Press enter after choosing selection

UMS Concert Program, Friday Nov. 03 To 09: University Musical Society: Fall 2000 - Friday Nov. 03 To 09 --

Download PDF
Rights Held By
University Musical Society
OCR Text

Season: Fall 2000
University Of Michigan, Ann Arbor

university musical society
Fall 2000 season
university musical society
University of Michigan Ann Arbor
UMS leadership 3 ; 4
IMSexperience 29
UMSsupport 45
Letter from the President
Letter from the Chair
Corporate LeadersFoundations r
UMS Board of Directors ,
UMS Senate
Advisory Committee
UMS Staff
UMS Teacher Advisory Committee
General Information .d
Tickets '"i1
Group Tickets
Gift Certificates
The UMS Card
UMS History
UMS Choral Union-------
AuditoriaBurton Memorial Tower
The 20002001 UMS Season ' Education & Audience Development Dining Experiences BRAVO! ?'.
Restaurant & Lodging Packages ;___
UMS Preferred Restaurant Program UMS Delicious Experiences
Advisory Committee
Sponsorship & Advertising
InternshipsCollege Work-Study ?
UMS Advertisers {-..-.-
: Utc Lemper. Wiyne Shorter ini Herkie Hinctck (HichKl O'Neill). Havina. Cuka (DanM I. Jjhns.n)
? 'm delighted to welcome you to this performance presented by the University Musical Society (UMS) of the University of Michigan. Thank you for supporting the performing arts in our community by your attendance at this event. Please consider coming to some of our other performances this season. You'll find a complete listing beginning on page 29. UMS, now in our 122nd year, was recently recognized by Musical America as one of the five most influential performing arts present?ing organizations in the US. The others were Lincoln Center, Kennedy Center, Brooklyn Academy of Music, and Cal Performances at Berkeley. We were cited for our commitment to quality, diversity, education, community engagement, and commissioning new work from composers and choreographers. We are excited about this recognition and pleased that our 20002001 season continues our commitment to these important goals.
This season UMS will present ninety per?formances for a total audience expected to exceed 125,000 people. If current trends con?tinue, over 30 of the audience will be first-time UMS ticket purchasers, reflecting UMS' efforts to embrace all of the people in our community and to welcome them to the nine performance venues that we rent throughout southeastern Michigan. We expect to host more than 200 educational events, serving
more than 60,000 people.
More than half of our presentations this season feature artists and ensembles from outside the US, representing more than twenty nations. We will close our regular season with a UMS co-commission and world premiere featuring the Ping Chong Company and Ensemble Sequentia, bringing the number of new music and dance pieces UMS has commissioned over the past decade to twenty-five, most of them in partnership with other presenters from throughout the world.
We are able to maintain our distinctiveness thanks to you who make up our audience and to the corporations, foundations, govern?ment agencies, and thousands of individuals and families who support us through their contributions. During this extraordinary season, when, for example, UMS and the University of Michigan partner with the Royal Shakespeare Company to bring four
of Shakespeare's extraordinary history plays to Ann Arbor in an exclusive US presentation, we must raise more than half of our $8-million budget from donations. I invite you to help us in this effort by becoming a UMS member this season. For more information about membership, turn to page 45. And if you haven't done so already, consider purchasing a copy of BRAVO!, our award-winning 224-page table-top book containing recipes, legends, and lore from 120 years of UMS history. It makes a great gift, and all proceeds benefit UMS.
Overseeing our fundraising efforts with great skill is Christina Thoburn, our newly-appointed Director of Development whom I hope you'll be able to get to know. Christina came to us in April 2000 from The Cleveland Orchestra where she led foundation and gov?ernment relations. Her career also includes being managing director of the Cleveland Chamber Symphony where she developed a passion for diverse programming and community engagement. An avid knitter and baseball fan, Christina is married and the mother of three grown children. She succeeds Catherine Arcure, who left UMS to work with violinist Itzhak Perlman in New York City as Executive Director of the Perlman Music Program.
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
Kenneth C. Fischer, President
n behalf of the UMS Board of Directors, I am delighted to wel?come you to the 20002001 season. With world-renowned perform?ers bringing their artistry to our stages, new community partnerships enhanc?ing our programs, and our ever-expandin
educational activities serv?ing thousands of students and teachers throughout southeastern Michigan, it is the most exciting and comprehensive season in our 122-year history. As we enjoy tonight's
the many individuals, companies, organiza?tions and foundations whose support makes this extraordinary season possible. In con?tributing to UMS, these donors, including the corporate leaders listed on the following pages, have publicly recognized the impor?tance of the arts in our community. They have demonstrated their commitment to the quality of life in our area, and helped create new educational opportunities for students and audiences of all ages and backgrounds.
So, as we applaud tonight's performers, please join all of us at UMS in applauding our many generous contributors. They are playing an important role in the artistic life of our community, and we are truly grateful for their support.
Beverley Geltner
Chair, UMS Board of Directors
Don MacMillan President Alcan Global Automotive Products "For 121 years, the University Musical Society has engaged and enriched our community 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, Hyundai, ' Mitsubishi j
"We at Ann Arbor Acura are ; pleased to support the artistic variety and program excellence given to us by the University Musical Society."
Larry Weis President ?. ? , AutoCom Associates ?JBHSSl 'AutoCom Associates is a strong supporter of the University Musical Society one of North America's leading presenters of
the performing arts. Along with our corpo?rate public-relations
clients, we're proud to partner with UMS in bringing the arts to appreciative audiences in southeastern Michigan."
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 'Bank One, Michigan is honored to share in the University Musical Society's proud tradi?tion 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 organi?zation that provides such an important service to Ann Arbor."
Carl A. Brauer, Jr. Owner Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically support the University Musical Society in bringing great music to our community."
David G. Loesel President T.M.L. Ventures, Inc. 'Cafe Marie's support of the University Musical Society Youth Program is an honor and a priv?ilege. Together we will enrich and empower our community's youth to carry forward 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."
Charles Hall
C. N. Hall Consulting 'Music is one way the heart sings. The University Musical Society helps our hearts enjoy and par?ticipate in song. Thank you."
Eugene Miller Chairman and CEO, Comerica Incorporated 'Bravo to the University Musical Society! Their contributions are vital to the arts community. Comerica applauds their tradition of excellence, and their commit?ment to the presentation of arts and promotion of arts education."
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 mission of enhancing south?eastern 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 s
"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 enrich all our lives." ? -
Edward SuroveII President Edward Surovell Realtors "It is an honor for Edward Surovell Realtors to be able to support an institution 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." j
John M. Rintamaki Group Vice President, Chief of Staff Ford Motor Company "We believe, at Ford Motor Company, that the arts speak a universal language that can edu?cate, inspire, and bring people, cultures and ideas together. We invest in the long-term develop?ment of our arts and educational initiatives. We continue to sup?port the University Musical Society and the enriching pro?grams that enhance the lives of today's youth."
Scott Ferguson Regional Director Hudson's
"Hudson's is committed to sup?porting arts and cultural organi?zations because we can't imagine a world without the arts. We are delighted to be involved with the University Musical Society as they present programs to enrich, educate and energize our diverse community."
William S. Hann President KeyBank
'Music is Key to keeping our society vibrant, and Key is proud to support the cultural institution rated number one by Key i Private Bank clients."
Richard A. Manoogian
Chairman and CEO Masco Corporation "We at Masco applaud the University Musical Society's contributions to diversity in arts programming and its efforts to enhance the quality of life in our community."
Ronald Weiser Chairman and CEO
McKinley Associates, Inc. "The arts make our community a vibrant place to live and work. No one contributes more to that than UMS. with its innovative
cultural offerings and edu?cation for all ages.
McKinley is proud to play a 'supporting role' in these time-honored efforts."
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 wonderful cultural events it brings to our community."
Phillip R. Duryea Community President
National City Bank "National City Bank is pleased to continue our historical support of the University Musical Society, which plays such an important role in the richness of our community."
Joe 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."
Michael Staebler Partner Pepper Hamilton LLP "Pepper Hamilton congratulates the University Musical Society for providing quality perform?ances in music, dance and the?ater to the diverse community that makes up southeastern Michigan. It is our pleasure to be among your supporters."
Peter B. Corr, Ph.D. Senior Vice President, Pfizer, Inc.; Executive Vice President, Pfizer Global Research & Development; President, Worldwide Development "The University Musical Society is a cornerstone upon which the Ann Arbor community is based: excellence, diversity and quality. Pfizer is proud to support the University Musical Society for our community and our Pfizer colleagues."
Kathleen G. Charla Consultant Russian Matters
"Russian Matters is pleased and honored to support UMS and its great cultural offerings to the community."
Joseph Sesi President Sesi Lincoln Mercury "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury team is delighted to sponsor such a fine organization."
Thomas B. McMullen President Thomas B. McMullen Co., Inc. "I used to feel that a U of M Ohio State football ticket was the best ticket in Ann Arbor. Not any?more. UMS provides the best in educational entertainment."
Dr. James R. Irwin Chairman and CEO
Wolverine Technical Staffing, Inc. "For more than sixteen years our support of the University Musical Society has been in grateful appreciation of these UMS concepts: world-class programs, extremely dedicated volunteer involvement, and thoroughly committed profes?sional staff. Congratulations to UMS as it continues to enrich our wonderful Ann Arbor community."
UMS gratefully acknowledges the support of the following foundations and government agencies.
Ann Arbor Area Community
Arts Midwest ________
Chamber Music America Community Foundation for
Southeastern Michigan Detroit Edison Foundation JazzNetDoris Duke
Foundation Erb Foundation The J.F. Ervin Foundation The Ford Foundation Harold and Jean Grossman
Family Foundation The Heartland Arts Fund Hudson's Community Giving KMD Foundation i Knight Foundation
The Lebensfeld Foundation Benard L. Maas Foundation Michigan Council for Arts
and Cultural Affairs Mid-America Arts Alliance Montague Foundation The Mosaic Foundation
(of R. & P. Heydon) National Endowment
for the Arts New England Foundation
for the Arts The Power Foundation The Shiffman Foundation State of Michigan--Arts,
Cultural and Quality of
Life Grant Program Wallace-Reader's Digest Funds
UNIVERSITY MUSICAL SOCIETY of the University of Michigan
Beverley B. Geltner,
Chair Lester P. Monts,
Vice-Chair Len Niehoff,
Secretary David Featherman,
Lee C. Bollinger Janice Stevens Botsford Barbara Everitt Bryant Kathleen G. Charla Jill A. Corr Peter B. Corr Robert F. DiRomualdo Alice Davis Irani Gloria James Kerry
Leo A. Legatski Helen B. Love Alberto Nacif Jan Barney Newman Gilbert S. Omenn Joe E. O'Neal Randall Pittman t Rossi Ray-Taylor Prudence L. Rosenthal
Maya Savarino Herbert Sloan Timothy P. Slottow Peter Sparling James L. Telfer Marina v.N. Whitman Karen Wolff 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 Paul C. Boylan 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 Earl Lewis 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 -flaHB 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
Dody Viola, Chair Robert Morris, Vice-Chair Sara Frank,
SecretaryTreasurer Martha Ause Barbara Bach Lois Baru Kathleen Benton Victoria Buckler Barbara Busch Phil Cole Patrick Conlin Elly Rose Cooper Nita Cox
Mary Ann Daane Norma Davis Sally Stegeman DiCarlo Lori Director Betty Edman Michael Endres Nancy Ferrario Penny Fischer Anne Glendon Maryanna Graves Linda Greene Karen Gundersen Jadon Hartsuff Nina E. Hauser
Debbie Herbert Mercy Kasle Steve Kasle Anne Kloack Maxine Larrouy Beth LaVoie Stephanie Lord Esther Martin Ingrid Merikoski Ernest Merlanti Jeanne Merlanti Candice Mitchell Nancy Niehoff Mary Pittman
leva Rasmussen Penny Schreiber Sue Schroeder Meg Kennedy Shaw Morrine Silverman Maria Simonte Loretta Skewes Cynny Spencer Louise Townley Bryan Ungard Suzette Ungard Wendy Woods
Administration Finance
Kenneth C. Fischer,
President Deborah S. Herbert,
RSC Residency
Coordinator Elizabeth E. Jahn,
Assistant to
the President John B. Kennard, Jr.,
Director of
Administration Chandrika Patel, Senior
Accountant John Peckham,
Information Systems
Manager ,
Box Office
Michael L. Gowing,
Sally A. Cushing, Staff Ronald J. Reid, Assistant
Manager and Group
Choral Union
Thomas Sheets,
Conductor Andrew Kuster,
Associate Conductor
Jean Schneider-Claytor,
Accompanist Kathleen Operhall,
Manager Donald Bryant,
Conductor Emeritus
Christina Thoburn,
Director Mary Dwyer, Manager
of Corporate Support Lisa Michiko Murray,
Manager of
Foundation and
Government Grants Alison Pereida,
Development Assistant J. Thad Schork, Direct
Mail, Gift Processor Anne Griffin Sloan,
Assistant Director -
Individual Giving L. Gwen Tessier,
EducationAudience Development
Ben Johnson, Director Kristin Fontichiaro,
Youth Education
Dichondra Johnson,
Coordinator Anthony Smith,
Audience Development
Specialist Warren Williams,
MarketingPublic Relations
Sara Billmann, Director Aubrey Alter,
Coordinator Ryonn Clute,
Coordinator Gulshirin Dubash,
Public Relations j
Gus Malmgren, Director Emily Avers, Production
and Artist Services
Manager Jerica L. Humphrey,
Coordinator Production Supervisors
Mary Cannon
Steven Jarvi Usher Supervisors '
Paul Jomantas
Bruce Oshaben
Head Ushers Ken Holmes Joyce Holmes Brian Roddy Sanjay Pavipati Nancy Paul Edward Szabo
Michael J. Kondziolka,
Director Mark Jacobson, Manager
Erika Banks Megan Besley Patricia Cheng Patrick Elkins Mariela Flambury David Her Benjamin Huisman Laura Kiesler Dawn Low Kathleen Meyer
Helene Blatter Stephen Dimos Sara Garvey
President Emeritus
Gail W. Rector
Fran Ampey
Kitty Angus
Alana Barter
Kathleen Baxter
Elaine Bennett
Lynda Berg
Yvette Blackburn
Barbara Boyce
Letitia Byrd
Doug and Nancy Cooper
Naomi Corera
Gail Davis Barnes
Gail Dybdahl Keisha Ferguson Doreen Fryling Brenda Gluth Louise Gruppen Vickey Holley Foster Taylor lacobsen Callie lefferson Deborah Katz DebKirkland Rosalie Koenig -David Leach
Rebecca Logie Dan Long Laura Machida Ed Manning Glen Matis Kim Mobley Ken Monash Eunice Moore Amy Pohl Rossi Ray Taylor Gayle Richardson Katy Ryan
Karen Schulte Helen Siedel Joan Singer Sue Sinta Grace Sweeney Sandy Trosien Melinda Trout Sally Vandeven Barbara Wallgren Jeanne Weinch
Barrier-Free Entrances
For persons with disabilities, all auditoria have barrier-free entrances. Wheelchair loca?tions are available on the main floor. Ushers are available for assistance.
Listening Systems
For hearing impaired persons, the Power Center, Mendelssohn Theatre, and Rackham Auditorium are equipped with infrared listen?ing systems. Headphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, and Mendelssohn Theatre please call University Productions at 734.763.5213. For items lost at St. Francis of Assisi Catholic Church and the Michigan Theater, please call the UMS Production Office at 734.764.8348.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Limited street parking is also available. Please allow enough time to park
before the performance begins. Parking is complimentary 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 $10 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.
Smoking Areas
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
For phone orders and information, , please contact:
UMS Box Office Burton Memorial Tower 881 North University Avenue
"l Arbor, MI 48109-1011 oif'the University of Michigan campus
Outside the 734 area code, toll-free 1.221.1229
r online at the UMS website:
t our Power Center Box Office lerson
. to the renovation of Burton Tower, Box Office has been relocated to the er Center.
i-Fri: 10 a.m. to 6p.m. 10 a.m. to 1 p.m. .brmance hall box offices open ifl "minutes before each performance.
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. ,
any 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 years. The group sales program has grown incredibly in recent years, and our success is a direct result of the wonderful leaders who organize their friends, families, congregations, students, and co-workers and bring them to one of our events.
Last season over 10,000 people came to UMS events as part of a group, and they saved over $51,000 on some of the most popular events around! Many groups who booked their tickets early found themselves in the enviable position of having the only available tickets to sold out events including the Buena Vista Social Club, Yo-Yo Ma, the Berlin Philharmonic, the Chieftains, and many other exciting performances.
This season UMS is offering a wide variety of events to please even the most discriminat?ing tastes, many at a fraction 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 the UMS Group Sales hotline at 734.763.3100.
ooking for that perfect meaningful gift ?that speaks volumes about your taste Tired of giving flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than eighty
events throughout our season, wrapped and delivered with your personal mes?sage, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, 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 the Power Center.
MS and the following businesses thank you for your generous support by pro?viding you with discounted products and services through the UMS Card, a privilege for subscribers and donors of at least $100. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe Ann Arbor Acura Ann Arbor Art Center The Back Alley
Gourmet Bivouac Outdoor
Clothing and
Equipment The Blue Nile
Restaurant Body wise Therapeutic
Massage Cafe Marie Chelsea Flower Shop Dough Boys Bakery Fine Flowers Gandy Dancer Great Harvest John Leidy Shop
John's Pack and Ship Kerrytown Bistro King's Keyboard House Le Dog Michigan Car Services,
Inc. and Airport
Sedan, LTD Nicola's Books, Little
Professor Book Co. Paesano's Restaurant Randy Parrish Fine
Framing Regrets Only Ritz Camera One Hour
Photo Shaman Drum
Bookshop SKR Downtown SKR Uptown
oin the more than 20,000 savvy people who log onto each month!
Why should you log onto
Tickets Forget about waiting in long ticket lines--order your tickets to UMS performances online! And now you'll know your specific seat location before you buy online, thanks to our new relationship with!
CyberSavers 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 in-depth artist information. Learn about the artists and repertoire before you enter the hall!
Sound Clips Listen to recordings from UMS performers online before the concert.
BRAVO! Cookbook Order your UMS hardcover coffee-table cookbook featur?ing more than 250 recipes from UMS artists, alumni and friends, as well as historic photos from the UMS archives.
Education Events Up-to-date infor?mation detailing educational oppor?tunities surrounding
each UMS performance. Choral Union Audition information and performance sched?ules for the UMS Choral Union.
1 he goal of the University Musical Society (UMS) is clear: to engage, educate, and serve Michigan audi?ences 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 121 years, strong leader?ship coupled with a devoted community has placed UMS in a league of internationally-recognized performing arts presenters. Indeed, Musical America selected UMS as one of the five most influential arts presenters in the United States in 1999. Today, the UMS seasonal program is a reflection of a thoughtful respect for this 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 per?formed by the UMS Choral Union annually.
As a great number of Choral Union members 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 from the full spectrum of the perform?ing arts--internationally renowned recitalists and orchestras, dance and chamber ensem?bles, jazz and world music performers, and opera and theatre. Through educational endeavors, commissioning of new works,
Musical America selected UMS as one of the five most influential arts presenters in the United States in 1999.
youth programs, artist residencies and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction and innovation. UMS now hosts over eighty performances and more than 150 educational events each season. UMS has flourished with the support of a generous community that gathers in Hill and Rackham Auditoria, Power Center for the Performing Arts, Lydia Mendelssohn Theatre, Michigan Theater, St. Francis of Assisi Catholic Church, the Detroit Opera House, Music Hall and the Residential College Auditorium.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor cam?pus, and a regular collaborator with many University units, UMS is a separate not-for-profit organization that supports itself from ticket sales, corporate and individual contri?butions, foundation and government grants, and endowment income.
, hroughout its 121-year history, the University Musical Society 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 known for its definitive per?formances of large-scale works for chorus and orchestra. Seven years ago, the Choral Union further enriched that tradition when 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 accepting invitations to appear with other major regional orchestras, and soon added Britten's War Requiem, Elgar's The Dream of Gerontius, the Berlioz Requiem and other masterworks to its repertoire. 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).
The Choral Union is a talent pool capable of performing choral music of every genre. In addition to choral masterworks, the Choral
Union has recently 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. The Choral Union's 36-voice Chamber Chorale 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 1999-2000 season, the Choral Union performed in three major subscription series at Orchestra Hall with the Detroit Symphony Orchestra, including performances of Shostakovitch's Symphony No. 13 (Babi Yar), and Igor Stravinsky's Symphony of Psalms, all conducted by Neeme Jarvi, as well as John Adams' Harmonium, conducted by the composer. Other programs included Mahler's Symphony No. 3 with the Ann Arbor Symphony Orchestra and Scriabin's Symphony No. 5 with the Russian National Orchestra.
During the current season, the UMS Choral Union will again appear in two series with the Detroit Symphony Orchestra, both conducted by Neeme Jarvi. The chorus will join in the DSO's opening night performance of Mahler's Symphony No. 2 (Resurrection), followed later in the season by Carl Orff's Carmina Burana. The Choral Union's 122nd-annual performances of Messiah follow, as the choir is joined by world-class soloists and the Ann Arbor Symphony Orchestra. The chorus will make its debut with the Kalamazoo Symphony in March 2001, performing Mendelssohn's rarely-heard Symphony No. 2. The Choral Union's season will close on April 22, 2001, in a performance of Hector Berlioz' Requiem with the Greater Lansing Symphony Orchestra and members of the U-M School of Music Symphony Band in Hill Auditorium, conducted by Thomas Sheets.
Participation in the Choral Union remains
open to all by audition. Representing a mixture 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, e-mail or call 734.763.8997.
Hill Auditorium
' tanding tall and proud in the heart of the University of Michigan campus, Hill Auditorium is associated with the best perform?ing artists the world has to offer. Inaugurated at the Twentieth 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 relationships throughout the past eighty-seven 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
Hill Auditorium
Beethoven's Symphony No. 5. The auditori?um seated 4,597 when it first opened; subse?quent renovations, which increased the size of the stage to accommodate both an orchestra and a large chorus (1948) and improved wheelchair seating (1995), decreased the seating capacity to its current 4,163.
