitchell Lester and Jeanne Monts Grant W. Moore Dr. and Mrs. Joe D. Morris Cruse W. and
Virginia Patton Moss Eva L. Mueller Mr. and Mrs. Homer Neal Shirley Neuman M. Haskell and Jan
Barney Newman William and
Deanna Newman Mrs. Marvin Niehuss Marylen and
Harold Oberman Gilbert Omenn and
Martha Darling Constance L. and
David W. Osier Mrs. Charles Overberger William C. Parkinson Dory and John D. Paul John M. Paulson Maxine and
Wilbur K. Pierpont Eleanor and Peter Pollack Stephen and Agnes
Reading Donald H. Regan and
Elizabeth Axelson Ray and Ginny Reilly Maria and Rusty Restuccia Ken Robinson Barbara A. Anderson and
John H. Romani Gustave and
Jacqueline Rosseels Dr. Nathaniel H. Rowe Mr. and Mrs.
Charles H. Rubin Dick and Norma Sams Maya Savarino Mrs. Richard C. Schneider
David Schottenfeld Robert Sears and
Lisa M. Waits Joseph and Patricia
Janet and Mike Shatusky Helen and George Siedel J. Barry and Barbara M.
Steve and Cynny Spencer James and Nancy Stanley Mr. and Mrs. John C.
Stegeman Victor and Marlene
Stoeffler James L. and Ann S.
Lois A. Theis Dr. Isaac Thomas III and
Dr. Toni Hoover Susan B. Ullrich Jerrold G. Utsler Charlotte Van Curler Mary Vanden Belt Ellen C. Wagner Gregory and Annette
Elise and Jerry Weisbach Angela and Lyndon
Roy and JoAn Wetzel Paul and Elizabeth
A-l Rentals, Inc. Alf Studios Allen & Kwan
Commercial Briarwood Mall Chris Triola Shar Music Company STM Inc.
J. F. Ervin Foundation Harold and Jean
Foundation Hudson's Circle of Giving The Lebensfeld
Foundation Montague Foundation The Power Foundation
M. Bernard Aidinoff Robert Ainsworth Michael and Suzan
Carlene and Peter Aliferis Dr. and Mrs. Rudi Ansbacher Catherine S. Arcure Jennifer Arcure and Eric
Janet and Arnold Aronoff James R. Baker, Jr., M.D. and
Gary and Cheryl Balint Norman E. Barnett Mason and Helen Barr Robert and Wanda Bartlett Kathleen Beck Neal Bedford and Gerlinda
Melchiori Henry J. Bednarz Ralph P. Beebe Harry and Betty Benford Ruth Ann and Stuart J.
Bergstein John Blankley and Maureen
Jane M. Bloom Ron and Mimi Bogdasarian Charles and Linda Borgsdorf Carl and Isabelle Brauer Professor and Mrs. Dale E.
David and Sharon Brooks June and Donald R. Brown Douglas and Marilyn
Campbell Jean W. Campbell Michael and Patricia
George R. Carignan Jim and Priscilla Carlson James S. Chen Janice A. Clark John and Nancy Clark Jim and Connie Cook Susan and Arnold Coran H. Richard Crane Alice B. Crawford George and Connie Cress Mary R. and John G. Curtis Mr. and Mrs. William H.
John and Jean Debbink James M. Deimen Katy and Anthony
Derezinski Delia DiPietro and Jack
Wagoner, M.D. Dr. and Mrs. Stephen W.
Molly and Bill Dobson Mr. and Mrs. Raymond D.
Dornbusch Charles and Julia Eiscndrath
Dr. Alan S. Eiser David Eklund and Jeff Green Stefan S. and Ruth S. Fajans Claudine Farrand and
Daniel Moerman Dr. and Mrs.