Rackham Auditorium
ixty years ago, chamber music concerts in Ann Arbor were a relative rarity, present?ed 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 development 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 educa?tion, is the fact that neither of the Rackhams ever attended the University of Michigan.
Power Center for the Performing Arts
"he 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
Power Center
University priorities was mentioned "a new theatre." The Powers were immediately inter?ested, realizing that state and federal govern?ment were unlikely to provide financial sup?port 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 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.
Due to renovations to Burton Memorial Tower, the Power Center will be home to the UMS Box Office for the duration of the cur?rent season.
Michigan Theater mtMsiMffi
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 around $600,000 when it was first built! 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. At its opening the theater was acclaimed as the best
of its kind in the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation. With broad community support, the Foundation has raised over $8 million to restore and improve the Michigan Theater. The beautiful interior of the theater was restored in 1986. In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addi?tion, which also included expanded restroom facilities for the historic theater. The gracious facade and entry vestibule was restored in 2000 and the balcony and backstage will be restored during 2001. j '
St. Francis of Assisi Catholic Church
n 1950, Father Leon Kennedy was appoint?ed 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 dedi?cated 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 splen?did 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 build?ing, and the reverberant sanctuary has made the church a gathering place for the enjoy?ment and contemplation of sacred a cappella choral music and early music ensembles.
Lydia Mendelssohn Theatre
I otwithstanding an isolated effort to estab-
I lish a chamber music series by faculty and students in 1938, 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 theatre for the 100th May Festival's Cabaret Ball. Now, with UMS' programmatic 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 as well as the venue of choice for the world premiere of Curse of the Gold: Myths from the Icelandic Edda, part of UMS' new International Theater Festival.
Detroit Opera House
'he Detroit Opera House opened in April of 1996 following an extensive renovation by Michigan Opera Theatre. Boasting a 75,000 square foot stage house (the largest stage between New York and Chicago), an orchestra pit large enough to accommodate 100 musicians and an acoustical virtue to rival the world's great opera houses, the 2,800-seat facility has
rapidly become one of the most viable and coveted theatres in the nation. In only two seasons, the Detroit Opera House became the foundation of a landmark programming col?laboration with the Nederlander organization and Olympia Entertainment, formed a part?nership with the Detroit Symphony Orchestra and played host to more than 500 performers and special events. As the home of Michigan Opera Theatre's grand opera season and dance series, and through quality program?ming, partnerships and educational initiatives, the Detroit Opera House plays a vital role in enriching the lives of the community.
Music Hall ----------------
riginally called the Wilson Theatre, Music Hall was completed in 1928 with funds
provided by Matilda Wilson (Mrs. Alfred G.).
William E. Kapp of Smith, Hinchman & Grylls,
an architectural firm whose works dominated
Detroit's skyline of the 1920s, designed the Art Deco-style edifice. Terra-cotta Greek masks adorn the exterior, and elaborate molded plaster and stenciling complement the interior. The theatre's purpose of offering legitimate productions was initially fulfilled, ________
but during the Depression its lights dimmed except on sporadic occasions. From 1946 through 1949, the Detroit Symphony Orchestra occupied the structure which was renamed Music Hall. During the 1950s and 1960s, area residents came to the theatre to enjoy cinema. Now the home of the Music Hall Center, Music Hall is restored to its original use and appearance.
The Residential College Auditorium
"he Residential College (RC) is
an academic unit within the College of Literature, Science and the Arts (LSA), with roughly sixty faculty and 900 students, offering a four-year liberal arts education and a unique living-learning expe?rience in the East Quadrangle -one of the University's student residence complexes. A few years after the opening of the RC in 1967, the RC Auditorium was construct?ed in an alcove between exterior brick walls of the northern and southern parts of East Quad (these walls are still visible). In line with the founding philosophy of the RC Drama Program, the
Auditorium incorporates a thrust stage; more than 200 people can be seated around the stage on the main floor and in an overhanging bal?cony.
The Auditorium has been used as a class?room, lecture hall, movie theater and concert hall, as well as the site for hundreds of pro-
ductions by the RC Drama Program, the RC's "Brecht Company" (staging more than a dozen of Brecht's works), the RC's "Deutsches Theater" (performing plays in German), and the student-run "RC Players." Dramatic pro?ductions at the Auditorium have
ranged from Euripides to Sam Shepard and have included numerous student-written plays--some of them awarded Hopwood Prizes. Other events include Professor Peter Arnott's marionette realizations of Greek tragedies, Asian theater demon?strations, Native American danc?ing, a complete production of Mozart's Cosifan tutti, and a monodrama by lesbian activist Holly Hughes. The RC Auditorium has also been the site of readings by many promi?nent writers, including poets Allen Ginsberg, Jerome Rothenberg and John Sinclair as well as authors Christopher Curtis and John Hawkes.
Burton Memorial Tower
een from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor landmarks. Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet.
The familiar home of UMS Administrative offices undergoes
significant renovations this season, moving the UMS Box Office to a new, temporary location in the Power Center.
UMS Administrative offices have also been relocated--to 109 E. Madison--but please continue to use our Burton Memorial Tower mailing address.
A Full House
Auditorium 4,163
Power Center 1,390
St. Francis 950
Residential College Auditorium
Music Hall 1,700
Detroit Opera House 2,735
University Musical Society
of the University of Michigan 20002001 Fall Season
Event Program Book Friday, November 3 through Thursday, November 9,2000
General Information
Children of all ages are welcome at UMS Family and Youth Performances. Parents are encouraged not to bring children under the age of three to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS perfor?mance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment are
prohibited in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event: electronic-beeping or chiming digital watches, beeping pagers, ringing cellular phones and clicking portable comput?ers should be turned off during perfor?mances. In case of emergency, advise your paging service 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 edition. Thank you for your help.
Nina Simone
Friday, November 3,8:00pm Hill Auditorium
Oumou Sangare with Habib Koite and Bamada
Saturday, November 4, 8:00pm Michigan Theater
Michigan Chamber Players
Sunday, November 5,4:00pm Rackham Auditorium
Thursday, November 9, 8:00pm
St. Francis of Assisi Catholic Church
Nina Simone
Al Schackman, Guitar, Vibraphone, Musical Director
Javier Collados, Keyboards
Tony Jones, Bass
Leopoldo Fleming, Percussion
Paul Robinson, Drums
Friday Evening, November 3, 2000 at 8:00 Hill Auditorium, Ann Arbor, Michigan
of the 122nd Season
Seventh Annual Jazz Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Support for this performance provided by media sponsors, WEMU and WDET.
Special thanks to the King Chavez Parks Visiting Professors Program and to the Office of the Associate Provost for Academic Affairs for their support and recognition of this residency.
This performance is presented with support from JazzNet, a program of the Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation and the National Endowment for the Arts.
Special thanks to Linda Yohn for leading tonight's Performance Related Educational Presentation.
The piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
Nina Simone appears by arrangement with International Stage Productions, Inc. and Steppin' In Artist Development.
Large print programs are available upon request.
ina Simone is one of the great singers and musicians of her gen?eration. Her career has spanned nearly forty years and brought her fame worldwide. She embodies and defines the term "artist," and, like all truly great artists, she defies the categoriza?tion. Any attempt at pigeonholing her rich body of work is futile. She is volatile, out?spoken, very much her own woman. Other vocalists, from Patti LaBelle to Sade, from Bob Dylan to Lauryn Hill, acknowledge the influence she's had on their respective musi?cal styles. Among music lovers, her fellow musicians and music industry pundits, she's justifiably considered legendary.
Almost by accident, Nina Simone became a nightclub entertainer. When an Atlantic City club owner hired her and expected her to sing as well as play the piano, Eunice Waymon, from Tryon, North Carolina changed her name, afraid that her family would discover that rather than playing the classics, she'd ventured into popular music. Without realizing what was happening, Eunice Waymon, the classically trained pianist, became Nina Simone, the jazz singer and musician.
Building a following in clubs and halls throughout Philadelphia and New York, Nina came to the attention of Bethlehem Records which prompted the recording of her first Top 20 pop single, "I Loves You Porgy," from Gershwin's Porgy and Bess. Her debut album for Bethlehem, Jazz as Played in an Exclusive Side Street Club, ultimately led to a hugely successful recording career spanning over forty years and fifty albums with repertoire ranging from gospel to African music, from blues to Ellington to Beatles songs, from classical music to folk songs of diverse origin.
There are other characteristics of the Simone art: her original timing, the way she uses silence as a musical element, and her often understated live act. She sits at the piano and advances the mood and the climate of
her song by a few chords. Sometimes her voice changes from dark and raw to soft and sweet. She pauses, shouts, repeats, whispers and moans. Sometimes piano, voice and gestures seem to be separate elements. Then, at once, they meet. Add to this her genius and the way she weaves her spell and you have some of the elements that make Nina Simone one of the most unique, recogniz?able artists in the world of music today.
Nina is also well remembered for her heroic presence in the fight for civil rights. Indeed, songs like "Young, Gifted and Black" and "Mississippi Goddam" became anthems for the movement. Dubbed the "High Priestess of Soul" by her fans, Nina remains a very vocal champion of equality and con?tinues to be one of the African-American community's most enduring figures.
After a period away from the major con?cert halls in the early seventies and only spo?radic recording and touring in the eighties, Nina's career was re-launched in 1987 with the re-release and subsequent success of the European hit "My Baby Just Cares for Me."
In 1991, Nina wrote her autobiography, I Put A Spell On You, returned to the US from Europe to perform at selected venues, and was featured on the Pete Townsend pro?duced Iron Man soundtrack. Elektra Records A&R Executive Michael Alago followed Nina Simone to London in 1992, convincing her to sign with Elektra Records. The recording that followed, A Single Woman, remains an enduring testament to the majesty of a truly timeless artist.
The recently-issued retrospective The Very Best of Nina Simone: Sugar in my Bowl, 1967-72 (RCABMG), Banana Republic's national television advertising campaign featuring "Feeling Good," and an upcoming profile on Nina for 60 Minutes II (CBS) help to present the beauty of her music to even more generations of fans.
Tonight's performance marks Nina Simone's UMS debut.
Oumou Sangare with Habib Koite and Bamada
Oumou Sangare's Ensemble
Oumou Sangare, Singer Alima Toure, Singer Badiola Coulibaly, Singer Abdoulaye Fofona, Flute Bassidi Keita, Djembe, Percussion Brehima Diakite, Kamelen n'goni Salah Baba, Guitar Hamidou Ba, Bass guitar
Habib Koite and Bamada
Habib Koite, Lead vocal, Acoustic guitar, Bara Keletigui Diabate, Balafon, Violin Souleymane Ann, Drum, Back vocals, Calebasse Abdoul wahab Berthe, Bass, Kamale n'goni, Back vocals Boubacar Sidibe, Acoustic guitar, Harmonic, Back vocals Mahammadou Kone, Tamani (talking drum), Percussion
Saturday Evening, November 4, 2000 at 8:00 Michigan Theater, Ann Arbor, Michigan
Tonight's selections will be announced by the artists from the stage.
of the 122nd Season
Seventh Annual World Culture Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Support for this performance provided by media sponsor, WEMU.
Large print programs are available upon request.
oussolou (Women) is a classic form of modern African pop. In its own way it represents something of a revolution in the way African music is recorded and produced. Oumou's approach to her music also echoes the deeper struggle of her peer group for a cultural identity in which tradition is not thrown in the bin, but modernized with its essential character and strength intact. Oumou herself stresses the fact that although she speaks out against the abuses of traditional social customs such as polygamy, she herself is not anti-tradition. Ms. Sangare is definitely the thinking-persons female star. When it's time to speak plain truths, she never shirks from her task. Throughout her recorded work the same themes recur: the struggles of
women in a male-dominated Muslim society, the conflict between tradition and moder?nity, and the puzzling sorrows and joys of life and death. With her imposing stature, defiant beauty, courageous intelligence and extraordinary voice, she manages to impress and amaze almost everywhere she goes, in the streets of Bamako, the bou?tiques of Paris, and on the stages of the great international concert halls. When she sings with the ease and soulful power of an Aretha Franklin or Patsy Cline and then looks you right in the eye and says, "I will fight until my dying day for the rights of African women and of women throughout the world," you know you're dealing with someone very special.
, ongwriter, social commentator, champion of women's rights, spokesperson for her generation and her sex, Oumou Sangare is more than just a mere "singer." She is something closer to a phenomenon because she is an African, and above all, an African woman, who speaks her mind with?out a trace of fear, embodying values and struggles many people care deeply about. Oumou Sangare was born in Bamako in 1968, to parents who had emigrated to Mali's burgeoning capital city from the region south of the Niger River known as Wassoulou. Her mother, Aminata Diakhite, was also a singer who, like most women of her generation, had to share her husband with two other wives. This formative experi-
ence of polygamy and its potential for caus?ing pain and suffering made a deep impres?sion on the young girl. Oumou's mother encouraged her to develop her precocious talents as a singer, whispering to her terri?fied daughter just before she took the stage of Bamako's Stade des Omnisports for her first public appearance at the tender age of six, "Sing like you're at home in the kitchen." After a period as a member of The National Ensemble of Mali, the training ground for many of the country's top musicians, Oumou was asked by Super Diata Band veteran Bamba Dambele to accompany his traditional percussion troupe Djoliba on a 1986 tour of Europe. Shortly after her return from Europe, Oumou started working with the highly revered arranger Amadou Ba Guindo. Together with a fine group of musicians including Boubacar Diallo on guitar and Aliou Traore on violin, Oumou and Amadou Ba set about con?structing a tight and highly individual sound, aiming for something rooted in tradition yet unique and modern at the same time.
After two years of hard work and exper?imentation, the group was offered a record?ing deal. Oumou and the ensemble traveled to Abidjan in The Ivory Coast, and in seven days at the legendary JBZ studios they recorded Moussolou, a collection of six orig?inal Oumou compositions. On its release in 1989, the record sold over 200,000 copies. The public went crazy--at twenty-one years old, Oumou was a star.
Tonight's performance marks Oumou Sangare's UMS debut.
---orn in 1958, Habib Koite comes
from a noble lineage of Malian, Khassonke griots. He developed his unique guitar style by accom?panying his griot mother and inherited his unique guitar style from his paternal grandfather who was a virtuoso of the traditional n'goni, a traditional four-stringed instrument associated with Wassolou hunters. "Nobody really taught me to sing or play the guitar," explains Habib, "I watched my parents and it washed off on me."
Habib was headed for a career as an engineer, but at the insistence of his uncle, who recognized Habib's talent, he enrolled in the National Institute of Arts (NIA) in Bamako where he studied music for four years, graduating at the top of his class in 1982. Upon graduation, the NIA asked Koite to stay on and teach guitar. At this time he also had the opportunity to work and play with notable Malian musicians including Keletigui Diabate (kora) and Toumani Diabate (bala-fon), for whom he recorded vocals and guitar on the Shake the World album.
In 1988, Habib Koite formed his own band Bamada (a nickname for residents of Bamako that roughly translates to "in the mouth of the crocodile") with a line-up of young Malian musicians who had been friends since childhood. The group honed their skills by touring extensively in Mali. The great feeling of camaraderie amongst them is self-evident during their live perfor?mance today.
In 1995, Habib released his first album Muso Ko. The album quickly reached No. 3 on the European World Music charts. From that point forward, Habib became a fixture on the European festival circuit and began to spread his infectious music and high-energy shows around the world. In 1999, Habib released his second album MaYa that
shot to and stayed No. 1 on the.European World Music Charts for an unprecedented three months.
Habib takes some unique approaches to playing the guitar. He tunes his instrument to the pentatonic scale and plays on open strings as one would on a kamale n'goni, a six-string kora-ike instrument. At other times, Habib plays music that sounds closer to blues or flamenco, two styles he studied under Khalilou Traore, a veteran of the leg?endary Afro-Cuban band Maravillas du Mali. Unlike Griots, his singing style is restrained and intimate, with varying cadenced rhythms and melodies. He can distance himself from pure Malinke music by introducing Bubu, Songhai, and Peul rhythms. The basic overall style is consid?ered danssa, an exuberant rhythm from the ; Khaso region, which Habib Koite helped popularize by incorporating modern musi?cal expressions.
Tonight's performance marks Habib Koite's UMS debut.
Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music
Richard Beene, Bassoon William Campbell, Trumpet Deborah Chodacki, Clarinet Katherine Collier, Piano John Ellis, Piano Katri Ervamaa, Cello Larry Ferguson, Drums
Andrew Jennings, Violin Paul Kantor, Violin Paul Keller, Bass Thomas Landschoot, Cello Bill Lucas, Trumpet Joan Morris, Narrator Ellen Rowe, Piano
Bohuslav Martinu
Sunday Afternoon, November 5, 2000 at 4:00 Rackham Auditorium, Ann Arbor, Michigan
La Revue de Cuisine
Prologue: Allegretto (Marche) Tango: Lento
Charleston: Poco a poco allegro Finale: Tempo di marcia
Beene, Campbell, Chodacki, Collier, Ervamaa, Kantor
Aaron Jay Kernis
George Gershwin arr. Bill Lucas
Le Quattre Stagioni Dalla Cucina Futurismo
(The Four Seasons of Futurist Cuisine) for Narrator, Violin, Cello and Piano
Texts from the Futurist Cookbook by F. T. Marinetti
Heroic Winter Dinner
Springtime Meal of the Word in Liberty
Nocturnal Love Feast
Autumn Musical Dinner
Ellis, Jennings, Landschoot, Morris
Rhapsody In Paris
Ferguson, Keller, Lucas, Rowe
Twenty-third Performance of the 122nd Season
Thanks to all of the U-M School of Music Faculty Artists for their ongoing commitment of time and energy to this special UMS performance.
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Large print programs are available upon request.
La Revue de Cuisine
Bohuslav Martinu
Born December 8, 1890 in Poliea,
Czechoslovakia Died August 28, 1959 in Liestal, near Basel,
Alexander Tcherepnin once remarked that his Czech contemporary Bohuslav Martinu's music was "completely free from sauerkraut," meaning it avoided German-style formalism in favor of French neo-classicism. Nowhere is Tcherepnin's gastronomic image more apt than for the music of Martinu's experimen?tal ballet, La Revue de Cuisine, a whimsical portrayal of love and jealousy between kitchen utensils.
Despite coming to composition relative?ly late in his musical career, Martinu was an incredibly prolific composer. His early works date from the First World War, but he spent five years as a second violinist with the Czech Philharmonic before settling in Paris in 1923. During the 1920s, Martinu befriended some of the leading Parisian cultural figures of the day, including Roussel, Stravinsky, and the composers of Les Six. He also began to com?pose more regularly, using the popular neo?classical works of his colleagues as models.
Many composers of that era looked to American jazz as the antidote to what Christopher Hogwood terms the "Teutonic oversaturation of the Twenties." Although Martinu drew on several of the same popu?lar-music inspirations as Les Six and Stravinsky, he wasn't as convinced of jazz's relevance to European composers. He wrote in 1925, "I often think of the amazingly pregnant rhythm of our Slavonic folk songs ...of their characteristic rhythmic instru?mental accompaniments, and it seems to me that it is unnecessary to have recourse to the jazz band." Still, he toyed with jazz several times during his Paris years. La Revue de Cuisine, the third of his "jazz" ballets (com?pleted in 1927), overtly embraces American jazz in its forms, melodies, harmonies,
rhythms, and especially its instrumentation: an odd combination of violin, cello, clarinet, bassoon, trumpet, and piano.
With its element of fantasy and the animation of everyday objects, Jarmila Kroschlova's scenario for La Revue de Cuisine recalls Ravel's L'Enfant et les sortileges (1925), as dancers play the parts of the various kitchen utensils. In this eccentric scenario, the marriage of Pot and Lid is threatened by the suave Stirring Stick, while Broom chal?lenges Dishcloth to a duel. Pot and Lid are eventually reconciled, and Dishcloth elopes with Stirring Stick.
An admirer of Stravinsky's Histoire du Soldat, Martinu worked with similar econo?my on this score, perhaps also responding to criticisms that his earlier ballets were too ambitious. Without completely absorbing the jazz idiom as Milhaud did in La Creation du monde, Martinu uses jazz as a vehicle for satire, in the same vein as Poulenc's Les Biches or Satie's Parade, and La Revue de Cuisine went on to became his first popular success.
Both the "Prologue" and "Finale" in La Revue de Cuisine use a fanfare motive that could be a parody of Mahler's second Wayfarer song, "Ging heut' morgen libers Feld." Martinu emphasizes the motive's jaunty, carefree qualities, spicing them with facile modulations and "wrong-note" harmony. The dark and sultry "Tango" that follows leans more toward a habanera in style. The gruffly repeated opening cell creates a tension that rises with the addition of a muted trum?pet that, though it may sound "cartoonish" to today's listeners, is testament to the immedia?cy of effect in Martinu's music. The same dark timbres and key of the "Tango" continue in the next movement, but soon give way to a rollicking dance that is as close an imitation of the Charleston as any European composer ever achieved. The "Finale" quotes this Charleston tune, along with other popular melodies of the day, in a medley that cleverly mimics the rhythms and improvisatory qual' ities of Dixieland jazz.
Le Quattre Stagioni Dalla Cucina Futurismo (The Four Seasons of Futurist Cuisine) for Narrator, Violin, Cello and Piano
Aaron Jay Kernis
Born January 15, I960 in Philadelphia
Like many of his contemporaries, Aaron Jay Kernis started out composing in a Minimalist-based style, only to mature dur?ing the 1980s into a personal language less rigorously based on repetition and process. As the Minimalist influence gradually faded, Kernis sought inspiration in other forms of expression, especially literature, the visual arts, and personal experience. He notes that many of his works from this period were conceptor image-based, an aesthetic that allowed him to explore more freely his nat?ural inclination towards lyricism and eclec?ticism. It wasn't long before Kernis had established himself as one of the leading American composers of his generation, win?ning the Pulitzer Prize for music in 1998 for his String Quartet No. 2.
One of Kernis' most overtly post-mod?ern works is The Four Seasons of Futurist Cuisine (1991), a theatrical piece for piano trio and narrator based on excerpts from Filippo Marinetti's The Futurist Cookbook (1932). Kernis was given a copy of the Cookbook in the late 1980s, and was drawn not only to its humor and audacity, but also to the parallels between Fascism's rise in the early decades of the twentieth century (the socio-political climate from which Italian Futurism emerged) and the current interna?tional political scene. The Futurists believed in the power of technology to unite and humanize mankind, once society was liber?ated from the conventions of tradition. Though the very idea of an artistic mani?festo disguised as an easy-to-read cookbook may seem ridiculous, the Futurist's cultural criticism, expressed through absurd satire,
made it one of the most powerful influences on post-World War II modernism.
Like the Futurist Cookbook itself, The Four Seasons of Futurist Cuisine surreally mingles history and modernity, politics and art, the trivial and the sublime, often switch?ing between these frames of reference with mercurial volatility. The text for the first movement uses an excerpt from Marinetti's 1909 Futurist Manifesto; the other texts are drawn from the Futurist Cookbook itself. In them, Marinetti satirizes the language of gastronomy and equates it with the rhetoric of politics and war, investing power not in the food itself, but in the very descriptions of it. Though humorous, the contexts are often explicitly military, as in the "Heroic Winter Dinner" where Marinetti suggests that a soldier's last indulgence before enter?ing battle should be a poached mullet stuffed with dates, bananas and pineapples, rather than the kiss of a mother or wife. With hindsight, the knowledge that Futurism is inextricably woven into the pol?itics of the two World Wars gives a dark edge to the humor.
Kernis' music is consciously "historical," a bold mish-mash of references to early twentieth-century bitonality, and parodies of Chopin, Wagner, Bruckner, Debussy, and nostalgic popular songs, sometimes func?tioning as a mirror to the texts, other times as a foil. It betrays the lingering influence of Minimalism, with its moto perpetuo energy and accessible harmonic language. But the post-modern traits dominate. In addition to the parodies and quotations, Kernis at times requires the performers to bark like dogs and sing. As with Futurism itself, the dis?tinction between absurd humor and serious satire is often difficult to deduce.
Program notes by Luke Howard.
Richard Beene is active as an orchestral player, soloist, chamber musician, and edu?cator. He performs as principal bassoonist with the Toledo Symphony Orchestra, where he has also appeared numerous times as a soloist. He toured Europe in 1991 as solo bassoonist with the American Sinfonietta and toured Japan the following year as a fea?tured soloist with the Colorado Music Festival. In 1994, he performed as a soloist at the Festival de Musique de St. Barthelemy in the French West Indies. Chamber music and recital engagements have taken him to New York's Merkin Concert Hall and the Library of Congress in Washington, DC, as well as Germany, Switzerland, Italy, and Austria.
He holds degrees from the University of Wisconsin and Baylor University and has served previously on the faculties of Michigan State University and Wichita State University.
This afternoon's concert marks Richard Beene's ninth appearance under UMS auspices.
William Campbell is a graduate of the Eastman School of Music. Following his studies he became principal trumpet in the Orchestra del Maggio Musicale Fiorentino in Florence, Italy, for seven years, concur?rently performing principal trumpet with the contemporary chamber orchestra J Musicus Concentus, conducted by Luciano' Berio. From 1992-96 Mr. Campbell was a i faculty member at the University of Kansas, also performing with the Kansas City Symphony Orchestra. In the summer of 1995, he played with the Chicago Symphony Orchestra at the Ravinia Festival. Mr. Campbell became a faculty member at Ohio State University in 1996, where he received the Outstanding Professor award from the SphinxMortar Board. During his tenure in
Ohio, Mr. Campbell also played with the Columbus Symphony Orchestra. Since 1991 he has participated during summers in the Grand Teton Music Festival in Wyoming. Mr. Campbell joined the University of Michigan faculty this year.
This afternoon's concert marks William Campbell's VMS debut.
Deborah Chodacki joined the faculty in 1993. She holds degrees from the Eastman School of Music and Northwestern University. Her clarinet studies were with Stanley Hasty and Robert Marcellus. Ms. Chodacki has performed in chamber music festivals, in orchestras, and as soloist with orchestras in the US and Western Europe, including the North Carolina and Grand Rapids symphony orchestras, the Colorado Philharmonic, the American Chamber Symphony, the Traverse Symphony Orchestra, the Skaneateles and Spoleto festi?vals, and Monterey Summer Music. Prior to her appointment at the University of Michigan she taught at the Interlochen Arts Academy, and from 1979 to 1989 she was on the faculty of the East Carolina University School of Music.
This afternoon's concert marks Deborah Chodacki's seventh appearance under VMS auspices.
Katherine Collier has had a distinguished and versatile career as a soloist, chamber music artist, and accompanist. After her early training in Texas, she received her Bachelor's and Master's degrees from the Eastman School of Music where she studied piano with Cecile Genhart and accompany?ing with Brooks Smith. Her graduating year at Eastman, she was unanimously awarded
the Performer's Certificate and was chosen to be the soloist of the opening Gala concert of the Fiftieth Anniversary Celebration of the Eastman School. Ms. Collier was the first-prize winner of the National Young Artist's Competition and the Cliburn Scholarship Competition, and was the recipient of a Rockefeller Award. She won a Kemper Educational Grant to study at the Royal College of Music in London, England, where she completed postgraduate work. Ms. Collier is an active collaborator with many renowned musicians in this country and abroad and has worked with such artists as Joshua Bell, Ani Kavafian, Cho-Liang Lin, Andres Cardenes, Leslie Parnas, Erling Bengtsson, Steven Kates, Steven Doane, Donald Mclnnes, Edgar Meyer, David Shifrin, Eddie Daniels, Julius Baker, Hermann Baumann, and members of the Tokyo, Emerson, Cleveland, Orion, Ying, and Vermeer Quartets. Katherine Collier tours extensively with her husband, violist Yizhak Schotten, and'they are founders and music directors of the Maui Chamber Music Festival in Hawaii, where they perform each summer. They are also music directors of Strings in the Mountains Festival in Steamboat Springs, Colorado. Their duo recording on CRI Records was selected as "Critics' Choice" by High Fidelity Magazine.
This afternoon's concert marks Katherine Collier's sixth appearance under UMS auspices.
John Ellis, DMA, Director of Graduate Studies in Piano Pedagogy, also administers the preparatory department and required piano curriculum. As a pianist, he has per?formed as soloist, lecture-recitalist, and col?laborative artist in New York City (Weill Recital Hall, Steinway Hall), Rutgers University, SUNY Purchase, Notre Dame University, St. Paul's Festival of the Arts
(South Nyack, NY), Montclair Museum of Art, the University of Helsinki (Finland), Freiburg in Breisgau (Germany), and the Universite de Provence (Aix-en-Provence, France). Mr. Ellis combines music theory, musicology, and the humanities with the more traditional pedagogical methods in his approach to teaching. He has worked with the Musical Signification Project of the International Congress on Musical Signification (ICMS) since 1996, presenting papers at the University of Bologna, the Universite de Provence, the University of Helsinki, and the New England Conference of Music Theorists at Wellesley College. Mr. Ellis joined the University of Michigan fac?ulty in 2000 and holds degrees from the Crane School of Music at SUNY Potsdam, the Indiana University School of Music and the Manhattan School of Music where he received a Doctor of Musical Arts degree with a dissertation on the music of Arthur Cunningham.
This afternoon's performance marks John Ellis' UMS debut.
Cellist Katri Ervamaa, who recently received the DMA degree from the University of Michigan, has performed widely in the US, as well as in her native Finland and throughout Europe. As a member of the Owla String Quartet, Ms. Ervamaa has appeared at the Bowdoin, Soundfest, Orlando, Norrtalje, LyckS, Haute Limousine and Kuhmo Festivals, as well as in recitals in Finland, the Netherlands, Germany, France, England, Sweden, Taiwan and the US. She is also a member of Brave New Works, a group dedicated to the performance and promo?tion of new music, and Timescape, a nine-member free improvising group. In addition to her DMA, Ms. Ervamaa holds BM and MM degrees from Northern Illinois M
University. Her primary teachers include Erling Blondal-Bengtsson, Marc Johnson, Kazimierz Michalik and Lauri Laitinen, as well as the Vermeer, Borodin and Colorado Quartets. She is on the faculty of the Flint Institute and the School for the Performing Arts Ann Arbor.
This afternoon's concert marks Katri Ervamaa's third appearance under UMS auspices.
Paul Kantor is the Chair of the U-M School of Music String Department, and has appeared as a concerto soloist with a dozen symphony orchestras; has served as concert-master of several orchestral ensembles including the New Haven Symphony, Aspen Chamber Symphony, Lausanne Chamber Orchestra, and Great Lakes Festival Orchestra; and has been guest concertmas-ter of the New Japan Philharmonic and of the Toledo Symphony Orchestra. He has been especially active as a chamber musician with such groups as the New York String Quartet, the Berkshire Chamber Players, the Lenox Quartet and the National Musical Arts Chamber Ensemble. His performances of the music of Bartok, Pearle, and Zwilich may be heard on the CRI, Delos, and Mark Records labels. Mr. Kantor held concurrent appointments at Yale University (1981-88), the New England Conservatory (1984-88) and Juilliard (1985-88). Since 1980 he has spent summers as a member of the artist-faculty at Aspen, where he was concertmas-ter of both the Chamber Symphony and the Festival Orchestra. Mr. Kantor attended The Juilliard School, where he earned both bach?elor and master of music degrees and stud?ied during the summers at both Aspen and Meadowmount. His principal teachers are Margaret Graves, Dorothy DeLay and Robert Mann.
This afternoon's concert marks Paul Kantor's eleventh appearance under UMS auspices.
Andrew Jennings graduated from The Juilliard School. His principal teachers were Ivan Galamian, Alexander Schneider, and Raphael Druian. He was a founding mem?ber of the Concord String Quartet, a new ensemble that quickly gained international recognition by winning the Naumberg Chamber Music Award in 1972 and which performed more than 1,200 concerts throughout the US, Canada and Europe. Specializing in the performance of new works (with an emphasis on American com?posers), this Quartet gave more than fifty premieres and commissions; it also per?formed the standard repertory and thirty-two cycles of the complete Beethoven quar?tets and made numerous recordings, three of which were nominated for Grammy Awards. Mr. Jennings maintained his associ?ation with this Quartet until it disbanded in 1987. The Concord Trio, which Mr. Jennings subsequently formed with Norman Fischer and Jeanne Kierman, debuted in 1993. Mr. Jennings' teaching career began at Dartmouth College, where members of the Concord Quartet were engaged as artists-in-residence from 1974 to 1987. Later he served on the faculties of the University of Akron and of Oberlin College. He currently devotes his summers to chamber music instruction at the Tanglewood Music Center in Massachusetts.
This afternoon's concert marks Andrew Jennings' twelfth appearance under UMS auspices.
Born in Belgium, Thomas Landschoot
began studying the cello at the age of six with his father. In 1995, he won the fourth, and special prize in the International Cello Competition in Bucharest (RO). Mr. Landschoot was a prizewinner of the Pro Civitate Competition, a finalist of the Hustinx Competition and played recitals and concerts as a soloist and in chamber -? music ensembles in Europe, America and ,
Japan. He performs virtually the entire stan?dard cello-repertoire as well as works by contemporary composers.
Graduating from a high school devoted to music and the arts, Mr. Landschoot went on to advanced studies in Ghent, earning a masters degree from the Conservatory in Antwerp. He also completed the Artist diploma cum laude and earned a degree in pedagogy from the Conservatory of Maastricht in the Netherlands. He has had lessons and master-classes with David Geringas, Gary Hoffman, Antonio Menesis and Janos Starker. He studied with Tsuyoshi Tsutsumi at Indiana University and with Erling Blondal-Bengtsson at the University of Michigan.
Mr. Landschoot is appointed as a visit?ing lecturer at the University of Michigan substituting for Erling Blondal-Bengtsson.
This afternoon's concert marks Thomas Landschoot's VMS debut.
Joan Morris, vocal coach and specialist in musical theatre, is one of the country's pre?miere performers of American popular song. With her accompanist husband, com?position professor William Bolcom, she has recorded nineteen albums on the RCA, Columbia, Nonesuch, Omega and Arabesque labels. Their latest CD, released in April 1996, with tenor Robert White, fea?tures the songs of Vincent Youmans. Other recordings feature the music of Rodgers and Hart, Irving Berlin, Eubie Blake, George and Ira Gershwin and other popular composers. She is also soloist on the New World record?ing of Bolcom's Symphony No. 4 with the St. Louis Symphony conducted by Leonard Slatkin. In 1990 she sang the role of the Nurse in the American Music Theater Festival's production of the Weinstein Bolcom piece Casino Paradise; the cast recording is on Koch Classics. With Bolcom,
she has concertized throughout the US and in Florence, Lisbon, Istanbul, Cairo and Moscow. Together they made their London debut at Wigmore Hall in May 1993. Nominated for a Grammy Award in 1975, Ms. Morris has made numerous television appearances, including a Boston Pops con?cert, The Dick Cavett Show and CBS Sunday Morning. Ms. Morris and Mr. Bolcom were in residence at the Tanglewood Music Festival during the summer of 1996.
This afternoon's concert marks Joan Morris' second appearance under UMS auspices.
Ellen Rowe, jazz pianist and composer, is a graduate of the Eastman School of Music, where she studied with Rayburn Wright and Bill Dobbins. Prior to her appointment at Michigan, she served a director of Jazz Studies at the University of Connecticut. Active as a clinician, Ms. Rowe has given workshops and master classes at the Melbourne Conservatory, the Hochschule fiir Music in Cologne, and the Royal Academy of Music in London in addition to many appearances as a guest artist at festi?vals and universities around the country. When not leading her own trio, Ms. Rowe is in demand as a collaborator, having per?formed with a wide variety of jazz artists including Kenny Wheeler, Gene Bertoncini, Tom Harrell, John Clayton, Harvie Swartz and Jiggs Whigham. Recently she was a guest on Marian McPartland's Piano Jazz on NPR.
This afternoon's concert marks Ellen Rowe's UMS debut.
Accentus Chamber Choi
Laurence Equilbey Artistic Director
Frederic Chopin Arr. Franck Krawczyk
Lacrimosa dies ilia, Qua resurget ex favilla Judicandus homo reus.
Huie ergo parce, Deus:
Pie Jesu Domine,
Dona eis requiem, Amen.
Arr. Krawczyk
Lulajze Jezuniu Lulajze lalaj!
t; a
Ich bin der Welt abhanden gekommen.
Gustav Mahler .
Arr. Clytus Gottwald '
@@@@Ich bin der Welt abhanden gekommen,' Mit der ich sonst viele Zeit verdorben, Sie hat so lange nichts von mir vernomme Sie mag wohl glauben.ich sei gestorben!
Es ist mir auch gar nichts daran gelegen, Ob sie mich fiir gestorben halt, Ich kann auch gar nichts sagen dagegen, Denn wirklich bin ich gestorben der Welt.
Ich bin gestorben dem Weltgetummel, Und ruh' in einem stillen Gebiet Ich leb' allein in meinem Himmel. In meinem meinem Lied!
Ah! That day of tears and mourning, From the dust o f earth returning Man for judgment must prepare him.
Spare.O God,in mercy spare him:
Lord, all pitying, Jesus blest,
Grant them Thine eternal rest, Amen.
@@@@I1 '-M
I have lost touch with the world. Where I once wasted too much of my time Nothing has been heard of me for so Ion That it may well think me dead! __:__
Indeed.I hardly care, -
If the world thinks I am dead, !? Neither can I deny it, ,?
For I am truly dead to the world. ' .:i
I am dead to the bustle of the world. And repose in tranquil realms j I live alone in my heaven, In my my song!
Kcin deutscher Himmel
An. Gerard Pesson
Ich steig ans Land, dd ist der Hafen. (Gondel! Gondel!) Kein deutscher Himmel,
Marmorhauser geputzte Puppen. Hier hat vor mir fiihlend Herz geschlagen. Mit ehern Flugeln sehn wir ihn ragen. Kein Mittel gibts das mien dir naher brachte Von Zeit zu Zeit ein Ruf.
Ihr, Maler, fuhrt mich in's ew'ge Leben
und die Alpen.unbeschreiblich,
daB das Wasser in Venedig nicht ungemischt
getrunken werden kann. Abends sammelt sich's zu ganzen Chbren, die engen Gassen, zerrissne Wasche, die schbne Riva der Sklavonen (Rival Rival).
Hier ist nicht Tizians Kraft und
Kolorit voll Glut (a tempera gemalt) den schlechten Geschmack bei gliicklichster Beleuchtung. Gestalt und Gesicht durch Feuchtigkeit gelitten.
Geschweige, geschweige i
Musik verhallt.Gelinde Tranenzol 1 '
Hier seht ihr freilich keine griinen Auen, noch den Schwindel des Schiffs im Kopf, hier scheint auf bunten
Wolken die Kunst zu fliegen, und die Alpen (das letzte Mai). Der Gian Bellin war eben abgenommen welch eine Fiille von Gestalten da stort mich kaum im schweigenden Reviere von Zeit zu Zeit ein Ruf. .
Ich steig ans Land dd ist der Hafen. (FDurlFDur!) " _
Kein deutscher Himmel, Marmorhauser, Oktobermorgen aber keine Kunstler mehr. : Fahnen flatterten, weil heute Sonntag ist (SonntaglSonntagl).
No German Sky
I climb ashore.the harbor is deserted.
(Gondola! Gondola!)
No German sky, marble houses,
Polished dolls.
My tender heart has beaten for this place. With bronze wings we see it arise. There is no way it could bring me closer to you From time to time a call.
You.artists.lead me to eternal life And the is difficult to imagine, That the water of Venice cannot be drunk
In the evening whole choirs assemble, Narrow alleys, torn washing, Beautiful shore of Slavery (Shore! Shore!).
Here there is neither Titian's skill nor ;
his Glowing colors (Painted in tempera) Rather, garish bad taste Under a happy light. Form and face Have suffered from the humidity. v
Music fades,in kind respect of tears Here indeed one sees no green fields, With your head still giddy from the boat, Here art seems to of fly on clouds of colors, And the Alps (for the last time). The painting by Gian Bellini was just taken Down, what a wealth of form In these silent places, A call from time to time Hardly disturbs me.
I climb ashore.the harbor is deserted
(F Major! F Major!)
No German sky, marble houses,
October morning but no more of the artist.
Flags flutter, because today is Sunday
(Sunday! Sunday!).jp$jfc i
Ihr, Maler, fuhrt mich ins ew'ge tebenf''"
(fuhrt mich! fuhrt mich!)
(ein Ruf! ein Ruf!)
Euch zu missen konnt ich nicht ertragen,
noch dem GenuB auf ew'ge Zeit entsagen.
Agnus Dei
Samuel Barber
Agnus Dei, qui tollis peccata mundi;
miserere nobis. (Bis) Agnus Dei, qui tollis peccata mundi;
dona nobis pacem.
Un soir de neige
Francis Poulenc
De grandes cuillers de neige
De grandes cuillers de neige Ramassent nos pieds glaces Et d'une dure parole Nous heurtons l'hiver tetu Chaque arbre a sa place en l'air Chaque roc son pied sur terre Chaque ruisseau son eau vive Nous n'avons pas de feu.
La bonne neige '?
La bonne neige le ciel noir Les branches mortes la detresse Honte a la bete pourchassee La fuite en fleche dans le cceur Les traces d'une proie atroce Hardi au loup et c'est toujours Le plus beau loup et c'est toujours Le dernier vivant que menace La masse absolue de la mort La bonne neige le ciel noir Les branches mortes la detresse . De la foret pleine de pieges j Honte a la bete pourchassee La fuite en fleche dans le cceur.
;-". ft ?-,
You,artists, lead me to eternal life.
(Lead me! Lead me!) :
(A call! A call!) -;
I could not bear to miss you,
Nor to renounce pleasure for eternity.
Lamb of God, who takes away the
sins of the world. Lamb of God, who takes away the
sins of the world.
As Great Drifts of Snow are Blowing
As great drifts of snow are blowing Our feet wander through the fields With harsh and bitter lamenting -Winter holds us in its grasp .. ? Each tree has its special place Ev'ry rock knows why it stands there Each stream knows where it is flowing We have no fire. jj
Lovely Snow ;
@@@@Lovely snow through skies of blackness i The dying branches cry out in pain Shame to the beasts which are pursuing Their flight like arrows pierce the heart ?: The tracks of all their helpless victims . Excite the wolf
The wolf is beautiful and bold The wolf is always the last alive which is ?S threatened by total and absolute death The lovely snow through the skies of black The dying branches all are crying
Here in the forest full of danger -ij
Shame to the beasts which are pursuing S Their flight like arrows pierce the heart. -
Bois meurtri
Bois meurtri bois perdu d'un voyage en hiver navire ou la neige prend pied bois d'asile bois mort ou
sans espoir
je reve de la mer aux miroirs creves un grand moment d'eau froide
a saisi les noyfa
la foule de mon corps en souffre je m'afTaiblis je me disperse j'avoue ma vie j'avoue ma mort j'avoue autrui Bois meurtri, bois perdu, bois d'asile bois mort.
La nuit le froid la solitude
La nuit le froid la solitude . On m'enferma soigneusement Mais les branches cherchaient leur voie dans la prison Autour de moi l'herbe trouva le ciel On verrouilla le ciel Ma prison s'ecroula Le froid vivant le froid brulant m'eut bien en main.
Figure humaine Poulenc
De tous les printemps du monde
De tous les printemps du monde Celui-ci est le plus laid Entre toutes mes facons d'etre La confiante est la meilleure
L'herbe souleve la neige Comme la pierre d'un tombeau Moi je dors dans la tempete Et je m'eveille les yeux clairs
Le lent le petit temps s'acheve ..... Ou toute rue devait passer J Par mes plus intimes retraites Pour queje rencontre quelqu'un.'
Wounded Woods
Wounded woods wasted woods V
On winter's voyage go A ship on which the snow takes hold Woods of shelter and death where
without hope
I'm dreaming of the sea with its broken glass One moment in the water so cold,
drowning there
My shaken body cries in suff 'ring My heart grows weak My strength is shattered My life is revealed Death is revealed The world revealed Wounded woods wasted woods Woods of shelter and death.