John A. Faulkner Dede and Oscar Feldman Dr. James F. Filgas Sidney and Jean Fine Clare M. Fingerle Susan Goldsmith and
Spencer Ford Phyllis W. Foster Bernard and Enid Galler Drs. Steve Geiringer and
Karen Bantel Thomas and
Barbara Gelehrter Beverly Gershowitz Joyce and Fred M. Ginsberg Paul and Anne Glendon Susie and Gene Goodson Dr. Alexander Gotz Cozette Grabb Dr. and Mrs.
William A. Gracie Elizabeth Needham Graham Dr. John and
Renee M. Greden John and Helen Griffith Leslie and Mary Ellen Guinn Helen C. Hall
Mr. and Mrs. Elmer F. Hamel William Hann Susan Harris Paul Hysen and
Jeanne Harrison Clifford and Alice Hart Mr. and Mrs.
E. Jan Hartmann Anne Vance Hatcher Nina E. Hauser Jeannine and Gary Hayden Fred and Joyce Hershenson Mrs. W.A. Hiltner Mr. and Mrs.
William B. Holmes David and Dolores Humes Ronald R. and
Gaye H. Humphrey John and Gretchen Jackson James and Dale Jerome Frank and Sharon Johnson Billie and Henry Johnson Robert L. and
Beatrice H. Kahn Dr. and Mrs.
Mark S. Kaminski Herbert Katz Richard L. Kennedy Robert and Gloria Kerry Howard King and
Elizabeth Sayre-King Dick and Pat King Rhea and Leslie Kish Hermine R. Klingler Philip and
Jim and Carolyn Knake Samuel and Marilyn Krimm Bud and Justine Kulka David and Maxine Larrouy John K. Lawrence Ted and Wendy Lawrence Laurie and Robert LaZebnik Ann M. Leidy Richard LeSueur Pat and Mike Levine Myron and Bobbie Levine Carolyn and Paul Lichter Richard and Stephanie Lord Mr. and Mrs.
Carl J. Lutkehaus Brigitte and Paul Maassen Mark Mahlberg Suzanne and Jay Mahler Edwin and Catherine Marcus Geraldine and
Sheldon Markel Chandler and
Mary Matthews Richard and
Elizabeth McLeary Thomas B. and
Deborah McMullen Ted and Barbara Meadows Bernice and Herman Merte Valerie Meyer Leo and Sally Miedler Myrna and Newell Miller Brian and Jacqueline Morton Hillary Murt and
Bruce A. Friedman Martin Neuliep and Patricia
Len and Nancy Niehoff Dr. and Mrs.
Frederick C. O'Dell Bill and Marguerite Oliver Mr. and Mrs.
James C. O'Neill Mark and Susan Orringer Marysia Ostafin and
George Smillie Shirley and Ara Paul Margaret and Jack Petersen Lorraine B. Phillips William and Betty Pierce Murray and Ina Pitt Stephen and Bettina Pollock Richard L. Prager and
Lauren O'Keefe Richard H. and Mary B.
V. Charleen Price Bradley and Susan Pritts Mrs. Gardner C. Quarton William and Diane Rado Mrs. Joseph S. Radom Jim and leva Rasmussen Jim and Bonnie Reece Rudolph and Sue Reichert Mary R. Romig-deYoung Arthur J. Rose Mrs. Irving Rose Dr. Susan M. Rose Jeri Rosenberg and
Victor Strecher Ronald and Donna Santo Sarah Savarino Peter C. Schaberg and
Norma J. Amrhein David and Marcia Schmidt Meeyung and
Charles Schmitter Dr. John J. H. Schwarz Julianne and Michael Shea Howard and Aliza Shevrin Frances U. and
Scott K. Simonds Scott and Joan Singer George and
Mary Elizabeth Smith Dr. Elaine R. Soller Cynthia J. Sorensen Mrs. Ralph L. Steffek Dr. and Mrs. Jeoffrey K. Stross Nancy Bielby Sudia Charlotte B. Sundelson Brian and Lee Talbot Bob and Betsy Teeter John D. Tennant and
Barbara Campbell Scott Bennett Terrill Joan Lowenstein and
Jonathan Trobe Marilyn Tsao and Steve Gao Dr. Sheryl S. Ulin and Dr.
Lynn T. Schachinger Bryan and Suzette Ungard Walter E. Vashak Kate and Chris Vaughan Sally Wacker Warren Herb and
Florence Wagner Dana M. Warnez Willes and Kathleen Weber Karl and Karen Weick Raoul Weisman and
Ann Friedman Robert O. and
Darragh H. Weisman Dr. Steven W. Werns B. Joseph and Mary White Harry C. White and Esther
R. Redmount Clara G. Whiting Brymer Williams Frank E. Wolk J. D. Woods
David and April Wright Phyllis B. Wright Don and Charlotte Wyche Mr. and Mrs. Edwin H. Young
The Barfield CompanyBartech Charles Reinhart Company
Realtors Detroit and Canada Tunnel
Detroit Swedish Council Inc. Guardian Industries
Corporation King's Keyboard House
Quinn EvansArchitects Rosebud Solutions Stirling Thermal Motors, Inc. Swedish Club
The Kennedy Center for the Performing Arts
Anastasios Alexiou Mike Allemang and
Denise Boulange Christine Webb Alvey Dr. and Mrs.
David G. Anderson David and Katie Andrea Harlene and Henry Appelman Jeff and Deborah Ash Mr. and Mrs. Arthur J. Ashe, HI Mr. and Mrs. Dan E. Atkins III Jim and Patsy Auiler Jonathan and Marlene Ayers Dr. and Mrs. Daniel R. Balbach Lesli and Christopher Ballard Cy and Anne Barnes Gail Davis Barnes Victoria and Robin Baron Leslie and Anita Bassett Astrid B. Beck and
David Noel Freedman Srirammohan S. and
Shamal Beltangady Linda and Ronald Benson Robert Hunt Berry Sheldon and Barbara Berry Mary Steffek Blaske and
Thomas Blaske Cathie and Tom Bloem Harold and Rebecca Bonnell Roger and Polly Bookwalter Dr. and Mrs. Ralph Bozell Dr. and Mrs. C. Paul Bradley lames and Jane Bradner Mr. loel Bregman and
Ms. Elaine Pomeranz Mr. and Mrs. Gerald Bright Allen and Veronica Britton Olin L. Browder Morton B. and Raya Brown Virginia Sory Brown Dr. and Mrs. Donald T. Bryant Trudy and Jonathan Bulkley Arthur and Alice Burks Margot Campos Marshall F. and Janice L. Carr Jeannette and Robert Carr James and Mary Lou Carras Tsun and Siu Ying Chang Dr. Kyung and Young Cho Soon K. Cho Catherine Christen Dr. and Mrs. David Church Robert J. Cierzniewski Charles and Lynne Clippert Gerald S. Cole and
John and Penelope Collins Wayne and Melinda Colquitt Edward J. and
Anne M. Comeau Lolagene C. Coombs Kathleen Cooney and
Gary Faerber Paul N. Courant and
Marta A. Manildi Cliff and Laura Craig Merle and Mary Ann Crawford Mr. Michael J. and
Dr. Joan Crawford Constance Crump and
Jay Simrod Charles and
Kathleen Davenport Ed and Ellie Davidson Joe and Nan Decker Penny and Laurence B. Deitch Pauline and Jay J. De Lay Elena and Nicholas Delbanco Ellwood and Michele Derr Marnee and John DeVine Elizabeth Dexter Macdonald and Carolin Dick Heather and Stuart Dombey Dr. and Mrs.
Edward F. Domino Thomas and Esther Donahue Eugene and Elizabeth Douvan Jane E. Dutton Kathy and Ken Eckerd Martin and Rosalie Edwards Joan and Emil Engel Patricia Enns Don and Jeanette Faber Susan Feagin and John Brown Karl and Sara Fiegenschuh Carol Finerman Herschel and Annette Fink Beth B. Fischer (Mrs. G. J.) Susan R. Fisher and
John W. Waidley Jennifer and Guillermo Flores Ernest and Margot Fontheim Mr. and Mrs. George W. Ford Paula L. Bockenstedt and
David A. Fox
Howard and Margaret Fox Deborah and Ronald
Andrew and Deirdre Freiberg Lela J. Fuester
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld Gwyn and Jay Gardner Professor and Mrs.