Nighttime of Chill and Desolation
Nighttime of chill and desolation
I must be carefully enclosed
To my prison the branches are seeking
their way See how the grass is searching
for the sky
Then my prison would fade :
Cold so alive cold so intense
can never escape.
Of All Spring Times of the World
Of all spring times of the world Never was there one so vile I may have many ways of the bein But the best is the most trusting
See how the grass lifts the snow As if it were a graveyard stone I myself sleep in the tempest And I awake with undimmed eyes
Slow moving time comes to an end Where all streets had to pass &
Traversing all my most secret places So that I could meet someone
Je n'entends pas parler les monstres Je les connais ils ont tout dit Je ne vois que les beaux visages Les bons visages surs d'eux-memes
Surs de ruiner bientot leurs maitres.
En chantant les servantes s'dlancent
En chantant les servantes s'e'lancent Pour rafraichir la place oil Ton tuait Petites filles en poudre
vite agenouillees
Leurs mains aux soupiraux de la fraicheur Sont bleues comme une experience Un grand matin joyeux
Faites face a leurs mains les morts Faites face a leurs yeux liquides C'est la toilette des gphgrneres La demiere toilette de la vie Les pierres descendent disparaissent Dans l'eau vaste essentielle
La demiere toilette des heures
A peine un souvenir 6mu
Aux puits taris de la vertu .
Aux longues absences encombrantes
Et Ion s'abandonne a la chair tres tendre :
Aux prestiges de la faiblesse.
Aussi bas que le silence
Aussi bas que le silence D'un mort plante dans la terre Rien que tenebres en tete
Aussi monotone et sourd Que l'automne dans la mare Couverte de honte mate
Le poison veuf de sa fleur
Et de ses betes dories
Crache sa nuit sur les hommes ''
Toi ma patiente ma patiente ma parente
Toi ma patiente ma patiente
ma parente Gorge haut suspendue orgue de
la nuit lente
RgveYence cachant tous les ciels dans sa grace Prepare a la vengeair_e _':: -H '.i'oii je naitrai.
I do not hear the monsters talking . .
I know them well all that they say .
But I see only lovely faces Good faces beautiful
Sure soon to ruin their masters.
As They Sing See the Maids Rushing for Ward
As they sing see the maids rushing for ward To tidy up the place where blood has flowed And little girls in their powder quickly kneeling down there Their hands held out towards the fresher air Are blue like a new sensation On some great joyous day
Face their hands.O ye dead
And their eyes that are liquefying
This is the toilet the mayflies' toilet ;;
The final toilet of this mortal life ;
Down go the stones sinking disappearing
In the waters primal waters
For the ultimate toilet of time
No poignant memory remains
At those dry wells devoid of virtue :
At long absences which we find awkward '
Yet we surrender all
To the spell of our human weakness.
Hushed and StiU
Hushed and still in silence w rapt Like a corpse that lies in the earth Its head full of darkness and shadows
As deaf and monotonous :
As autumn in the pond '
Covered with dull shame 1
Poison bereft of its flowers ?_;
And of its golden monsters J
Spits out its night over all men
Thou Patient One Thou O My Patience O My Parent
Thou patient one thou O my patience :
O my parent Throat held high, proudly carried slow night's
resounding organ
Curt sey hiding all heav'n in its grace Prepare for vengeance a bed where I'll be born.
Riant du ciel et des pianetes
Riant du ciel et des pianetes ??
La bouche imbibee de confiance Les sages
Veulent des fils ;
Et des Tils de leurs fils .-. .?.-.? Jusqu'a peYir d'usure ?
Le temps ne pese que des fous ; L'abime est seul a verdoyer ,
Et les sages sont ridicules. "
Le jour m'elonne et la nuit me fait peur
Le jour m'elonne et la nuit me fait peur
L'6te me hante et l'hiver me poursuit
Un animal sur la neige a pose
Ses pattes sur le sable ou dans la boue.
Ses pattes nues plus loin que mes pas ?
Sur une piste ou la mort
A les empreintes de la vie ___-__-_-?
La menace sous le ciel rouge '
La menace sous le ciel rouge Venait den bas les machoires Des ecailles des anneaux ",
Dunechaineglissanteetlourde j
La vie 6tait distribute "___?____
Largement pour que la mort
Prit au serieux le tribut
Qu'on lui payait sans compter '.
La mort 6tait le Dieu d'amour ' Et les vainqueurs dans un baiser S'evanouissaient sur leurs vie times ; La pourriture avait du coeur ,
Et pourtant sous le ciel rouge ? Sous les appetits de sang Sous la famine lugubre t La caverne se ferma
La terre utile effaca Wr,
Les tombes creuses d'avance Les enfants n'eurent plus peur : ' Des profondeurs maternelles
Et la betise et la demence ; Et la bassesse firent place -.
A des hommes freres des hommes i Ne luttant plus contre la vie
A des hommes indestructibles. s -
With Laughter for the Sky and Planets
With laughter for the sky and planets
With mouths soaked in confidence and courage
Men ._.______.___
Wise men wish for sons ?? ---
And for sons for their sons
Until they waste away and perish : -..
The mad alone are weighed by time ,-J The only green is in the void And the wise men are only foolish.
Surprised by Day and by Night Made Afraid
Surprised by day and by night made afraid
The summer haunts me and winter pursues me
An animal on the snow has placed
Its paws upon the sand or in the mire
Paws that came further than my steps
Upon a track where on death
With life's own hallmark is imp rinted :
Came the Dark Threat Beneath the Red Sky
Came the dark threat beneath the red sky JK
From underneath gapingjaws W
And scales and links the dark threat came -S
Of a chain slippery and heavy . Jg
Life was distributed Widely and far just so that death Took seriously the tribute Paid to it without out stint
But death was the god of love And in a kiss the conquerors j
Swooned heavily upon their victim And putrefaction grew bold
Yet beneath the reddened sky Beneath the appetites for blood Under the baleful famine jl The cavern closed its mouth
The useful earth covered up
Tl-___________-J___ -___________!._ _
And the children lost their fear i Their fear of mysteries maternal
And madness and stupidity gave place Baseness too gave place _ To men brothers of men ?" No longer striving against living
Men who will for ever be immortal.

Sur mes cahiers d'6colier Sur mon pupitre et les arbres Sur le sable sur la neige J'ecris ton nom
Sur toutes les pages lues Sur toutes les pages blanches Pierre sang papier ou cendre J'6cris ton nom
Sur les images dories Sur les armes des guerriers Sur la couronne des rois J'ecris ton nom
Sur la jungle et le desert Sur les nids sur les genets Sur l'echo de mon enfance J'ecris ton nom
Sur les merveilles des nuits Sur le pain blanc desjourne'es Sur les saisons fiancees J'ecris ton nom
Sur tous mes chiffons d'azur Sur l'etang soleil moisi Sur le lac lune vivante J'ecris ton nom
Sur les champs sur l'horizon Sur les ailes des oiseaux Et sur le moulin des ombres J'ecris ton nom
Sur chaque bouftee d'aurore Sur la mer, sur les bateaux Sur la montagne demente J'ecris ton nom
Sur la mousse des nuages Sur les sueurs de l'orage Sur la pluie epaisse et fade J'icris ton nom
Sur les formes scintillantes Sur les cloches des couleurs Sur la v6rit6 physique J'6cris ton nom
?K Sur les routes deployees ' ; Sur les places qui debordent $: J'ecris ton nom

Upon my exercise books
Upon my desk on trees
And on the sand and on the bright snow
I write your name
On all pages that I've studied On all empty pages Stone or blood, or ash or paper I write your name
On images bright and shining On the arms of warriors And on the crown of the Kings I write your name
On the jungle and the plains On the nests upon the broom On the echo of my childhood I write your name
Upon the wonders of nights
And on the bread white each morning
Upon on the seasons united
I write your name
On all my azure rags
On the pond where suns decay
On the lake where moonlight quivers
I write your name
On the fields on distant skies On the wings of little birds And on ev'ry shadow pattern I write your name
On mists rising as the day breaks On the sea and on the ships On mountains wild and demented I write your name
On the clouds on trailing vapors On the sweat of storms and tempests On the raindrops thick and tasteless I write your name
On all scintillating figures On the bells of ev'ry hue On the truths nature's being I write your name
And on the paths keeping watch On the roads spread out unending On all thronged and busy places I write your name
Sur la lampe qui s'allume Sur la lampe qui s'eteint Sur mes maisons reunies J'ecris ton nom
Sur le fruit coup6 en deux Du miroir et de ma chambre Sur mon lit coquille vide J'ecris ton nom .j' '
Sur mon chien gourmand et tendre Sur ses oreilles dressees
Sur sa palte maladroite ,-'-------
J'ecris ton nom
Sur le tremplin de ma porte Sur les objets familiers '? Sur le flot du feu beni J'ecris ton nom
Sur toute chair accordee ... . Sur le front de mes amis Sur chaque main qui se tend , J'ecris ton nom "
Sur la vitre des surprises: Sur les lfevres attentives Bien au dessus du silence J'ecris ton nom . '
Sur mes refuges delimits' Sur mes phares ecroules ?' Sur les murs de mon ennui J'ecris ton nom
Sur l'absence sans desir Sur la solitude nue Sur les marches de la mort J'ecris ton nom
Sur la sante revenue J Sur le risque disparu Sur l'espoir sans souvenir J'ecris ton nom
Et par le pouvoir d'un mot ' Je recommence ma vie Je suis ne pour te connaitre Pour te nommer:

On the lamp whose flame is kindled ? On the lamp whose flame goes out On my reunited houses I write your name ;
On the fruit cut into two ;
Of the mirror and my chamber '':
On my bed empty seashell
I write your name i
On my dog greedy and gentle On his ears pricked and eager On his paw so big and clumsy I write your name
On the springboard of my door way On familiar things I love On the flood of blessed fire I write your name
On all harmonious bodies ': . On the forehead of my friends On every proffered hand -
I write your name
On the window panes of wonder On the lips that seem attentive . Passing the regions of silence I write your name ., ? '
On ev'ry refuge destroyed ' On my crumbling lighthouses '", On the walls of my ennui I write your name '
On absence with out desire On naked solitude On the steps that lead to death I write your name
On health regained strength recovered On the risk that disappears On hope from mem'ry free I write your name --.'
And through power of a word ?
f.ur-i I learn again how to live
I am born to know you m And call your name: JQ
Accentus Chamber Choir
Laurence Equilbey Artistic Director
Frideric Chopin arr. Franck Krawczyk
Gustav Mahler
arr. Clytus Gottwald
Thursday Evening, November 9,2000 at 8:00
St. Francis of Assisi Catholic Church, Ann Arbor, Michigan
Lacrimosa Lulajze
Ich bin der Welt abhanden gekommen
arr. Gerard Pesson
Samuel Barber
Kein deutscher Himmel
Solange Anorga, soprano
Isabelle Dupuis-Paedoel, mezzo-soprano
Matthieu Kotlarski, tenor
Bruno Renhold, tenor
Agnus Dei
Solange Anorga, soprano
rancis Poulenc
Un soir de neige
De grandes cuillers de neige
La bonne neige
Bois meurtri
La nuit le froid la solitude
Figure humaine
De tous les printemps du mondc
En chantant les servants s'elancent
Aussi bas que le silence
Toi ma patiente ma patience ma parente
Riant du ciel et des planets
Le jour m'etonne et la nuit me fait peur
La menace sous le ciel rouge
of the 122nd Season
Sixth Annual Divine Expressions Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Special thanks to Jerry Blackstone, Theo Morrison and the U-M School of Music for their involvement in this residency.
Accentus appears by arrangement with IMG Artists, New York, NY. i'
Large print programs are available upon request.
Choral Voices and the Music of Transformation
by Luke Howard
ost of the works in tonight's program are vocal transcrip?tions of instrumental music, continuing a long-standing tra?dition of choral arrangements. But the program as a whole explores a musical relationship between voices and instruments that goes much deeper than that. The principle behind transcription extends back at least as far as the medieval period, when voices and instruments were used interchangeably in early polyphonic works of the thirteenth and fourteenth centuries. Many of the main instrumental genres that have emerged since that time were derived directly from vocal models. Behind every flute melody, every soaring violin line, every fugue and sym?phony, there is an echo, however distant, of the human voice.
This process of musical transformation involves more than merely a different per?forming ensemble or desired tone color. When music is sung rather than played, it is literally "embodied" and humanized. It comes from within the musician, both phys?ically and emotionally, and with the addi?tion of text speaks directly to the listener in ways that instrumental music can only approximate.
So it is that the latent pathos in Mahler's Symphony No. 5--a work so clearly indebted to song in the first place--is made explicit in Pesson's texted arrangement. The connection between this symphony and the last of Mahler's Riickert-Lieder, "Ich bin der Welt abhanden gekommen," becomes even clearer when both are sung. Samuel Barber acknowledged the intrinsic voice in his own Adagio--a work that draws freely from Renaissance vocal polyphony in its textures and procedures--when he arranged it for choral ensemble, reinforcing the original
work's suggestions of spirituality with a liturgical text.
As with Mahler, Chopin's music also owes a great debt to vocal models, whether it is bel canto opera or Polish folksong. Krawczyk's arrangements of Chopin testify to the quintessential voice that lies at the heart of his piano music. Chopin was able to make the piano "sing" like no other com?poser--here his melodies sing again, this time with the voice that was the essence of their inspiration.
Even the Poulenc works on this pro?gram, both of which were originally written for unaccompanied chorus, focus attention on the issue of vocal transformation and its humanizing effects. Like Barber, Poulenc transforms and adapts aspects of the Renaissance polyphonic style to his own time. There are passages in Figure humaine and Un soir de neige, as there are in Barber's Agnus Dei, that seem to belong to another age, and yet they could not have come from any period but their own. Poulenc also chose to write Figure humaine for a capella chorus precisely because the message of hope and humanity was best expressed by voices alone, without the assistance of exter?nal instruments. During a bleak and austere time of war, an instrumental accompani?ment would not only have been inappropri?ately lavish, it would have detracted from the symbolic impact of that statement.
While musical instruments undeniably have their own unique powers of expres?sion, the human voice is the Lr-instrument, a musical medium so innate and primal that it can transcend the fashions of style and culture. And if it's true that instrumental music is rooted in the voice, then this con?cert is a homecoming, a celebration of the song as a fundamental aspect of human cre?ative experience.
Lacrimosa Lulajze
Frederic Chopin
Born March 1, 1810 in Zelazowa Wola,
near Warsaw, Poland Died October 17, 1849 in Paris
Ich bin der Welt abhanden gekommen
Gustav Mahler
Born July 7, 1860 in Kalischt, Bohemia
Died May 18, 1911 in Vienna
The poetry of Friedrich Ruckert (1788-1866) inspired some of Mahler's most poignant and lyrical music. Though it was Arnim and Brentano's Wunderhorn verses that inspired much of Mahler's public music--the middle symphonies in particular--Riickert's poems
seem to have elicited a partic-
ularly intimate and private
expressivity, more directly
autobiographical than
perhaps even the com-
poser was aware. He began setting RuckertV
Kindertotenlieder texts
in 1901, before he was
married and had children
ot his own, yet they tore-
shadowed the tragic death of his
only daughter. But even before this personal tragedy, Mahler had demonstrated (as he would continue to do throughout his career) an eerie fascination with the subject of death. Combined with his persistent yearning for solitude, and a desire to escape the pressures of Viennese society, it is perhaps not so sur?prising that in August 1901 Mahler should be attracted to the sentiments of Riickert's "Ich bin der Welt abhanden gekommen:"
I am dead to the world's turmoil I dwell in a realm of peace I live alone in my own heaven In my love, in my song.
Mahler's setting, thought by many to be quite possibly his most beautiful song, closely resembles in mood, melody, and cadence the "Adagietto" of the Symphony No. 5, composed the following year. Though a long-standing favorite of Mahler fans, the song reached a wider popular audience through its use on the soundtrack of Gerard Corbiau's 1988 period drama, Le Maitre de musique.
Clytus Gottwald's sixteen-part choral arrangement of "Ich bin derWelt..." repre?sents something of change in focus for the scholarconductor. After studying musicolo-gy and choral conducting in Tubingen and Frankfurt, Gottwald founded the Stuttgart Schola Cantorum, a group that rapidly earned a reputation for its advocacy of avant-garde choral music, commissioning and performing works by Boulez, Ligeti, Penderecki, Femyhough, and others.
Kein deutscher Himmel
Gustav Mahler
The "Adagietto" movement of the Symphony No. 5 became a mythical work from the very moment it entered the collective imagina?tion of Venice. Visconti's 1970 film Death in Venice, based on the short story by Thomas Mann, was instrumental in bringing this piece, as well as Mahler's osuvre in general, to a worldwide audience. Many signs and destinies cross paths and resolve themselves in Visconti's film, which opens with these lines from the German poet August von Platen: "He whose eyes have seen beautyIs thus to death predestined." Visconti was well aware that Thomas Mann once wrote an essay on Platen; he also knew that Mann '
learned of Gustav Mahler's death while vis?iting Venice and that Mann would from that moment on derive inspiration from the fig?ure of Mahler, to the point of borrowing his first name for the main character of his story, Gustav von Aschenbach. In Mann's text, Aschenbach is a writer: Visconti would correct this slight displacement by making his character a composer.
August von Platen went to Venice in 1824. It was in Italy that this formal poet-though no less 'cursed,' because of his undisguised love of boys--sought to attain his own personal Orient, far from "German skies." In an exact archetype of Gustav von Aschenbach's fate, he died while fleeing cholera in 1835 in the coastal town of Syracuse at the age of thirty-nine.
"Kein deutscher Himmel" is hence the ninth transcription in this familiar Venitian saga. It is an homage to Mahler; a small, leaning stele on which Platen's Venitian fragments--excerpts from the Venitian Sonnets and his Journal from 1824--appear, carved and shaped by Martin Kaltenecker. The process of putting words to pre-existing music was known in the Middle Ages as tropes logogene, a kind of post-synchroniza?tion. The text needed to be cut to preserve a collage-like quality that stood apart from the linearity of the music, such that the gap between them made of the homage to Mahler something of a cutpastedcolored work, and not at all a fresco. Kein deutscher Himmel should not be sung as slowly as some orchestras play it. One should think of what the "Adagietto" was, at least as legend has it: a declaration of love to Alma, so lucid and so determined (and perhaps not so painful) that pathos was unnecessary.
In addition to all of the good fortune of the transcription--after all, a choir is a wind instrument--the choir provides the oppor?tunity for a "complete orchestration," in which control of the emission of sound is so total that any of the pleasant flaws of the
instruments are available, either by imita?tion (for the better) or compensation. Every possible nuance is given to the marble of the words, and it is no mere turn of phrase to suggest that these voices, and these words, are scattered, mysterious, whispering, and divided to the senses--so many bows that stir them. The harp's part, so watery, is asso?ciated with the word Gondel (gondola), cir?culating through the entire choir. These minor units are at times loaded with other messages, other cries that cross the lagoon, misty as it was, one will remember, when Dirk Bogarde's boat entered it.
Translated from French by Steven Spalding.
Agnus Dei
Samuel Barber
Born March 9, 1910 in West Chester,
Pennsylvania Died January 23, 1981 in New York
Barber's Adagio for Strings is without a doubt one of the most popular and best-loved orchestral works to emerge from the twentieth century. Yet many who recognize its rich, poignant sonorities from cinema (The Elephant Man and Platoon) and televi?sion may not realize that this wasn't the first version of the piece that Barber composed, nor was it his last.
The famed Adagio began as the slow movement from Barber's String Quartet in b minor, Op. 11, written in 1936 while Barber was touring Europe after winning the American Prix de Rome. The great Italian maestro Arturo Toscanini persuaded the young composer to arrange the quartet's second movement "Adagio" for string orchestra, and Toscanini himself conducted the first performance in 1938. It was in this string orchestral version that the work found its largest audience. In subsequent years it has become something of an anthem
of mourning, performed at the funerals of Presidents Roosevelt and Kennedy, and Princess Grace of Monaco.
Given Barber's natural affinity for vocal writing, it was perhaps only a matter of time before he turned again to this, his signature piece. In 1967 he produced a third version of the Adagio, applying the traditional text of the liturgical Agnus Dei to the now-famil?iar and well-loved harmonies. This choral version has recently come into its own, as new recordings appear with increasing fre?quency. The Agnus Dei is also featured prominently in the recent film versions of Lorenzo's Oil and The Scarlet Letter. The Adagio itself also continues to foster popular appeal--a 1997 compact disc (on the RCA label) is devoted entirely to eight different versions of this work (including the choral Agnus Dei), and pop-icon William Orbit's synthesized version stormed to the top of the British pop charts in early 2000.
Un soir de neige
Francis Poulenc
Born January 7, 1899 in Paris
Died January 30,1963 in Paris
Although Poulenc's Un soir de neige, com?posed during the war years (1944) to texts by Paul Eluard, is about a struggle, it's not a struggle against the enemy. This setting of four short texts for six-part chorus explores the theme of a winter's journey--a struggle against the elements--loosely modeled on Schubert's Winterreise.
This is austere music, due in part to the nature of the subject matter, but also a reminder that the winters during World War II were especially harsh. The rapid harmonic changes in the first chorus, "Des grandes cuillers de neige...," suggest the shivering bustle of a cold winter, perhaps too cold to remain still. In the second song, "La bonne neige," echoes of Renaissance polyphonic
style emerge at the outset, as melodies circle around a stable drone. "Bois meurtri" is suitably dark and chromatic, while the con?cluding "La nuit le froit la solitude" is the briefest of the set, returning to the brisk modulations of the first.
Figure humaine
Francis Poulenc
During the dark days of the German occu?pation of France in World War II, Francis Poulenc would periodically find copies of poems left anonymously and surreptitiously at his home. Though unsigned, Poulenc rec?ognized the author as Paul Eluard, a friend he had first met in 1917, and he valued these documents as small but significant symbols of defiance against the Nazis. As Nicolas Robertson writes, Eluard's texts were poems of suffering and resistance, "full of images of hunted creatures, menacing cruelty, the slow burning patience of vengeance and yet, too, hope and love."