David M. Gates Wood and Rosemary Geist Elmer G. Gilbert and
Lois M. Verbrugge Maureen and David Ginsburg Albert and Almeda Girod David and Shelley Goldberg Edward and Ellen Goldberg Irwin J. Goldstein and
Marty Mayo Lila and Bob Green Dr. and Mrs. Lazar J. Greenfield Daphne and Raymond Grew Lauretta and Jim Gribblc Carleton and Mary Lou Griffin
Bob and Jane Grover Ken and Margaret Guire Arthur W. Gulick, M.D. Don P. Haefher and
Cynthia J. Stewart Susan and John Halloran Yoshiko Hamano Robert and Jean Harris Naomi Gottlieb Harrison and
Theodore Harrison DDS Thomas and Connie Heffner J. Lawrence and
Jacqueline Stearns Henkel Carl and Charlene Herstein Russell and Elizabeth Hines Peter G. Hinman and
Elizabeth A. Young Kenneth and Joyce Holmes Ronald and Ann Holz Linda Samuelson and
Joel Howell Jane H. Hughes Ralph and Del Hulett Ann D. Hungerman Hazel Hunsche Thomas and
Kathryn Huntzicker Eileen and Saul Hymans Robert B. Ingling Margaret and Eugene Ingram Harold and Jean Jacobson Wallie and Janet Jeffries James and Elaine Jensen Ellen C. lohnson Kent and Mary Johnson Tim and Jo Wiese Johnson Elizabeth and Lawrence Jordan Susan and Stevo Julius Steven R. Kalt and
Robert D. Heeren Perry and Denise Kantner David and Sally Kennedy Frank and Patricia Kennedy Emily and Ted Kennedy Don and Mary Kiel Tom and Connie Kinnear Paul and Dana Kissner James and Jane Kisicr Joseph and Marilynn Kokoszka Melvyn and Linda Korobkin Bert and Catherine La Du Mr. and Mrs. Henry M. Lapeza John and Theresa Lee Mr. and Mrs. Fernando S. Leon Harry and Melissa LeVine Jacqueline H. Lewis Leons and Vija Liepa Alene and Jeff Lipshaw Vi-Cheng and Hsi-Yen Liu Peter and Sunny Lo Dan and Kay Long Leslie and Susan Loomans Charles and Judy Lucas Edward and Barbara Lynn Donald and Doni Lystra Sally C. Maggio Mr. and Mrs. Stephen Maggio Virginia Mahle Melvin and Jean Manis Marcovitz Family Nancy and Philip Margolis Irwin and Fran Martin
Margaret E. McCarthy Susan McClanahan and
Bill Zimmerman Griff and Pat McDonald Eileen Mclntosh and
Charles Schaldenbrand Mr. and Mrs. Ernest Merlanti Walter and Ruth Metzger Helen Metzner Deanna Relyea and
Piotr Michalowski Prof, and Mrs. Douglas Miller leanette and Jack Miller Robert Rush Miller Kathleen and James Mitchiner Dr. and Mrs. George W. Morley A. Anne Moroun Melinda and Bob Morris Cyril and Rona Moscow Gavin Eadie and
Barbara Murphy Richard S. Nottingham Steve and Christine Nowaczyk Julie and Dave Owens David and Andrea Page Mr. and Mrs. William B. Palmer Helen I. Panchuk Dr. Owen Z. and
Barbara Perlman Jim and Julie Phelps Joyce H. and Daniel M. Phillips William and Barbara Pierce Frank and Sharon Pignanelli Elaine and Bertram Pitt Richard and Meryl Place Donald and Evonne Plantinga Cynthia and Roger Postmus Philip and Kathleen Power Bill and Diana Pratt Jerry and Lorna Prescott Larry and Ann Preuss Elizabeth L. Prevot Wallace and Barbara Prince J. Thomas and Kathleen Pustell Leland and
Elizabeth Quackenbush Anthony L. Reffells and
Elaine A. Bennett Carol P. Richardson Jack and Margaret Ricketts Constance Rinehart John and Marilyn Rintamaki Jay and Machree Robinson Mr. and Mrs. Stephen J. Rogers Robert and Joan Rosenblum Gay and George Roscnwald Craig and Jan Ruff Sheldon Sandweiss Michael and Kimm Sarosi Albert J. and Jane L. Sayed Drs. Edward and
Virginia Sayles Sue Schroeder
Monica and David E. Schteingart Suzanne Selig Marvin and Harriet Selin Ruth and Jay Shanberge Constance M. Sherman George and Gladys Shirley Hollis and Martha A.
Irene and Oscar Signori Sandy and Dick Simon
Robert and Elaine Sims John and Anne Griffin Sloan Tim and Marie Slottow Alene M. Smith Carl and Jari Smith Radley and Sandra Smith Mrs. Robert W. Smith Jorge and Nancy Solis Katharine B. Soper Yoram and Eliana Sorokin Mr. and Mrs. Neil J. Sosin Dr. Hildreth H. Spencer L. Grasselli Sprankle Francyne Stacey Barbara Stark-Nemon and
Barry Nemon Sally A. Stegeman Virginia and Eric Stein Frank D. Stella Professor Louis and
Dr. and Mrs. Stanley Strasius Joe Stroud and Kathleen Fojtik Peg Talburtt and Jim Peggs Ronna and Kent Talcott Eva and Sam Taylor Mary D. Teal Paul E. Thielking Mrs. E. Thurston Thieme Mary H. Thieme Edwin J. Thomas Bette M. Thompson Mr. and Mrs. W. Paul Tippett Patricia and Terril Tompkins Dr. and Mrs. Merlin C. Townley Angie and Bob Trinka Paul and Fredda Unangst Dr. and Mrs. Samuel C. Ursu Kathleen and Edward Van Dam Hugo and Karla Vandersypen Jack and Marilyn van der Velde Tanja and Rob Van der Voo Michael Van Tassel William C. Vassell Shirley Verrett Carolyn and Jerry Voight John and Maureen Voorhees Mrs. Norman Wait Virginia Wait Charles R. and
Barbara H. Wallgren Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner Mr. and Mrs. Robert M. Warner Drs. Philip and Maria Warren Robin and Harvey Wax Barry and Sybil Wayburn Mrs. Joan D. Weber Deborah Webster and
George Miller Walter L. Wells Marcy and Scott Westerman Reverend Francis E. Williams R. Jamison Williams Jr. Christine and Park Willis Mrs. Elizabeth Wilson Thomas and Iva Wilson Charlotte Wqlfe Mr. and Mrs. A. C. Wooll MaryGrace and Tom York Ann and Ralph Youngren Gail and David Zuk
Alice Simsar Fine Art
The Ann Arbor District Library
Atlas Tool, Inc.
Coffee Express Co.
Complete Design and
Automation Systems Inc. Diametron, Inc. Dupuis & Ryden P.C. General Systems
Consulting Group lenny Lind Club of
Michigan, Inc. Malloy Lithography Pollack Design Associates Scientific Brake and
Equipment Company A. F. Smith Electric, Inc. Swedish American Chamber
of Commerce Thalner Electronic Labs Milan Vault
The Sneed Foundation, Inc.