During the summer of 1943, Poulenc selected eight of these poems and set them as a cantata for double six-part chorus. The final poem in the set, "Liberte," had been published in 1942, and was already the best known resistance poem of the war. When Poulenc's cantata was secretly printed by Rouart, under the title Figure humaine, the work was immediately and secretly hailed as a boldly defiant political act. It was intended to be performed on the day of liberation, and undisclosed rehearsals--where no one-, was allowed to reveal the identity of the author or the composer--were already underway in Belgium. The day the American Army entered Paris, ending the German occupation, Poulenc placed the score of Figure humaine on a music stand in his apartment window, just underneath the French flag, as a public symbol of the French people's striving for freedom. In the end, the
first performance was a radio broadcast from London, not Paris, in March 1945.
Along with Luigi Nono's Canto Sospeso and Schoenberg's A Survivor from Warsaw, Figure humaine is one of the most profound and telling musical documents to emerge from the Second World War. Though intended initially as an occasional piece, it remains just as powerful and rele?vant today. Poulenc once claimed he could find "love in everything Eluard did." In Figure humaine, that love transcends all the anguish and despair of global war. The compose wrote: "This work, my best, com?forts me in my days of doubt and sad?ness...I play it every day and it cures my worst of bad moods, and my most bitter critiques, with its integrity and its faith."
Program notes by Luke Howard.
aurence Equilbey studied at the Paris and Vienna Conservatories, as well as at the Sorbonne, with Nikolaus Harnoncourt and the _____Arnold Schonberg Choir, and pri?marily studied choir conducting with the Swedish choirmaster Eric Ericson.
In 1991, she founded the Accentus Chamber Choir, whose principal mission is to promote the rich a cappella repertoire, especially within the last two centuries. It is because of her leadership that this profes?sional ensemble has rapidly won both public and critical acclaim.
Aside from her training activities, in 1995 Ms. Equilbey founded the Jeune Chceur de Paris with the support of the Paris City Council. In 1998, she was elected "Musical Personality of the Year" by the Syndicat Professionnel de la Critique Dramatique et Musicale. During the Festival of Saintes in 1998, she was invited to con?duct the Chapelle Royale Orchestra, the
Collegium Vocale of Gand and Rias Kammerchor of Berlin. She was also appointed Conductor of the Leonard de Vinci Choir in the Opera of Rouen.
Ms. Equilbey approached the operatic repertoire as she conducted a new produc?tion of Cenerentola for the 2000 Aix en Provence International Lyric Festival, as well as Medeamaterial by Pascal Dusapin for T & M Nanterre.
Thanks to her European musical expe?rience and her close ties with the repertoire of Northern European countries, she has made an invaluable contribution to the popularity and renewal of a cappella vocal repertoire in France.
Tonight's performance marks Laurence Equilbey's UMS debut.
ccentus, a professional choir of thirty-two singers, brought together in 1991 by Laurence Equilbey, is devoted to interpret?ing the rich repertoire of a capella songs in chamber choir formation. In reviv?ing this tradition, Accentus mainly interprets masterpieces of the last two centuries according to their original formation and thus participates in contemporary creation.
Accentus also performs under the reputed Swedish choirmaster Eric Ericson (appearing with the Swedish Radio Choir and the Eric Ericson Chamber Choir as part of UMS' Divine Expressions Series on February 17,2001), a special guest conductor of the ensemble. The group has also worked with the Ensemble Intercontemporain, the Orchestre de Paris and the Chatelet Theatre, working with Pierre Boulez, Christoph Eschenbach, David Robertson and Jonathan Nott. Accentus participates in festivals around the globe, and has appeared in Aix-en-Provence and La Roque d'Antheron in France, and with the Schleswig-Holstein Festival and Bach Tage in Berlin.
Critics hailed Accentus when it made its first recording of the secular choir works of Poulenc and Ravel in 1994. The group was also nominated for the Victoires del Musique Awards in 1996 for its recording of Brahms' and Schumann's a capella songs and ballads. In 1995, it received the Liliane Bettencourt Award given by the Academie des Beaux Arts.
The ensemble's recording of sacred works by Francis Poulenc was classed as "ffff" the critics of Telerama (a cultural magazine for radio, TV and arts), received a "10" by Repertoire, was awarded the Diapason d'Or and the Choc by Le Monde de la Musique, and the prize of the New Academy of Records. Its last CD of psalms and motets by Mendelssohn also received the Choc by Le Monde de la Musique. The Accentus Chamber Choir was selected as "Musical Personality of the Year" in 1997-
98 by The Syndicat Professionel de la Critique Dramatique et Musicale.
The choir's activities are sponsored by the France Telecom Foundation and subsi?dized by the Ministry of Culture, the City of Paris, Musique Novelle en Liberte and AFAA for its foreign activities.
Tonight's performance marks Accentus' UMS debut.
Accentus Chamber Choir
Laurence Equilbey Artistic Director
Solange Anorga Claire Henry-Desbois Kaoli Isshiki Sylvie Colas Yoko Takeuchi Violaine Lucas Genevieve Boulestreau Caroline Chassany
Isabelle Dupuis-
Emmanuelle Biscara Charlotte Baillot Valerie Rio Anne Gotkovsky Catherine Hureau Helcne Moulin Catherine Ravenne
President Artistic Director Manager
Assistant Manager Artistic Assistant Press Relations
Christophe Le Hazif Bruno Renhold Stephane Bagiau Pascal Pidault Nicolas Maire Benoit Porcherot Samuel Husser Matthieu Kotlarski
Pierre Corbel Paul-Alexandre
Dubois Pierre Jeannot Guillaume Perault Claude Massoz Eric Guillermin Jean-Loup Pagesy Bertrand Bontoux
Daniel Badaro Laurence Equilbey Olivier Mantei Anne Billaut Jean-Louis Gavatorta Anne Gueudre
11 educational act mare free and open to le public unless otherwis
Ed ($). Many events j artists are yet to be ned--please call the MS Education Office at i 34.647.6712 or the UMS iox Office at 734.764. 538 for more informa-&n. Activities are also bsted on the UMS ',
ebsite at '
he second half of the educational '?--un'M be published in thev !' [book. 1
Keith Jarrett, piano Gary Peacock, bass Jack DeJohnette, drums
Saturday, September 23, 8 p.m. Hill Auditorium PREP by Michael Jewett, Program Host, WEMU. Saturday, September 23, 7:00 p.m., Michigan League, 2nd Floor, Henderson Room. Sponsored by National City. Presented with additional support from lazzNet, a program of the Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation and the National Endowment for the Arts. Media sponsors WEMU and WDET.
Itzhak Perlman, violin Rohan De Silva, piano
Sunday, September 24, 4 p.m. Hill Auditorium PREP"Jascha Heifetz'Vilna: the 'Jerusalem of Lithuania' Yesterday and Today" by Zvi Gitelman, Director, Jean & Samuel Frankel Center for Judaic Studies. Sunday, September 24, 2:30-3:30 p.m., Michigan League, 2nd Floor, Hussey Room.
In collaboration with the Center for Russian and Eastern European Studies. Sponsored by Pfizer. .
Media sponsor WGTE.
Opening Night Cabaret: Puttin' On The Ritz Mary Cleere Haran, cabaret singer
Richard Rodney Bennett, piano
Line Milliman, bass
Sunday, September 24, 6:30 p.m.
(following Perlman recital)
Michigan League Ballroom
Sponsored by Pfizer.
Bulgarian Women's Choir: Angelite
Gregory Petkov, conductor Thursday, October 5, 8 p.m. St. Francis of Assisi Catholic Church
PREP by Inna Nardoditskaya, Lecturer, U-M Flint Music Department. Thursday, October 5, 7 p.m., St. Francis of Assisi Parish Activity Center. Presented with the generous support of Kathleen G. Charla.
Takacs Quartet and Andreas Haefliger, piano
Friday, October 6, 8 p.m. Rackham Auditorium Sponsored by Edward Surovell Realtors.
Iceland Symphony Orchestra
Rico Saccani, music director Judith Ingolfsson, violin Thursday, October 12, 8 p.m. Hill Auditorium Co-sponsored by O'Neal Construction and Elastizell Corporation of America. Media sponsor WGTE.
Gate Theatre of Dublin
Michael Colgan, artistic director Waiting for Godot
by Samuel Beckett
Directed by Walter Asmus
Friday, October 13, 8 p.m.
Saturday, October 14, 8 p.m.
Power Center
Meet the Artist Post-performance
dialogue from the stage. Friday,
October 13.
Panel Discussion "Beckett and the
Irish Theater" with members of the
Gate Theatre of Dublin. Led by Enoch
Brater, U-M Professor of Theater.
Saturday, October 14, 11-12:30 p.m.,
Trueblood Theater, 2nd Floor, Freize
Presented with support from Charles
Hall and Pepper Hamilton LLP.
Media sponsor Michigan Radio, w
Gate Theatre of Dublin Krapp's Last Tape
by Samuel Beckett Directed by Pat Laffan Saturday, October 14, 2 p.m. Saturday, October 14, 5 p.m. Residential College Auditorium (East Quad)
Presented with support from Charles Hall and Pepper Hamilton LLP. Media sponsor Michigan Radio.
Buena Vista Social Club
presents Omara Portuondo
with special guest
Barbarito Torres, laud
Saturday, October 14, 8 p.m.
Hill Auditorium
Sponsored by the Thomas B. McMullen
Co., Inc.
Presented with support from JazzNet, a
program of the Nonprofit Finance Fund,
funded by the Doris Duke Charitable
Foundation and the National
Endowment for the Arts.
Media sponsors WEMU and WDET.
Jose van Dam, bass-baritone
Maciej Pikulski, piano Friday, October 20, 8 p.m. Lydia Mendelssohn Theatre PREP "Lied vs. Melodic" by Richard LeSueur, Music Specialist, Ann Arbor District Library. Friday, October 20, 7:00-7:30 p.m., Michigan League, Michigan Room (2nd Floor). Media sponsor WGTE. '
American Repertory Theater
Robert Brustcin, artistic director The King Stag
A Tragicomic Tale for the Theater Directed by Andrei Serban Movement, Costumes, Masks and Puppetry by Julie Taymor Saturday, October 21,2 p.m. {Family Performance) Saturday, October 21,8 p.m. Sunday, October 22, 2 p.m. Sunday, October 22, 7 p.m. Power Center
This is a Heartland Arts Fund Program with major support from the National Endowment for the Arts and Michigan Council for Arts and Cultural Affairs. Media sponsor Michigan Radio.
Bryn Terfel, baritone
Rakefet Hak, piano Wednesday, October 25, 8 p.fn Hill Auditorium ,
Sponsored by Bank One. r Media sponsor WGTE.
Thursday, October 26, 8 p.m. Power Center
Bale Folclorico da Bahia
Friday, October 27, 8 p.m. Saturday, October 28, 2 p.m. (One-Hour Family Performance) Saturday, October 28, 8 p.m. Power Center
Capoeira Master Class by company members of the Bal? Folcldrico da Bahia. Saturday, October 27, 10:00 a.m.-noon, Peter Sparling Dance Gallery, Main Studio, 111 Third Street, Ann Arbor. Contact Susan Byrnes at 734.747.8885 to register. Panel Discussion "Art, Culture and Performance in Brazil" with members of the company and artistic director Jose Carlos Arandiba led Lucia Suarez, Asst. Professor of Romance Languages and Literature. In collaboration with the U-M Center for Latin American and Caribbean Studies. Friday, October 27,4:00-5:00 p.m., Room 1636, 1st Floor, International Institute. Sponsored by Dow Automotive. Presented with support from AAA Michigan. This is a Heartland Arts Fund Program with major support from the National Endowment for the Arts and Michigan Council for Arts and Cultural Affairs. Media sponsors WEMUand WDET.
Nina Simone
Friday, November 3, 8 p.m.
Hill Auditorium
PREP "Nina Simone: Pure Soul" by
Linda Yohn, Music Program Manager,
WEMU. Friday, November 3,7:00
p.m., Michigan League, Michigan
Room (2nd Floor).
Presented with support from JazzNet, a
program of the Nonprofit Finance Fund,
funded by the Doris Duke Charitable
Foundation and the National
Endowment for the Arts.
Media sponsors WEMUand WDET.
Oumou Sangare with Habib Koite and Bamada
Saturday, November 4, 8 p.m. Michigan Theater Media sponsor WEMU.
Liz Lerman Dance Exchange
Saturday, November 4, 8 p.m. Music Hall Detroit Community Dance Master Class led by Liz Lerman. Free and open to the public. Monday, October 30,7:00-9:00 p.m., Main Studio, Peter Sparling Dance Gallery. Call 734.747.8885 to RSVP. Presented in collaboration with U-M Arts of Citizenship and Detroit's Music Hall.
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. Additional funding provided by the Andrew W. Mellon Foundation and the Philip Morris Companies Inc.
Michigan Chamber Players
Sunday, November 5, 4 p.m. Rackham Auditorium Complimentary Admission
Laurence Equilbey, artistic
Thursday, November 9, 8 p.m.
St. Francis of Assisi Catholic
PREP by Steven Moore Whiting, U-M
Professor of Musicology. Thursday,
November 9, 7:00 p.m., St. Francis of
Assisi, Parish Activity Center.
Camerata Academica Salzburg
Roger Norrington, conductor
Joshua Bell, violin
Friday, November 10, 8 p.m.
Hill Auditorium
This performance is made possible by
the Catherine S. ArcureHerbert E.
Sloan Endowment Fund.
Media sponsor WGTE.

Herbie Hancock and Wayne Shorter
Saturday, November 11,8 p.m. Michigan Theater Sponsored by Comerica, Inc. Presented with support from JazzNet, a program of the Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation and the National Endowment for the Arts. Media sponsors WEMU and WDET.
Young Uck Kim, violin Menahem Pressler, piano
Sunday, November 12, 4 p.m. Rackham Auditorium
Ravi and Anoushka Shankar
Friday, November 17, 8 p.m. Hill Auditorium -------
Media sponsor WDET.
Handel's Messiah _____
UMS Choral Union
Ann Arbor Symphony Orchestra
Thomas Sheets, conductor
Saturday, December 2, 8 p.m.
Sunday, December 3, 2 p.m.
Hill Auditorium
Presented with the generous support of
Carl and Isabelle Brauer.
Ute Lemper
Bruno Fontaine, piano Saturday, December 9, 8 p.m. Michigan Theater Presented with the generous support of Ronnie and Sheila Cresswell. Media sponsor WDET.
Rudy Hawkins Singers A Gospel Christmas
Saturday, December 16, 8 p.m. Music Hall Detroit Sponsored by Dow Automotive. This performance is co-presented with The Arts League of Michigan. Media sponsor WEMU.
Pilobolus with The Klezmatics
Saturday, January 6, 2 p.m. (One-Hour Family Performance) Saturday, January 6, 8 p.m. Sunday, January 7, 4 p.m. Power Center
Media sponsor WDET.
Moses Hogan Singers
Moses Hogan, conductor
Wednesday, January 10, 8 p.m.
St. Francis of Assisi Catholic
Media sponsor WEMU.
Vermeer Quartet
Saturday, January 13, 8 p.m. Rackham Auditorium
Mingus Big Band Blues and Politics
with Kevin Mahogany, vocals
Monday, January 15, 8 p.m.
Hill Auditorium
Sponsored by the Detroit Edison
Presented with support from JazzNet, a
program of the Nonprofit Finance Fund,
funded by the Doris Duke Charitable
Foundation and the National
Endowment for the Arts.
This performance is co-presented with
the U-M Office of Academic
Multicultural Initiatives.
Media sponsors WEMU and WDET.
Michigan Chamber Players
Sunday, January 21,4 p.m. Rackham Auditorium
Complimentary Admission
Alvin Ailey American Dance Theater
Judith Jamison, artistic director with the Rudy Hawkins Singers Wednesday, January 31,8 p.m. Thursday, February 1, 8 p.m. Friday, February 2, 8 p.m. Saturday, February 3, 2 p.m. (One-Hour Family Performance) Saturday, February 3, 8 p.m. Sunday, February 4, 3 p.m. Detroit Opera House Detroit
These performances are co-presented with the Detroit Opera House and The Arts League of Michigan, with addition?al support from the Venture Fund for Cultural Participation of the Community Foundation for Southeastern Michigan. Media sponsor WDET.
Dresden Staatskapelle
Giuseppe Sinopoli, conductor Friday, February 2, 8 p.m. ,,,,irl Hill Auditorium Media sponsor WGTE.
Brentano String Quartet
Sunday, February 4, 4 p.m. Rackham Auditorium Presented in partnership with the Chamber Music Society of Detroit.
Hubbard Street Dance Chicago
James F. Vincent, artistic director
Friday, February 9, 8 p.m.
Saturday, February 10, 8 p.m.
Power Center
Presented with the generous support of
Susan B. Ullrich.
Media sponsor WDET.
Dubravka Tomsk, piano
Sunday, February 11,4 p.m.
Hill Auditorium
This performance is made possible by
the H. Gardner Ackley Endowment
Fund, established by Bonnie Ackley in
memory of her husband.
Media sponsor WGTE.
Dairakudakan Kaiin No lima
(Sea-Dappled Horse) Akaji Maro, artistic director Wednesday, February 14, 8 p.m. Power Center
Swedish Radio Symphony Orchestra and Choir
Manfred Honeck, conductor Marina Mescheriakova, soprano Nadja Michael, mezzo-soprano Marco Berti, tenor John Relyea, bass-baritone Friday, February 16, 8 p.m. Hill Auditorium Sponsored by KeyBank. Media sponsor WGTE.
Swedish Radio Choir and Eric Ericson Chamber Choir
Eric Ericson, conductor
Saturday, February 17, 8 p.m.
St. Francis of Assisi Catholic
Presented with the generous support of
Kathleen G. Charla.
Manuel Barrueco, guitar
Sunday, February 18, 4 p.m. Rackham Auditorium
Ballet Preljocaj Paysage apres la Bataille
Angelin Preljocaj, artistic director Wednesday, February 21,8 p.m. Power Center
Texaco Sphinx Competition Concerts
Junior Division Honors Concert Friday, February 23, 1 p.m. Hill Auditorium
Complimentary Admission
Senior Division Finals Concert Sunday, February 25, 3 p.m. Orchestra Hall Detroit The Sphinx Competition is generously presented by the Texaco Foundation.
Prague Chamber Orchestra with the Beaux Arts Trio
Wednesday, March 7, 8 p.m. Hill Auditorium esses
Sponsored by CFI Group, Ina Media sponsor WGTE.
Royal Shakespeare Company Shakespeare's History Cycle Henry VI, Parts I, II and III Richard III
Directed by Michael Boyd
Cycle 1: Saturday, March 10 &
Sunday, March 11
Cycle 2: Saturday, March 17 &
Sunday, March 18
Added Cycle!
Cycle 3: Tuesday, March 13-
Thursday, March 15
Power Center
The Royal Shakespeare Company is a
co-presentation of the University
Musical Society and the University of
Media sponsor Michigan Radio.
Les Violons du Roy
Bernard Labadie, conductor David Daniels, countertenor Thursday, March 22, 8 p.m. St. Francis of Assisi Catholic Church
Presented with the generous support of Maurice and Linda Binkow. Media sponsor WGTE.
Academy of St. Martin-in-the-Fields
Murray Perahia, conductor
and piano
Saturday, March 24, 8 p.m.
Hill Auditorium
Sponsored by Pfizer.
Media sponsor WGTE J
Chamber Music Society of Lincoln Center
David Shifrin, artistic director Heidi Grant Murphy, soprano
Ida Kavafian, violin ,---------
Heidi Lehwalder, harp
Paul Neubauer, viola
Fred Sherry, cello
Ransom Wilson, flute
with cellists from the U-M '
School of Music
Wednesday, March 28, 8 p.m.
Lydia Mendelssohn Theatre
Media sponsor WGTE.
Brass Band of Battle Creek
Friday, March 30, 8 p.m. Hill Auditorium
Sponsored by Ideation.
Ronald K. BrownEvidence
Ronald K. Brown, artistic director Saturday, March 31,8 p.m. Power Center
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. Additional funding provided by the Andrew W. Mellon Foundation and the
Philip Morris Companies Inc. Media sponsor WEMU.
Orion String Quartet and Peter Serkin, piano --
Sunday, April 1, 4 p.m. Rackham Auditorium Presented with the generous support of Ami and Prut Rosenthal.
Royal Concertgebouw Orchestra of Amsterdam
Riccardo Chailly, conductor Matthias Goerne, baritone Wednesday, April 4, 8 p.m. Hill Auditorium Sponsored by Forest Health Services. Media sponsor WGTE.
Emerson String Quartet
Friday, April 6, 8 p.m. jHRjgBj Rackham Auditorium :--
Sponsored by Bank of Ann Arbor.
John Relyea, bass-baritone
Warren Jones, piano Saturday, April 14, 8 p.m. Lydia Mendelssohn Theatre Sponsored by Miller, Canfield, Paddock and Stone, P.l.C. Media sponsor WGTE.
Mark Morris Dance Group
Mark Morris, artistic director Friday, April 20, 8 p.m. Saturday, April 21,8 p.m. Power Center
Sponsored by McKinley Associates, Inc., and The Shiffman Foundation, Sigrid Christiansen and Richard Levey. 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. Additional funding provided by the Andrew W. Mellon Foundation and the Philip Morris Companies Inc.
Berlioz' Requiem
UMS Choral Union
Greater Lansing Symphony
U-M School of Music
Symphony Band
Thomas Sheets, conductor
Sunday, April 22, 4 p.m.
Hill Auditorium
Sponsored by Jim and Millie Irwin.
UMS Co-Commission & World Premiire Curse of the Gold: Myths from the Icelandic Edda
Conceived and directed by
Benjamin Bagby and Ping
Performed by Sequentia in
association with Ping Chong
and Company
Wednesday, April 25, 8 p.m.
Thursday, April 26, 8 p.m.
Lydia Mendelssohn Theatre
Presented with the generous support of
Robert and Pearson Macek.