lohn R. Adams
Tim and Leah Adams
Kazu and Nobuko Akitomo
Gordon and Carol Allardyce
lames and Catherine Allen
Richard and Bettye Allen
Barbara and Dean Alseth
Helen and David Aminoff
Dr. and Mrs. Charles T. Anderson
Joseph and Annette Anderson
Drs. lames and
Cathleen Culotta-Andonian Timothy and Caroline Andresen Barbara T. Appelman Patricia and Bruce Arden Bert and Pat Armstrong Thomas and Mary Armstrong Gaard and Ellen Arneson Mr. and Mrs. Lawrence E. Arnett Rudolf and Mary Arnheim Elaine and Richard Aron Dwight Ashley Eric M. and Nancy Aupperle John and Rosemary Austgen Erik and Linda Lee Austin Shirley and Don Axon Virginia and Jcrald Bachman lane Bagchi
Chris and Heidi Bailey Prof, and Mrs. J. Albert Bailey Richard W. Bailey and lulia
Huttar Bailey Doris I. Bailo Robert L. Baird C. W. and loann Baker Dennis and
Pamela (Smitter) Baker Laurence R. and Barbara K. Baker Helena and Richard Balon Drs. Nancy Barbas and
Jonathan Sugar lohn R. Barcham David and Monika Barera Maria Kardas Barna
Joan W. Barth
Robert and Carolyn Bartle
Dorothy W. Bauer
Mrs. [ere Bauer
Mr. and Mrs. Gilbert M. Bazil, Jr.
Kenneth C. Beachler
James and Margaret Bean
Mr. and Mrs. John C. Beatty
James M. Beck and
Robert J. McGranaghan Mr. and Mrs. Steven R. Beckert Robert Beckley and Jytte Dinesen Robert B. Beers Steve and Judy Bemis Walter and Antje Benenson Erling and
Merete Blondal Bengtsson Linda Bennett Joan and Rodney Bentz Mr. and Mrs. Ib Bentzcn-Bilkvist Dr. Rosemary R. Berardi Jim Bergman and Penny Hommcl Harvey and
Rochetle Kovacs Herman Pearl Bernstein Gene and Kay Bcrrodin Harvey Bertcner Mark Bertz
Narcn and Nishta Bhatia Bharat C. Bhushan John and Marge Biancke Eric and Doris Billes John E. Billie and Sheryl Hirsch Jack and Anne Birchfield William and Ilene Birge Elizabeth S. Bishop Art and Betty Blair Donald and Roberta Blitz Marshall and Laurie Blondy Tom and Rosanne Bloomer Henry Blosser and Lois Lynch Dr. George and Joyce Blum Beverly J. Bole Mark and Lisa Bomia Dr. and Mrs. Frank Bongiorno Edward and Luciana Borbaly Gary Boren
Dr. and Mrs. Morris Bornstein Jeanne and David Bostian Dean Paul C. Boylan Stacy P. Brackens William R. Brashear Robert and Jacqueline Bree Patricia A. Bridges Patrick and Kyoko Broderick Lorna Brodtkorb Susan S. and Wesley M. Brown Cindy Browne
Mr. and Mrs. John M. Brueger Mrs. Webster Brumbaugh Elizabeth A. Buckncr Sue and Noel Buckner Dr. Frances E. Bull Robert and Carolyn Burack Marilyn Burhop Tony and Jane Burton Dan and Virginia Butler Joanne Cage
Louis and Janet Callaway Susan and Oliver Cameron Jenny Campbell (Mrs. D.A.) Douglass and Sherry Campbell Charles and Martha Canned Robert and Phyllis Carlson Dr. and Mrs. James E. Carpenter Deborah S. Carr
Dennis B. and Margaret W. Carroll Carolyn M. Carty and
Thomas H. Haug Laura Cathcart Dr. and Mrs. Joseph C. Cerny K. M. Chan
Bill and Susan Chandler Joan and Mark Chester Tim Cholyway
Edward and Rebecca Chudacofif Sallie R. Churchill
Brian and Cheryl Clarkson
Donald and Astrid Cleveland
Roger and Mary Coe
Alice S. Cohen
Hubert and Ellen Cohen
Hilary and Michael Cohen
Mike and Tedi Collier
Matthew and Kathryn Collins
Ed and Cathy Colone
Carolyn and L. Thomas Conlin
Patrick and Anneward Conlin
Nan and Bill Conlin
Philip E. and Jean M. Converse
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The Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important support to continue the great tra?ditions of the Society in the future.
Carol and Herb Amster
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