Presented in collaboration with the U-M
Institute for the Humanities.
Media sponsor Michigan Radio.
1 he Ford Honors Program is made possi?ble by a generous grant from the Ford Motor Company Fund and benefits the UMS Education Program. Each year, UMS
honors a world-renowned artist or ensemble with whom we have maintained a long-standing and significant relationship. In one evening, UMS pays tribute to and presents the artist with the UMS Distinguished Artist Award, and hosts a dinner and party in the artist's honor. Van Cliburn was the first artist so honored, with subsequent honorees being Jessye
Norman, Garrick Ohlsson, The Canadian Brass, and Isaac Stern (left).
This season's Ford Honors Program will be held in early May. The recipient of the 2001
UMS Distinguished Artist Award will be announced in January 2001.
Ford Honors Program Honorees
Jessye Norman
Garrick Ohlsson
Canadian Brass
Isaac Stern
n the past several seasons, UMS' Education and Audience Development program has grown significantly. With a goal of deepening the understanding of the importance of the live performing arts and the major impact the arts can have in the community, UMS now seeks out active and dynamic collabora?tions and partnerships to reach into the many diverse communities it serves. ?-,&&.?
Family Performances
For many years, UMS has been committed to providing the opportunity for families to enjoy the arts together, j
This season's Family Performances include:
American Repertory Theater: The King Stag
Bale Folclorico da Bahia ._j.v.......-.-,
Alvin Ailey American Dance Theater
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, -mgkwmgmmp
Master of Arts Interview Series
Now entering its fifth year, this series is an opportunity to showcase and engage the cho?reographers in academic, yet informal, dia?logues about their art form, their body of work and their upcoming performances.
This year's series includes interviews with several UMS artists, including Menahem Pressler and others to be announced.
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 free and open to the public and usually begin one hour before curtain time.
Meet the Artists: ?'-?
Post-Performance Dialogues
The Meet the Artist Series provides a special opportunity for patrons who attend perform?ances to gain additional understanding about the artist, the performance they've just seen and the artistic process. Each Meet the Artist event occurs immediately after the perform?ance, and the question-and-answer session takes place from the stage.
Artist Residency Activities
UMS residencies cover a diverse spectrum of artistic interaction, providing more insight and greater contact with the artists. ifHRUt Residency activities include interviews, open rehearsals, lecturedemonstrations, in-class visits, master classes, participatory work?shops, clinics, visiting scholars, seminars, community projects, symposia, panel discus?sions, art installations and exhibits. Most activities are free and open to the public and occur around the date of the artist's perform-
Major residencies for the 20002001 season are with:
Gate Theater of Dublin
Bale Folclorico da Bahia j
Liz Lerman Dance Exchange i
Alvin Ailey American Dance Theater
Royal Shakespeare Company
Ping ChongBenjamin Bagby .
Youth Performances
These performances are hour-long or full length, specially designed, teacherand stu?dent-friendly live matinee performances.
The 20002001 Youth Performance Series includes:
American Repertory Theater: The King Stag
Bale Folclorico da Bahia
s Anoushka Shankar & Ensemble
Mingus Big Band: Blues and Politics
Alvin Ailey American Dance Theater
Hubbard Street Dance Chicago
Royal Shakespeare Company: Richard III
Ronald BrownEvidence
Teachers who wish to be added to the youth performance mailing list should call 734.615.' 0122 or e-mail _ _
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:
"Autobiography and Biography: Exploring
Point of View through Dance"
"Responding to Visual Art Through
? "Songs of the Underground Railroad"
"The Drama of Shakespeare"
Workshops focusing on the UMS youth per?formances are:
? "Indian Music in the Classroom"
"African American 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 hotline at 734.763.3100 for more infor?mation about discounts for student and youth groups.
Joining experi
UMS Camerata Dinners
Now entering their fifth season, Camerata Dinners are a delicious and convenient beginning to your UMS concert evening. 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. Catered this year by the very popular Food Art, our Camerata Dinners will be held prior to the Choral Union Series performances list?ed below. All dinners will be held in the Alumni Center with the exception of the din?ners on October 12 and November 10, which will be held in the Dow Laboratory Atrium. Dinner is $35 per person. UMS members at the Benefactor level ($500) and above are entitled to a discounted dinner price of $30 per person. All members receive reservation priority. Please reserve in advance by calling 734.647.8009. i
We are grateful to Sesi Lincoln Mercury for their support of these special dinners.
Thursday, October 12
Iceland Symphony Orchestra
Wednesday, October 25
Bryn Terfel
Friday, November 10
Camerata Academica Salzburg
Friday, February 2
Dresden Staatskapelle
Friday, February 16
Swedish Radio Symphony Orchestra and Choir
Wednesday, March 7
Prague Chamber Orchestra
Saturday, March 24
Academy of St. Martin-in-the-Fields
Wednesday, April 4
Royal Concertgebouw Orchestra of Amsterdam ("Denotes dinners held in the Dow Laboratory Atrium)
elebrate in style with dinner and a show or stay overnight and relax in luxurious comfort! A delectable meal followed by prior?ity, reserved seating at a performance by world-class artists sets the stage for a truly elegant evening--add luxury accommoda?tions to the package and make it a perfect get-a-way. UMS is pleased to announce its cooperative ventures with the following local establishments: 4
The Artful Lodger Bed & Breakfast
1547 Washtenaw Avenue Call 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!
The Bell Tower Hotel & .................
Escoffier Restaurant
300 South Thayer
734.769.3010 for reservations and prices Fine dining and elegant accommodations, along with priority seating to see some of the world's most distinguished performing artists, add up to a perfect overnight holiday. Reserve space now for a European-style guest room within walking distance of the per?formance halls and downtown shopping, a special performance dinner menu at the Escoffier restaurant located within the Bell Tower Hotel, and priority reserved "A" seats to the show. All events are at 8 p.m. with din?ner prior to the performance.
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.
Packages are available for select perform?ances. Call 734.763.3010 for details.
Gratzi Restaurant
326 South Main Street 734.663.5555 for reservations and prices Pre-performance Dinner Package includes guaranteed reservations for a preor post-performance dinner (any selection from the special package menu plus a non-alcoholic beverage) and reserved "A" seats on the main floor at the performance. Packages are available for select perform?ances. Call 734.763.5555 for details.
isit and enjoy these fine area restaurants. Join us in thanking them for their gener?ous support of UMS.
Bella Ciao Trattoria ,..., ,.,..,. ,
118 West Liberty 734.995.2107 iSfttiJfiK 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.
Cafe Marie
1759 Plymouth Road 734.662.2272 Distinct and delicious breakfast and lunch dishes, creative weekly specials. Fresh-squeezed juice and captivating cappuccinos! A sunny, casual, smoke-free atmosphere. Take out available. i
The Chop House
322 South Main Street 888.456.DINE 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 fifty years. Featuring Ann Arbor's favorite pizza, a full Italian menu, banquet facilities and cater?ing services. ,-.:, :vf """"" "?--"' -r
D'Amato's Neighborhood Restaurant
102 South First Street 734.623.7400 World class Italian cuisine and thirty-five wines by the glass in sleek atmosphere. Entrees changed daily, private meeting area. Rated 'four stars' by the Detroit Free Press. Lunch weekdays, dinner every night. Reservations welcome.
Gandy Dancer
401 Depot Street 734.769.0592 Located in the historic 1886 railroad depot. Specializing in fresh seafood. Lunches Monday-Friday 11:30-3:30. Dinners Monday-Saturday 4:30-10:00, Sunday 3:30-9:00. Award-winning Sunday brunch 10:00-2:00. Reservations recommended.______
326 South Main Street 888.456.DINE 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 Avenue 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, intimate 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.
The Moveable Feast i
326 West Liberty 734.663.3278 Located just west of Main Street in the ??
restored Brehm estate. Fine American cuisine with a global fare. Full service catering, bakery, wedding cakes. .. . .-,r........--..
347 South Main Street 888A56.DINE 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 888.456.DINE 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.
314 East Liberty 734.662.1111 Providing fresh, imaginative vegetarian cui?sine since 1973. All dishes, including desserts, are made in-house daily. Be sure to look over our extensive beverage menu.
Sweet Lorraine's Cafe and Bar
303 Detroit Street 734.665.0700 Modern American cooking, daily eclectic spe?cials, seafood, pasta & steaks. Full bar, wines by-the-glass, and courtyard dining. Open 7 days at 11:00 a.m., weekend brunch. Meetings, banquets, and parties easily accommodated. Coming soon: live entertainment and other exciting surprises.
Webers Restaurant
3050 Jackson Avenue 734.665.3636 Great American restaurant since 1937. Featuring prime rib, live lobster, roast duck, cruvinet wine tasting flights, home-made pastries. Award-winning wine list. Ports, -cognacs, entertainment nightly.
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.
ack by popular demand, friends of UMS are offering a unique donation by hosting a variety of dining events. Thanks to the generosity of the hosts, all proceeds go directly to support UMS' educational and artistic programs. Treat yourself, give a gift of tickets, or come alone and meet new people! Call 734.936.6837 to receive a brochure or for more information.
' MS Volunteers are an integral part of the success of our organi?zation. 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 edu?cation residency activities, assisting in artist services and mailings, escorting students for our popular youth performances and a host of other projects. Call 734.936.6837 to request more information.
ow fifty-three members strong, the UMS Advisory Committee serves an integral function within the organization, supporting UMS with a volunteer corps and contribut?ing to its fundraising efforts. Through the Delicious Experiences series, Season Opening Dinner, and the Ford Honors Program gala, the Advisory Committee has pledged to donate $300,000 to UMS this season. Additionally, the Committee's hard work is in evidence at local bookstores with BRAVO!, a cookbook that traces the history of UMS through its first 120 years, with recipes submitted by artists who have performed under our aus?pices. If you would like to become involved
with 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.
' dvertising in the UMS program book
,or sponsoring UMS performances enables 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 also receive numerous
benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
Enhancing corporate image
Cultivating clients
Developing business-to-business relationships
Targeting messages to specific ----------
demographic groups
Making highly visible links with arts and education programs ?---------
? Recognizing employees
Showing appreciation for loyal customers
For more, information, please call 734.647.1176.
nternships with UMS provide experience in performing arts administration, mar?keting, publicity, promotion, production and arts education. Semesterand year-long internships are available in many of UMS' departments. For more information, please call 734.764.9187.
tudents working for UMS as part of the College Work-Study program gain valu?able experience in all facets of arts manage?ment including concert promotion and marketing, fundraising, event planning and production. If you are a University of Michigan student who receives work-study financial aid and who is interested in working at UMS, please call 734.764.9187.
ithout 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 over 300 individuals who volunteer their time to make your concert going experience more pleasant and efficient. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill, Power Center, or Rackham) for the entire concert season.
If you would like information about becoming a UMS volunteer usher, call the UMS usher hotline at 734.913.9696. HHP
rcat performances--the best in music, theater and daneeare presented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, members of the Society, fo The list below represents names of current donors as of July 25, 2000. If there has been an error or omission, we apologize and would appreciate a call at 734.647.1178 so that we can correct this right away, f UMS would also like to thank those generous donors who wish to remain anonymous.
Mrs. Gardner Ackley Carl and Isabelle Brauer Dr. Kathleen G. Charla Dr. and Mrs. James Irwin Charlotte McGeoch Randall and Mary Pittman Herbert Sloan and several anonymous donors
Aetna Corporation
Bank One, Michigan
Ford Motor Company Fund
Forest Health Services
Hudson's Project Imagine Office of the Provost,
University of Michigan Pfizer Global Research and
Development; Ann Arbor
Community Foundation for Southeastern Michigan
The Ford Foundation
JazzNetDoris Duke Foundation
Lila Wallace Reader's Digest Audiences for the Performing Network
Lila Wallace Reader's Digest Arts Partners Program
Michigan Council for Arts and Cultural Affairs
National Endowment for the Arts
Herb and Carol Amster
Peter and Jill Corr
Ronnie and Sheila Cresswell
Bank of Ann Arbor Brauer Investments Comerica Bank Dow Automotive KeyBank
McKinley Associates
Thomas B. McMullen
Company ,
National City Bank Sesi Lincoln Mercury Edward Surovell Realtors Texaco
Wolverine Technical Staffing, Inc.
Foundations i
Arts Midwest Detroit Edison Foundation Elizabeth E. Kennedy Fund Benard L. Maas Foundation Mid-America Arts Alliance New England Foundation for the Arts
Prudence and Amnon
Rosenthal Edward and Natalie Surovell
Businesses jkfe
Maurice and Linda Binkow
Douglas D. Crary
Ken and Penny Fischer
Beverley and Gerson Geltner
Charles N. Hall
David and Phyllis Herzig
F. Bruce Kulp and
Ronna Romney i David G. Loesel t
Lawrence and Rebecca Lohr L Robert and Pearson Macek Robert and Ann Meredith Joe and Karen Koykka O'Neal
Loretta M. Skewes _________
Don and Carol Van Curler Marina and Robert Whitman Ann and Clayton Wilhite Roy Ziegler .___
Ann Arbor Acura AutoCom Associates Butzel Long Attorneys Cafe Marie Consumers Energy Elastizell Corp of America Miller, Canfield, Paddock and
Stone P.L.C. O'Neal Construction Pepper Hamilton LLP Visteon
Chamber Music America THE MOSAIC FOUNDATION (ofR. &P. Heydon)
LEADERS Individuals
Martha and Bob Ause A. J. and Anne Bartoletto Bradford and Lydia Bates Kathy Benton and Robert Brown
Raymond and Janet Bernreuter Mr. and Mrs. William Brannan Barbara Everitt Bryant Amy and Jim Byrne Edward and Mary Cady Edwin and Judith Carlson Mr. Ralph Conger Katharine and Jon Cosovich Molly and Bill Dobson Jim and Patsy Donahey David Eklund and Jeff Green Mr. and Mrs. Thomas C. Evans John and Esther Floyd James and Anne Ford Otto and Lourdes E. Gago Sue and Carl Gingles Debbie and Norman Herbert Keki and Alice Irani Thomas and Shirley Kauper Judy and Roger Maugh Paul and Ruth McCracken Hattie and Ted McOmber Cruse W. and
Virginia Patton Moss George and Barbara Mrkonic Gilbert Omenn and i
Martha Darling ' John Psarouthakis John and Dot Reed Barbara A. Anderson and
John H. Romani ? Mabel E. Rugen Don and Judy Dow Rumelhart Carol and Irving Smokier Lois A. Theis ____ Richard E. and 'MKBi
Laura A. Van House Mrs. Francis V. Viola III Marion T. Wirick and
James N. Morgan
Alf Studios AAA Michigan Alcan Automotive Products Austin & Warburton Blue Nile Restaurant I Dennis A. Dahlmann Inc. Lansstyrelsen Vastra GotaJand Ideation, Inc.
Joseph Curtin Studios Masco Corporation Republic Bank Ann Arbor Scandinavian Airlines System
Ann Arbor Area Community
The Lebensfeld Foundation Shiffman Foundation Trust
(Richard Levey and Sigrid
Dr. and Mrs. Gerald Abrams
Jim and Barbara Adams
Bernard and Raquel Agranoff
Lloyd and Ted St. Antoine
Lesli and Christopher Ballard
Emily W. Bandera, M.D.
Dr. and Mrs. Robert Bartlett
Karen and Karl Bartscht
Ralph P. Beebe
Ruth Ann and Stuart J. Bergstein
L. S. Berlin
Philip C. Berry
Suzanne A. and Frederick J. Beutler
Joan Akers Binkow
Elizabeth and Giles G. Bole______
Lee C. Bollinger and
Jean Magnano Bollinger Howard and Margaret Bond Laurence and Grace Boxer Dale and Nancy Briggs Helen L. Brokaw '
Jeannine and Robert Buchanan Robert and Victoria Buckler ; Lawrence and Valerie Bullen Mr. and Mrs. Richard J. Burstein Letitia J. Byrd Betty Byrne ;
Jim and Priscilla Carlson Jean and Kenneth Casey Janet and Bill Cassebaum ' Anne Chase t
George and Patricia Chatas Don and Betts Chisholm Mr. and Mrs. John Alden Clark David and Pat Clyde Leon and Heidi Cohan Anne and Howard Cooper Mary Cordes and Charleen Price
Principals, continued
Peter and Susan Darrow Beatrice C. DeRocco Jack and Alice Dobson Elizabeth A. Doman j Mr. and Mrs.
John R. Edman Dr. and Mrs.
John A. Faulkner Susan Feagin and
John Brown David and
Jo-Anna Featherman Adrienne and
Robert Z. Feldstein Ray and
Patricia Fitzgerald David C. and
Linda L Flanigan Bob and Sally Fleming Ilene H. Forsyth Michael and Sara Frank Marilyn G. Gallatin James and Cathie Gibson William and Ruth Gilkey Drs. Sid Gilman and
Carol Barbour Alvia G. Golden and
Carroll Smith-Rosenberg Norm Gottlieb and
Vivian Sosna Gottlieb Dr. Alexander Gotz Victoria Green and
Matthew Toschlog Linda and Richard
Greene Frances Greer David and Pamela
Colburn Haron Taraneh and Carl Haske Anne and Harold Haugh Bertram Herzog Julian and Diane Hoff Janet Woods Hoobler Robert M. and
Joan F. Howe Sun-Chien and
Betty Hsiao John and Patricia ,i
Huntington Stuart and Maureen Isaac Lennart and
Karin Johansson Elizabeth Judson Johnson Robert L. and
Beatrice H. Kahn Robert and Gloria Kerry
Amy Sheon and
Marvin Krislov Bud and Justine Kulka Barbara and
Michael Kusisto Lenore Lamont Jill Latta and
David S. Bach Mr. and Mrs. :
Henry M. Lee Leo and Kathy Legatski Carolyn and Paul Lichter Richard and
Stephanie Lord Dean and Gwen Louis Virginia and
Eric Lundquist John and
Cheryl MacKrell Natalie Matovinovic Margaret W. Maurer Joseph McCune and
Georgiana Sanders Rebecca McGowan and
Michael B. Staebler Dr. H. Dean and
Dolores Millard Andrew and
Candice Mitchell Grant W. Moore Julia S. Morris Eva L. Mueller Mr. and Mrs. Homer Neal Shirley Neuman M. Haskell and Jan
Barney Newman William and
Deanna Newman Marylen and
Harold Oberman Dr. and Mrs.
William J. Oliver Mark and Susan Orringer Elizabeth C. Overberger Mr. and Mrs.
William B. Palmer Dory and John D. Paul John M. Paulson Elaine and Bertram Pitt Eleanor and Peter Pollack Stephen and
Agnes Reading Donald H. Regan and
Elizabeth Axelson Kenneth J. Robinson Mrs. Irving Rose Victor Strecher and
Jeri Rosenberg
Gustave and
Jacqueline Rosseels Dr. Nathaniel H. Rowe Mr. and Mrs.
Charles H. Rubin Maya Savarino Mrs. Richard C. Schneider Rosalie and David
Schottenfeld Dr. John ]. H. Schwarz Robert Sears and
Lisa M. Waits Joseph and
Patricia Settimi Janet and
Michael Shatusky Helen and George Siedel J. Barry and
Barbara M. Sloat Tim Sparling and
Lynne Tobin
Steve and Cynny Spencer Gus and Andrea Stager James and Nancy Stanley Mrs. Ralph L. Steffek Mr. and Mrs.
John C. Stegeman Sally A. Stegeman Victor and
Marlene Stoeffler Bengt L. and
Elaine M. Swenson James L. and
Ann S. Telfer Dr. Isaac Thomas III &
Dr. Toni Hoover Susan B. Ullrich Jerrold G. Utsler Charlotte Van Curler Mary Vanden Belt Elly Wagner John Wagner Gregory and
Annette Walker Willes and
Kathleen Weber Elise and Jerry Weisbach Robert O. and
Darragh H. Weisman Angela and
Lyndon Welch Roy and JoAn Wetzel Max Wicha and
Sheila Crowley Dr. and Mrs. Clyde Wu Paul and
Elizabeth Yhouse Ed and Signe Young
Gerald B. and
Mary Kay Zelenock
Allen & Kwan
Commercial Briarwood Mall j
J. F. Ervin Foundation Harold and Jean
Grossman Family
Foundation Hudson's Community
Montague Foundation The Power Foundation
BENEFACTORS Individuals '
Robert Ainsworth Dr. and Mrs. Robert G.
Michael and Suzan Alexander Carlene and Peter Aliferis Michael Allemang and
Denise Boulange Dr. and Mrs. Rudi Ansbacher Janet and Arnold Aronoff Max K. Aupperle Gary and Cheryl Balint Norman E. Barnett Mason and Helen Barr Astrid B. Beck and
David Noel Freedman Kathleen Beck Harry and Betty Benford John Blankley and
Maureen Foley Jane M. Bloom Ron and Mimi Bogdasarian Charles and Linda Borgsdorf David and Sharon Brooks June and Donald R. Brown Virginia Sory Brown Douglas and
Marilyn Campbell Jean W. Campbell Michael and
Patricia Campbell Bruce and Jean Carlson Jack and Wendy Carman James S. Chen Janice A. Clark John and Nancy Clark Edward J. and
Anne M. Comeau Jim and Connie Cook Susan and Arnold Coran Elaine Buxbaum Cousins Clifford and Laura Craig
George and Connie Cress Kathleen J. Crispell and
Thomas S. Porter Mary R. and John G. Curtis Roderick and
Mary Ann Daane James M. Deimen Pauline and Jay J. De Lay Katy and Anthony Derezinski Lloyd and Genie Dethloff Marnee and John DeVine Delia DiPietro and
Jack Wagoner, M.D. Dr. and Mrs.
Stephen W. Director Al Dodds Mr. and Mrs.
Raymond D Dornbusch Charles and Julia Eisendrath Dr. Alan S. Eiser Stefan S. and Ruth S. Fajans Dr. and Mrs. S.M. Farhat Claudine Farrand and
Daniel Moerman Dede and Oscar Feldman Dr. James F. Filgas Sidney and Jean Fine Clare M. Fingerle Phyllis W. Foster Deborah and
Ronald Freedman Gwyn and Jay Gardner Drs. Steve Geiringer and
Karen Bantel Thomas and
Barbara Gelehrter Beverly Gershowitz Elmer G. Gilbert and
Lois M. Verbrugge Joyce and Fred Ginsberg Paul and Anne Glendon Susie and Gene Goodson Cozette Grabb Dr. and Mrs.
William A. Gracie William and Deborah Gray John and Helen Griffith Leslie and Mary Ellen Guinn Carl E. and Julia H. Guldberg Don P. Haefner and
Cynthia J. Stewart Helen C. Hall
Mr. and Mrs. Elmer F. Hamel Susan Harris Paul Hysen and
Jeanne Harrison Anne Vance Hatcher Karl and Eleanor Hauser Nina E. Hauser Jeannine and Gary Hayden Margaret and
Walter Helmreich J. Lawrence and
Jacqueline Stearns Henkel Carl and Charlene Herstein
Mrs. W.A. Hiltner--------
Mr. and Mrs.
William B. Holmes Bellanina Day Spa
David and Dolores Humes Ronald R. and
Gaye H. Humphrey Eileen and Saul Hymans Wallie and Janet Jeffries Jim and Dale Jerome Ellen C. Johnson Frank and Sharon Johnson Mercy and Stephen Kasle Herbert Katz
Richard and Sylvia Kaufman Richard L. Kennedy Emily and Ted Kennedy Howard King and
Elizabeth Sayre-King Dick and Pat King Hermine R. Klingler Bethany and Bill Klinke Philip and
Kathryn Klintworth Jim and Carolyn Knake Joseph and
Marilynn Kokoszka Samuel and Marilyn Krimm Lee and Teddi Landes David and Maxine Larrouy John K. Lawrence Ted and Wendy Lawrence Laurie and Robert LaZebnik Rosebud Solutions Ann M. Leidy Evie and Allen Lichter Charles and Judy Lucas Brigitte and Paul Maassen Edwin and Catherine Marcus Nancy and Philip Margolis Claude and Marie Martin Irwin and Fran Martin Sally and Bill Martin Marilyn Mason Chandler and
Mary Matthews Elaine J. McFadden Eileen Mclntosh and
Charles Schaldenbrand Richard and
Elizabeth McLeary Ted and Barbara Meadows Dr. Gerlinda Melchiori Walter and Ruth Metzger Valerie Meyer Leo and Sally Miedler Myrna and Newell Miller Lester and Jeanne Monts Melinda and Bob Morris Brian and Jacqueline Morton Cyril and Rona Moscow Hillary Murt and
Bruce A. Friedman Martin Neuliep and
Patricia Pancioli Len and Nancy Niehoff Mrs. Marvin Niehuss Gene Nissen Dr. and Mrs.
Frederick C. O'Dell Mr. and Mrs.
James C. O'Neill
Constance L. and
David W. Osier Mitchel Osman, M.D. William C. Parkinson Shirley and Ara Paul Margaret and Jack Petcrsen Lorraine B. Phillips William and Betty Pierce Murray and Ina Pitt Stephen and Bettina Pollock Richard H. and
Mary B. Price Mrs. Gardner C. Quarton Mrs. Joseph S. Radom Jeanne Raisler and
Jonathan Allen Cohn Jim and leva Rasmussen Jim and Bonnie Reece Rudolph and Sue Reichert Ray and Ginny Reilly Maria and Rusty Restuccia Arthur J. Rose Dr. Susan M. Rose Mrs. Doris E. Rowan James and
Adrienne Rudolph Ina and Terry Sandalow Sheldon Sandweiss Ronald and Donna Santo Drs. Edward and
Virginia Sayles Peter C. Schaberg and
Norma J. Amrhein Meeyung and
Charles Schmitter Sue Schroeder Julianne and Michael Shea Howard and Aliza Shevrin Dr. and Mrs.
Martin Shinedling Frances U. and
Scott K. Simonds George and
Mary Elizabeth Smith Dr. Elaine R. Soller Cynthia J. Sorensen Mr. and Mrs. Neil J. Sosin Juanita and Joseph Spallina Stephen and Gayle Stewart Wolfgang Stolper Nancy Bielby Sudia Charlotte B. Sundelson Ronna and Kent Talcott Bob and Betsy Teeter Mrs. E. Thurston Thieme Dr. and Mrs.
Merlin C. Townley Joan Lowcnstein and
Jonathan Trobe Marilyn Tsao and Steve Gao Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger Bryan and Suzette Ungard Jack and
Marilyn van der Velde Kate and Chris Vaughan Sally Wacker Warren Herb Wagner and
Florence S. Wagner
Bruce and Raven Wallace Charles R. and
Barbara H. Wallgren Dana M. Warnez Joyce L. Watson Robin and Harvey Wax Karl and Karen Weick Raoul Weisman and
Ann Friedman Dr. Steven W. Werns Harry C. White and
Esther R. Redmount Clara G. Whiting Brymer Williams J. D. and Joyce Woods Mr. and Mrs. A. C. Wooll David and April Wright Don and Charlotte Wyche
The Barficld
CompanyBartech Dupuis & Ryden P.C. Guardian Industries
Corporation Public Sector Consultants,
Inc. Charles Reinhart Company
Realtors Stirling Thermal Motors, Inc.
The Sneed Foundation, Inc.
Anastasios Alexiou
Christine Webb Alvey
Dr. and Mrs. David G. Anderson
David and Katie Andrea
Harlene and Henry Appclman
Patricia and Bruce Arden
Jeff and Deborah Ash
Mr. and Mrs. Arthur J. Ashe, III
Mr. and Mrs. Dan E. Atkins III
Jonathan and Marlenc Aycrs
Robert L. Baird
John R. Barcham
Cy and Anne Barnes
Gail Davis Barnes
Victoria and Robin Baron
Lois and David Baru
Gary Beckman and Karla Taylor
Srirammohan S. and
Shamal Beltangady Linda and Ronald Benson Robert Hunt Berry Sheldon and Barbara Berry Dan and Irene Biber Cathie and Tom Bloem Roger and Polly Bookwalter Mr. Joel Bregman and
Ms. Elaine Pomcranz Allen and Veronica Britton Mrs. A. Joseph Brough Morton B. and Raya Brown
Associates, continued
Dr. and Mrs. Donald T. Bryant Sue and Noel Buckner Trudy and Jonathan Bulkley Arthur W. and Alice R. Burks Susan and Oliver Cameron Margot Campos Charles F. Cannell Nancy Cantor
Marshall F. and Janice L. Carr Jeannette and Robert Carr lames and Mary Lou Carras Carolyn M. Carty and
Thomas H. Haug Dr. and Mrs. loseph C. Cerny Tsun and Siu Ying Chang Dr. Kyung and Young Cho Soon K. Cho
Dr. and Mrs. David Church Nancy Cilley
Donald and Astrid Cleveland Gerald S. Cole and
Vivian Smargon John and Penelope Collins Wayne and Melinda Colquitt Nan and Bill Conlin Paul N. Courant and
Marta A. Manildi Merle and Mary Ann Crawford Mr. Michael J. and
Dr. Joan Crawford Constance Crump and
Jay Simrod Sunil and Merial Das Charles and
Kathleen Davenport Ed and Ellie Davidson Peter and Norma Davis Ronald and Dolores Dawson John and Jean Debbink Penny and Laurence B. Deitch Elena and Nicholas Delbanco Ellwood and Michele Derr Elizabeth Dexter Martha and Ron DiCecco Bill and Peggy Dixon Jean Dolega
Heather and Stuart Dombey Dr. and Mrs. Edward F. Domino Thomas and Esther Donahue Eugene and Elizabeth Douvan Mr. and Mrs. Daniel G. Dow Phillip Duryea Jane E. Dutton Martin and Rosalie Edwards Judge and Mrs. S. J. Elden Ethel and Sheldon Ellis Mackenzie and Marcia Endo Joan and Emil Engel Patricia Enns
Dr. and Mrs. James Ferrara Yi-tsi M. and
Albert Feuerwerkcr Karl and Sara Fiegenschuh Carol Finerman Herschel and Annette Fink Beth B. Fischer (Mrs. G. J.) Dr. C. Peter and
Beverly A. Fischer Susan R. Fisher and
John W. Waidley Jennifer and Guillermo Flores Mr. and Mrs. George W. Ford Doris E. Foss
Paula L. Bockenstedt and
David A. Fox
Howard and Margaret Fox Andrew and Deirdre Freiberg Lcla J. Fuester
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld Bernard and Enid Gallcr Eugene and Mary Anne Gargaro David and Marian Gates Mr. and Mrs. Michael Gillis James and lanet Gilsdorf Maureen and David Ginsburg Albert and Almeda Girod Edward and Ellen Goldberg Irwin Goldstein and
Martha Mayo Charles Goss
James W. and Maria J. Gousseff Elizabeth Needham Graham Maryanna and
Dr. William H. Graves, III Jerry M. and Mary K. Gray Dr. John and Renee M. Greden Lila and Bob Green Bill and Louise Gregory Lauretta and Jim Gribble Carleton and Mary Lou Griffin Mark and Susan Griffin Werner H. Grilk ' David and Kay Gugala Ken and Margaret Guire Arthur W. Gulick, M.D. Susan and John Halloran Yoshiko Hamano Mr. and Mrs. Michael Hanna Martin D. and
Connie D. Harris Robert and Jean Harris Robert and Sonia Harris Naomi Gottlieb Harrison and
Theodore Harrison DDS Clifford and Alice Hart Thomas and Connie Heffner Bob and Lucia Heinold Fred and Joyce Hershcnson Peter G. Hinman and
Elizabeth A. Young Ms. Teresa Hirth Frances C. Hoffman Matthew C. Hoffmann and
Kerry McNulty Carol and Dieter Hohnke Kenneth and Joyce Holmes Ronald and Ann Holz Drs. Linda Samuelson and
Joel Howell Jane H. Hughes Ann D. Hungerman , Thomas and
Kathryn Huntzicker Susan and Martin Hurwitz Robert B. Ingling Margaret and Eugene Ingram Harold and Jean Jacobson Kent and Mary Johnson Tim and Jo Wiese Johnson Elizabeth and Lawrence Jordan Susan and Stevo Julius Douglas and Mary Kahn Steven R. Kalt and
Robert D. Heeren Dr. and Mrs. Mark S. Kaminski
Perry and Denise Kantner
George Kaplan and Mary Haan
David and Sally Kennedy
Frank and Patricia Kennedy
Don and Mary Kiel
Tom and Connie Kinnear
Rhea and Leslie Kish
lames and lane Kister
Beverly Kleiber
Shira and Steve Klein
Laura Klem
Clyde and Anne Kloack
Ruth and Thomas Knoll
Nick Knuth
Dr. and Mrs. Mclvyn Korobkin
Michael and Phyllis Korybalski
Ron and Barbara Kramer
Bert and Catherine La Du
Mr. and Mrs. Henry M. Lapeza
John and Theresa Lee
Peter Lee and Clara Hwang
Mr. and Mrs. Fernando S. Leon
Richard LeSueur
Harry and Melissa LeVine
Myron and Bobbie Levine
lacqueline H. Lewis
Earl Lewis
Leons and Vija Liepa j
Alene and Jeff Lipshaw
Rod and Robin Little
Vi-Cheng and Hsi-Yen Liu
Peter and Sunny Lo
Naomi E. Lohr
E. Daniel and Kay Long
Leslie and Susan Loomans
Helen B. Love
Mr. and Mrs. Carl J. Lutkehaus
Edward and Barbara Lynn
Donald and Doni Lystra
Jeffrey Mackie-Mason
Steve and Ginger Maggio
Virginia Mahle
Melvin and Jean Manis
Marcovitz Family
Sheldon and Geraldine Markel
Peter Marshall
Jim and Ann Mattson
Melissa McBrienBaks Family
Margaret E. McCarthy
Ernest and Adele McCarus
W. Bruce McCuaig
Griff and Pat McDonald
Mr. and Mrs. Ernest Merlanti
Bernice and Herman Merte
Helen Metzner
Deanna Relyea and
Piotr Michalowski Prof, and Mrs. Douglas Miller Jeanctte and Jack Miller Robert Rush Miller John Mills
Thomas and Doris Miree Kathleen and lames Mitchiner Dr. and Mrs.
William G. Moller, Jr. Jane and Kenneth Moriarty Frederick C. Neidhardt and
Germaine Chipault Laura Nitzberg and
Thomas Carli Donna Parmelce and
William Nolting
Marysia Ostafin and
George Smillie Julie and Dave Owens David and Andrea Page Helen 1. Panchuk Drs. Sujit and Uma Pandit William and Hedda Panzer Rene and Hino Papo Elizabeth M. Payne Zoe and Joe Pearson Jim and Julie Phelps Joyce H. and Daniel M. Phillips William and Barbara Pierce Frank and Sharon Pignanelli Richard and Meryl Place Donald and Evonne Plantinga Mary Alice Power Philip and Kathleen Power Bill and Diana Pratt Jerry and Lorna Prescott Larry and Ann Preuss Elizabeth L. Prevot Wallace and Barbara Prince Bradley and Susan Pritts J. Thomas and Kathleen Pustell Leland and
Elizabeth Quackenbush Patricia Randle and James Eng Anthony L. Reffclls and
Elaine A. Bennett _-------
Glcnda Renwick
Janet L. Repp
Molly Resnik and John Martin
Carol P. Richardson
Jack and Margaret Ricketts
John and Marilyn Rintamaki
Jay and Machree Robinson
Mr. and Mrs. Stephen J. Rogers
Mary R. Romig-deYoung
Armando Lopez Rosas
Elly Rose and Hugh Cooper
W. Robin Rose
Robert and Joan Rosenblum
Gay and George Rosenwald
Craig and Jan Ruff
Bryant and Anne Russell
Robert E. Sanccki
Mike Savitski and
Christi Balas Savitski Albert J. and Jane L. Sayed Christine J. Schesky-Black David and Marcia Schmidt Monica and
David E. Schteingart Suzanne Selig Harriet Selin Erik and Carol Serr Ruth and Jay Shanberge George and Gladys Shirley Hollis and
Martha A. Showalter Ned Shure and Jan Onder Sandy and Dick Simon Robert and Elaine Sims Scott and Joan Singer John and Anne Griffin Sloan Tim and Marie Siottow Alenc M. Smith Carl and fari Smith Radley and Sandra Smith Mrs. Robert W. Smith Susan M. Smith Jorge and Nancy Solis
Yoram and Eliana Sorokin Tom Sparks Allen and Mary Spivcy L. Grasselli Sprankle Curt and Gus Stager Barbara Stark-Nemon and
Barry Nemon Professor Louis and
Glennis Stout
Dr. and Mrs. Stanley Strasius Brian and Lee Talbot Eva and Sam Taylor Mary D. Teal
Dr. Paul and Jane Thielking Mary H. Thieme Christina and Thomas Thoburn Catherine and
Norman Thoburn Edwin J. Thomas Bette M. Thompson Mr. and Mrs. W. Paul Tippett Patricia and Terril Tompkins Paul and Fredda Unangst Dr. and Mrs. Samuel C. Ursu Jim and Emilie Van Bochove Kathleen and Edward Van Dam Hugo and Karla Vandersypen Tanja and Rob Van der Voo J. Kevin and Lisa M. Vasconi William C. Vassell Shirley Verrett Carolyn and Jerry Voight John and Maureen Voorhees Wendy L. Wahl and
William R. Lee Mrs. Norman Wait Virginia Wait
Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner Mr. and Mrs.
Robert M. Warner Drs. Philip and Maria Warren Barry and Sybil Wayburn Deborah Webster and
George Miller Walter L. Wells John and Joanne Werner Susan and Peter Wcsterman Marcy and Scott Westerman B. Joseph and Mary White Reverend Francis E. Williams Thomas and Iva Wilson Charles Witkc and
Aileen Gatten Charlotte A. Wolfe Kathy and Alan Wright MaryGrace and Tom York Ann and Ralph Youngren Gail and David Zuk
Businesses :
Atlas Tool, Inc. Clark Professional Pharmacy Coffee Express Co. Complete Design &
Automation Systems Inc. Edwards Brothers, Inc. John Leidy Shop, Inc. Malloy Lithographing, Inc. Pollack Design Associates Quinn EvansArchitects A. F. Smith Electric, Inc. Milan Vault
John R. Adams Tim and Leah Adams Dr. Dorit Adler Dr. Diane M. Agresta Thomas Aider Gordon and Carol Allardyce James and Catherine Allen Richard and Bettye Allen Barbara and Dean Alseth Nick and Marcia Alter Pamela and Gordon Amidon Helen and David Aminoff Dr. and Mrs. Charles T. Anderson Clarence Anderson Sandra and David Anderson Joseph and Annette Anderson Timothy and Caroline Andrescn Martha Andrews-Schmidt Barbara T. Appelman Mary C. Arbour Catherine S. Arcure H. C. and Doris Arms Bert and Fat Armstrong Gaard and Ellen Arneson Rudolf and Mary Arnheim Dwight Ashley
ic M. and Nancy Aupperle John and Rosemary Austgen Shirley and Donald Axon Virginia and Jcrald Bachman Drs. John and Lillian Back Chris and Heidi Bailey Prof, and Mrs. J. Albert Bailey Richard W. Bailey and Julia
Huttar Bailey
Laurence R. ana Barbara K. Baker Barbara and Daniel Balbach Helena and Richard Balon Peter and Paulett Banks
David and Monika Barera_____
Maria Kardas Barn a
Joan W. Barth
Robert and Carolyn Battle
Leslie and Anita Bassett
Dorothy W. Bauer
Mrs. Jerc Bauer
Mr. and Mrs. Gilbert M. Bazil, Jr.
James and Margaret Bean
Mr. and Mrs. John C. Beatty
Mr. and Mrs. Steven R. Beckert
Robert Beckley and Judy Dinesen
Mr. and Mrs. Bruce Beier
Steve and Judy Bemis
Walter and Antjc Benenson
Erling and
Merete Blondal Benjtsson Bruce Bcnner and
Hely Merle-Bcnner Linda Bennett
Mr. and Mrs. Ib Bentzen-Bilkvist Dr. Rosemary R. Berardi Mr. and Mrs. Joel S. Berger Barbara Levin Bergman Jim Bergman and
Penny Hommel Marie and Gerald Berlin Abraham and Thelma Berman Susan A. Bernard Pearl Bernstein
Michel and Dominique Berny Gene and Kay Berrodin Andrew H. Berry, D.O. Mark Bertz j
R. Bezak and R. Halstead Naren and Nishta Bhatia Bharat C. Bhushan ohn and Marge Biancke Eric and Poris Billes John H. Billie and Sheryl Hirsch Jack and Anne Birchfield .
William and Ilene Birgc
Elizabeth S. Bishop --------------
Art and Betty Blair .,
Donald and Roberta Blitz Marshall and Laurie Blondy
Dennis Blubaueh
Dr. George andjoyce Blum
Mr. and Mrs.
Ralph O. Boehnkc, Jr. Beverly J. Bole Mark and Lisa Bomia Dr. and Mrs. Frank P. Bongiorno Harold W. and
Rebecca S. Bonncll Edward and Luciana Borbely Lola I. Borchardt Morris and Reva Bornstein Jeanne and David Bosttan Victoria C. Botek and
William M. Edwards Jim Botsford and
Janice Stevens Botsford Bob and Jan Bower Dean Paul C. Boylan Marvin f. and Maureen A. Boyle Dr. and Mrs. Ralph Bozell Stacy P. Brackens Dr. and Mrs. C. Paul Bradley Melvin W. and Ethel F. Brandt William R. Brashear Enoch and Liz Brater Mr. and Mrs. Gerald Bright Paul A. Bringer Amy and Clifford Broman Razclle Brooks Olin L. Browder Linda Brown and Joel Goldberg Cindy Browne Molly and John Brueger Mrs. Webster Brumbaugh Dr. Frances E. Bull Margaret E. Bunge Marilyn Burhop Tony and Jane Burton Barbara H. Busch Mr. and Mrs. Dan H. Butler Joanne Cage
Louis and Janet Callaway H. D. Cameron Mrs. Darrell A. Campbell Douglass and Sherry Campbell James H. Campbell Valeric and Brent Carey Barbara Carpenter James and Jennifer Carpenter Deborah S. Carr Margaret P. Carrigan Dennis B. and
Margaret W. Carroll Dean Carter and Dr. Petra
Schindler Carter Joseph and Nancy Cavanaugh K. M. Chan
Bill and Susan Chandler J. Wehrley and Patricia Chapman Dr. Carey Charlcs-Angelos Barry and Marjorie Checkoway Joan and Mark Chesler Tim Cholyway Felix and Ann Chow Catherine Christen Edward and Rebecca Chudacoff Sallie R. Churchill Pat Clapper
Brian and Cheryl Ctarkson Barbara Clough Roger and Mary Coe Dorothy Coffcy Alice S. Cohen Hubert and Ellen Cohen Hilary and Michael Cohen Mr. and Mrs. William Cohen Willis Colburn and Denise Park Marion Collier
Matthew and Kathryn Collins Ed and Cathy Colone Gordon and Marjorie Comfort Wendy and Mark Comstock Carolyn and L. Thomas Conlin Patrick and Anneward Conlin Sandra S. Connellan M. C. Conroy
Philip E. and Jean M. Converse
Donald W. Cook
Dr. and Mrs. William W. Coon
Gage R, Cooper
Dr. and Mrs. Richard Cooper
Alan and Bette Cotzin
Malcolm and Juanita Cox
Marjorie A. Cramer
Richard and Penelope Crawford
Charles and Susan Cremin
Mary C. Crichton
Mr. and Mrs. James I. Crump
Peggy Cudkowicz
Townley and Joann Culbcrtson
Jean Cunningham
Richard ). Cunningham
Marylee Dalton
Joyce Damschroder
Mr. and Mrs. Norman Dancy
Mildred and William B. Darnton
Jane and Gawaine Dart
Stephen Darwall and
Rosemarie Hester DarLinda and Robert Dascola Ruth E. Datz
Mr. and Mrs. John L. Dauer Mr. and Mrs. Arthur W. Davidge Judi and Ed Davidson Laning R. Davidson, M.D. Wayne and Patricia Davis Robert and
Barbara Ream Debrodt Joe and Nan Decker Dr. and Mrs. Raymond E Decker Rossanna and George DeGrood Mr. and Mrs. Rolf A. Deininger George and Margaret Demutn Pamela DcTullio and
Stephen Wiseman Don and Pam Devine Sheryl Diamond Macdonald and Carolin Dick T. L. Dickinson and
Lisa Landmcier Gordon and Elaine Didier Jerry and Patti Dobbs Judy and Steve Dobson Paul Dodd and Charlotte Dodd Ed and Betty Doezema Steven and Paula Donn Deanna and Richard Dorner Roland and Diane Drayson Harry M. and Norrene M. Dreffs Cecilia and Allan Dreyfuss Janet Driver and Daniel Hyde John Dryden and Diana Raimi Rhetaugn Graves Dumas Rosannc and Sandy Duncan Robert and Connie Dunlap Richard F. Dunn Jean and Russell Dunnaback Edmund and Mary Durfee John W. Durstine George C. and Roberta R. Earl Elaine Economou and
Patrick Conlin Richard and Myrna Edgar Morgan H. and Sara O. Edwards Julie and Charles Ellis Richard and Helen Emmons H. Michael and Judith L. Endres Mr. and Mrs. Fred A. Erb Roger E. Erickson Steve and Pamela Ernst Leonard and Madeline Eron Dorothy and Donald Eschman Sally Evaldson and John Posa Barbara Evans Don and Jeanctte Faber Mr. and Mrs. Robert B. Fair, Jr. Mark and Karen Falahee Elly and Harvey Falit Dr. Cheryl C. Farmer Inka and David Felbeck Reno and Nancy Feldkamp Phil and Phyllis Eellin Ronda and Ron Ferber Larry and Andra Ferguson Dennis and Claire Fernly
Susan FilipiakSwing City
Dance Studio Clarissc (Clay) Finkbeiner Marilyn Finkbeiner David A. Finn Gerald B. and
Catherine L. Fischer Lydia H. Fischer Dr. and Mrs. Richard L. Fisher Janet and Tom Fisher Barbara and lames Fitzgerald Linda and Thomas Fitzgerald Beth and Joe Fitzsimmons Morris and Debra Flaum Kathleen and Kurt Flosky Rochelle Flumenbaum and
Paul Estenson Jessica Fogel and
Lawrence Weiner George and Kathryn Foltz Susan Goldsmith and
Spencer Ford Dr Linda K. Forsberg Burke and Carol Fossee Jason I. Fox
William and Beatrice Fox Dan and Jill Francis Mark and Gloria Frank Lynn A. Freeland Lucia and Doug Frceth Richard and Joann Freethy Sophia French Marilyn L. Friedman Esther and PereU Friedmann Susan Froclich and
Richard Ingram Gail Fromes Jerry Frost
Philip and Renee Frost Joseph E. Fugere and
Marianne C. Mussett Jane Galantowicz Frances and Robert Gamble C. J. Gardiner and Cynthia Koch C. Louise Garrison Janet and Charles Garvin Wood and Rosemary Geist Allan and Harriet Gelfond Chuck and Rita Gclman Ms. Jutta Gerber Deborah and Henry Gerst Michael Gerstenberger W. Scott Gerstenberger and
Elizabeth A. Sweet Leo and Renate Gerulaitis Beth Genne and Allan Gibbard Paul and Suzanne Gikas Matthew and Debra Gildea Zita and Wayne Gillis Beverly Jeanne Giltrow Gary and Rachel Click Albert and Barbara Glover Albert L. Goldberg David and Shelley Goldberg Ed and Mona Goldman Arna and Michael ). Goldstein Beryl and David Goldsweig Mrs. Eszter Gombosi Mitch and Barb Goodkin Ann F. Goodman Selma and Albert Gorlin Enid Gosling Jean and Bill Gosling Michael L. Gowine Mr. and Mrs. Gordon J. Graham Mr. and Mrs. Robert C. Graham Pearl E. Graves Whitmorc and Svea Gray Isaac and Pamela Green Lewis R. and Mary A. Green Deborah S. Greer Sandra Gregerman G. Robinson and Ann Gregory Martha J. Greiner Linda and Roger Grckin Raymond ana Daphne M. Grew Marshall J. and Ann C. Grimm Marguerite M. Gritenas
Betty and Chuck Gross
Laurie Gross
Richard and Marion Gross
Frederick and Iris Gruhl
Lionel and Carol uuregian Nancy and Ion Gustafson Lorraine Gutierrez and
Robert Peyser Margaret Gutowski and
Michael Marietta Jeff and LeAnn Guyton Caroline and Roger Hackett Jennifer Shikes Haines and
David Haines Sarah I. Hamcke Mrs. Frederick G. Hammitt Dora E. Hampcl Dr. and Mrs. Carl T. Hanks Grace H. Hannenin Lourdes S. Bastos Hansen Charlotte Hanson Mary C. Harms Stephen G. and
Mary Anna Harper Laurelynne Daniels and
George Harris Ed Sarath and Joan Harris Susan S. Harris Stephen Haskin and
Karen Soskin Elizabeth C. Hassinen Ruth Hastie
James B. and Roberta Hause Ian and Barbara Hawkins Maureen Hawley D. Keith and Lori Hayward Anne Heacock
Kenneth and Jeanne Heininger Mrs. Miriam Heins Jim and Esther Heitler Bill Heifer Sivana Heller Paula B. Hencken and
George C. Collins Karl Henkel and Phyllis Mann Dr. and Mrs. Keith S. Henley Kathryn Dekoning Hentschel and
Rudi Hentschel Jeanne Hernandez C.C. Herrington, M.I"). Ronald D. and Barbara J. Hertz Stuart and Barbara Hilbert Herb and Dee Hildebrandt Lorna and Mark Hildebrandt Carolyn Hiss
lames and Ann Marie Hitchcock Louise Hodgson Jane and Dick Hoerner Robert and Claire Hogikyan Donna M. Hollowcll Mr. and Mrs. Howard Holmes Pam and Steve Home Dave and Susan Horvath Mr. and Mrs. F. B. House lames and Wendy Fisher House Jeffrey and Allison Housner Hclga C. Hover Kenneth and Carol Hovey Drs. Richard and Diane Howlin
Mrs.V.C. Hubbs
Hubert and Helen Huebl
Judc and Ray Huetlcman
Harry and Ruth Huff
Mr. and Mrs. William Hufford
Mr. and Mrs-Thomas J. Hughes
Joanne Winkleman Hulce
Ralph and Del Hulett
Jewel F. Hunter
Joyce M. Hunter
Marilyn C. Hunting
Mr. and Mrs. Jacob Hurwitz
Bailie, Brenda and
Jason Prouser Imber Diane C. Imrcdy Edward C. Ingraham Ann K. Irish i
Sid and Harriet Israel Joan L. Jackson j
Judith G. Jackson
Dean and Leslie Jarrett
Marilyn G. Jeffs
Professor and Mrs. Jerome Jelinek
James and Elaine Jensen
Keith and Kay Jensen
Mark and Linda lohnson
Paul and Olga Johnson
Dr. Marilyn S. Jones
Andree Joyaux and Fred Blanck
Tom and Marie Juster
Mary Kalmes and
Larry Friedman Paul Kantor and
Virginia Weckstrom Kantor Helen and Irving Kao Mr. and Mrs. Wilfred Kaplan Hans Peter Kappus Diana S. Karam Rosalie Bruni Karunas Alex and Phyllis Kato Ann F. Katz
William and Gail Keenan Frank and Karen Keesecker Robert and Frances Keiscr Janice Keller Linda Atkins and
Thomas Kenney George L. Kenyon and
Lucy A. Waskell Paul and Leah Kileny Jeanne M. Kin
Robert and Vicki Kiningham John and Carolyn Kirkendall Leilani and Steven Kitler Anne Kloack Patricia S. Knoy Rosalie and Ron Koenig Charles and Linda Koopmann Alan and Sandra Kortesoja Dimitri and Suzanne Kosacheff Sara Kring William G. Kring Alan and lean Krisch Syma and Phil Kroll Bert and Geraldine Kruse Helen and Arnold Kuethe Danielle and George Kuper Dr. and Mrs. R. A. Kutcipal William and Marie Kuykendall Alvin and Susan Lake Magdalene Lam pert Mr. and Mrs. Seymour Lampert Henry and Alice Landau Janet Landsberg LaVonne Lang
Patricia M. Lang ___
Mrs. David A. Lanius.
Lois H. Largo
Joan Larsen and Adam Pritchard
Carl F. and Ann L. LaRuc
Neal and Anne Laurance
Beth and George Lavoie ?------
Judith and Jerold Lax Chuck and Linda Leahy Francois and Julie Lebel Cyril and Ruth Lcder I
Fred and Ethel Lee Skip and Mary LeFauve Diane and Jeffrey Lehman Richard and Barbara Leile Ron and Leona Leonard i Sue Leong
Margaret E. Leslie '-
David E. Levinc
Deborah Lewis ??-.t-
Tom and Judy Lewis Margaret K. Liu and
Diarmaid M. O'Foighil Jackie K. Livesay .. "'
Julie M. Loftin
Jane Lombard '
Ronald Longhofer and
Norma McKenna Barbara R. and Michael Lott Bruce Loughry Christopher Loving
Donna and Paul Lowry Ross E, Luckc
Pamela and Robert Ludolph Elizabeth I.. Lutton Fran Lyman
Becky and Reno Maccardini Pamela I. MacKintosh Marilyn Mac Lean Walter Allen Maddox Mark Mahlbcrg Suzanne and lay Mahler Deborah Malamud and
Neal Plotkin
Claire and Richard Malvin Alan and Carla Mandel Pankaj Manku Pearl Manning Ken Marblcstone and
lanisse Nagel Lee and Greg Marks Alice K. and Robert G. Marks Rhoda and William Martel James E. and Barbara Martin Wendy Massard Vincent and Margot Massey Glenn D. Maxwell Helen Byrm May Susan C. Guszynski and
Gregory F. Mazure LaRuth C. McAfee ? -.:rt Margaret and Harris J
McClamroch -'-------ttt
David G. McConndl
Dores M. McCree
Neil and Suzanne McGinn
Michael G. McGuirc
Mary and Norman Mclver
ECO Physics, Inc.
Bill and Ginny McKeachie
Nancy and Robert Meader
William and Marilyn
Meadowcroft Marilyn I. Meeker Robert and Kathleen Mcgginson Allen and Marilyn Menlo Warren and Hilda Merchant Debbie and Bob Merion Hely Mcrle-Benner George R. and Brigette Merz Julie and Scott Merz Henry D. Messer Carl A. House Don and Lee Meyer Shirley and Bill Meyers Helen M.Michaels William and Joan Mikkelsen John W. Milford Carmen and Jack Miller James A. and Kathryn Miller Bob and Carol Milstein Dr. and Mrs. James B. Miner Olga Ann Moir Mary Jane Molesky Molloy Foundation Bruce and Ann Moln Jim and Jeanne Montie Mr. Erivan R. Morales and
Dr. Seigo Nakao Arnold and Gail Morawa Robert and Sophie Mordis Dr. and Mrs. George W. Morley A. A. Moroun Robert C. Morrow Muriel Moskowilz Tom and Hedi Mulford J. Thomas and Carol Mullen Marci Mulligan and
Katie Mulligan
Gavin Eadie and Barbara Murphy Lora G. Myers
Dr. and Mrs. Gunder A. Myran Drs. Louis and Julie Nagel Roscmarie Nagel Eugene and Katherine Napolitan Penny H. Nasatir Joan Nassauer Edward C. Nelson Arthur and Dorothv Nesse Sharon and Chuck Newman Susan and Richard Nisbctt
Christer E. Nordman Caroline Norman Richard S. Nottingham Dr. Nicole Obregon John and Lcxa O'Brien Patricia O'Connor C. W. and Sally O'Dell Henry and Patricia O'Kray Chene M. Olsen William and loan Olsen Elizabeth Olson and
Michele Davis Nels R. and Mary H. Olson Paul L. and Shirley M. Olson J. L. Onclcv
Robert and Elizabeth Oneal Kathleen I. Opcrhall Dr. on Oscherwitz Elisa Ostafin and
Hosscin Keshtkar Mr. and Mrs. James R. Packard Jenny Palmer
Penny and Steve Papadopoulos Michael P. Parin Donna D. Park Bill and Katie Parker Frank and Arlene Pasley Alka Patel Eszther Pattantyus and
Tibor Nagy Nancy K. Paul Robert and Arlene Paup Edward J. Pawlak Lisa A. Payne
William and Susan Penner Steven and Janet Pepe Don and Giannine Perigo Bradford Perkins Susan A. Perry Neal W. Persky, M.D. Jeff Javowiaz and
Ann Marie Petach Roger and Takako Peterson Robert G. and Diane L. Petit Frank and Nelly Petrock Ruth and Bryan Pfingst Douglas Phclps and Gwendolyn
C. Anthony and Marie B. Phillips Mr. and Mrs.
Frederick R. Pickard Nancy S. Pickus Robert and Mary Ann Pierce Roy and Winnifred Pierce Daniel Piesko
Dr. and Mrs. James Pikulski Wayne and Suellen Pinch Brenda Pontillo Mr. and Mrs.
Jeffrey Michael Powers Robert and Mary Pratt Jacob M. Price John and Nancy Prince Yopie Prins ana
Michael Daugherty Lisa M. Profera Ernst Pulgram Morton and Diane Raban Mr. and Mrs. Mitchell Radcliff Dr. and Mrs. Tushar N. Raiji Alex and Natasha Raikhcl Nancy L. Rajala
Alfred and Jacqueline Raphelson Dr. and Mrs. Robert Rapp Mr. and Mrs.
Robert H. Rasmussen Ruth Rattner
Dr. and Mrs. Mark Rayport Maxwell and Marjorie Reade Sandra Reagan
Mr. and Mrs. Richard W. Redman Dr. and Mrs. James W. Reese Mr. and Mrs. Stanislav Rchak Georgia Reid
Mr. and Mrs. Bernard E. Reisman James and Judith Reiter Anne and Fred Remlcy Duanc and Katie Rcnken John and Nancy Reynolds
Alice Rhodes
Lou and Sheila Rice
Mr. and Mrs.
Thomas D. Richardson Elizabeth G. Richart Kurt and Lori Riegger Thomas and EllenKiggs Lita Ristine
Kathleen Roelofs Roberts Dave and loan Robinson H. James and Kathleen Robinson Jonathan and Anala Rodgcrs Mary Ann and Willard Rodgers Joseph and Joan Rogers Mary E Loeffler and
Richard K. Rohrer Michael I. and Yelena M. Romm Elizabeth A. Rose Edith and Raymond Rose Bernard and Barbara Rosen Dr. and Mrs. Gary R. Rosenblatt Richard Z. and Edic W. Rosenfeld Charles W. Ross Marlene Ross Daria and Erhard Rothe Christopher Rothko ----i --gan(l
3 Montmorency Dr. Glenn R. Ruihley Samuel and Irene Rupert Renee Rutz Scott A. Ryan Mitchell and Carole Rycus Ellen and Jim Saalberg Theodore and Joan Sachs Mr. and Mrs. William Sachs
im S. Joffe Samson ?wii and Maryjo Sandberg John and Reda Santinga Harry and Elaine Sargous Helga and Jochen Schacht Mary A. Schieve Courtland and Inga Schmidt Elizabeth L. Schmitt Gary and Claudia Schnitker Susan G. Schooner Thomas H. Schopmeyer Yihak Schotten and
Katherine Collier Carol H. Schreck and
Ada Herbert David Schultz Aileen Schulze Ed and Sheila Schwartz David and Darlenc Scovell Richard A. Seid Janet C. Sell
Louis and Sherry L. Senunas George H. and Mary M. Sexton Matthew Shapiro and
Susan Garetz
David and Elvcra Shappirio Ingrid and Cliff Sheldon Lorraine Sheppard Dr. and Mrs. Ivan Sherick Mr. and Mrs. Patrick M. Sherry Rev. William J. Sherzer Jean and Thomas Shope Mary Alice Shulman John Shultz Photography Milton and Gloria Sieget Alida and Gene Silverman Geoffrey and Morrine Silv Carl Simon and Bobbi Low Michael and Maria Simonte Alice Simsar Alan and Eleanor Singer Donald and Susan Sinta Irma J. Sklenar "'vN. Slater
i Marie Carr and
Theodore A. D. Slawccki William and Sandra Slowey Donald C. and Jean M. Smith Dr. and Mrs. Michael W. Smith Susan E Smith
John L. and Suzanne Smucker Nathan and Patrick Sohnly Hugh and Anne Solomon
James A. Somers
Dora Maria SonderhofT
Dr. Sheldon and Sydelle Sonkin
Errol and Pat Soskolne
Becki Spangler and Peyton Bland
Elizabeth Spencer
Mrs. Herbert W. Spendiove (Anne)
(im Spevak
Nancy Spezia
Scott Sproat
ving M. Stahl and
Pamela M. Rider Mr. and Mrs. Gary R. Stahlc David and Ann Staiger Constance D. Stankrauff Betty and Harold Stark Dr. Erich M. Staudachcr Mr. and Mrs. William C. Stcbbins Bert and Vickie Steck Virginia and Eric Stein Frank D. Stella Thorn and Ann Sterling William and Georgine Stcudc Jim and Gayle Stevens Mary Stevens Rick and Lia Stevens Barbara and Bruce Stevenson Harold and Nancy Stevenson John and Beryl Stimson James L. Stoddard Mr. and Mrs.
James Bower Stokoe Robert and Shelly Stoler John Strand Ellen M. Strand and
Dennis C. Regan Clinton and Aileen Slroebel Dr. and Mrs. Jeoffrcy K. Stross Mary Stubbins Judy and Sam Stulberg Mr. and Mrs. Patrick Suchy Donald and Barbara Sucerman
Alfred Sussman Ronald and Ruth Sulton Eric and Natalie Svaan Earl and Phyllis Swain Rebecca Sweet and Roland Loup John and Ida Swigart Rebecca Szabo Michael W. Taft and
Catherine N. Hcrrington Jim and Sally Tamm John Tamm men Denise Tanguay Larry and Roberta Tankanow Jerry and Susan Tarpley Frank and Carolyn Tarzia Robert and Carolyn Tate Stephan Taylor and
Elizabeth Stumbo Margie and Graham Teall James B. Terrill Scott Terrill and Maggie Long Carol and Jim Thiry Tom and Judy Thompson Peggy Tieman
Bruce Tobis and Alice Hamelc Peter and Linda Tolias Fran Toney
Ronald and Jacqueline Tonks Jim Toy
Angic and Bob Trinka Sara Trinkaus Ken and Sandy Trosicn Luke and Merling Tsai Jeff and Lisa Tulin-Silvcr Claire and Jerry Turcottc Jan and Nub Turner Mr. Victor and Dr. Hazel M.
Alvan and Katharine Uhlc Fawwaz T. Ulaby Joyce A. Urba and
David I. Kinsella Morella Urbina Emmanuel-George Vakalo
Paul and Marda Valcnstcin
Madeleine Vallier
Carl and Sue Van Appledorn
Rebecca Van Dyke
Brani and Lia van Leer
Eldon and Beth Van Licre
Fred and Carole van Reescma
Leo and Peggy Van Sickle
Phyllis Vcgtcr
Sy and Florence Veniar
Katherine Vcrdery
Elizabeth Vetter
lack and Peg Vczina
Alice and Joseph Vining
Mr. and Mrs. Theodore R. Vogt
Jill Wagner
jerry VValden and
Julia Tiplady-VValden Stanley H.Waldon George and Lorraine Wales David C. and Elizabeth A. Walker Timothy Wang Jill A. Warren Lorraine Nadelman and
Sidney Warschausky Marty Warshaw Evy and Morrie Warshawski Ruth and Chuck Watts Carol Weber Edward C. Weber Joan M. Weber Jack and Jerry Weidenbach Carolyn J. Weigle Dr. Neal Wcinberg Geranc and Gabriel Weinreich Rosalyn and Gerald Weintraub Mr. and Mrs. Harvey L. Weisberg Barbara Weiss Lisa and Steve Weiss John, Carol and Ian Welsch Kim Werner Helen Michael West Tim and Mim Westerdale Paul E. DuffV and
Marilyn L Wheaton James B. and Mary F. White Janet F. White Iris and Fred Whitehouse Mr. and Mrs.
Nathaniel Whiteside Thomas F. Wieder Ms. Nancy Wiernik William and Cristina Wilcox Catherine Wilkerson Benjamin D.Williams John Troy Williams Sara S. Williams Shelly F. Williams Christine and Park Willis Anne Marie and Robert J Willis Bruce Wilson and
Carol Hollenshead Richard C. Wilson Leslie C. Wimsatt Beverly and Hadley Wine Donna Winkelman and
Tom Easthopc
Sarajane and Jan Z. Winkelman Bethandl.W.Winstcn James H. and Mary Anne Winter Dr. and Mrs. Lawrence D. Wise Stanley Wolfe Karen Wixson Dr. and Mrs. Ira S. Wollner Nancy and Victor Wong Ronald and Wendy Woods Israel and Fay Woronoff Harry Wright Phyllis B. Wright Alfred and Corinne Wu Fran and Ben Wylie Sandra and Jonathan Yobbagy Mr. Frank Youkstctter James and Gladys Young Phyllis Zawisza Craig and Margaret Zechman Mr. and Mrs. Martin Zcile John J. Zerbicc Daniel and Mary Ziejeler
Advocates, continued
Ronald W. Zorney
Erik and Lincke Zuiderweg
David S. and Susan H. Zurvalec
The BSK Design Group, Inc. Diamelron, Inc. Doan Construction Co. Dobbs Opticians Inc.
of Ann Arbor Garris, Garris, Garris & Garris
Law Office Lewis Jewelers Organizational Designs SWEA Inc.
Thalner Electronic Labs Thing-a-majigs for Kids Ann Arbor Center for Financial
Frb Foundation
The Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important support to continue the great tra?ditions of the Society in the future.
Carol and Herb Amster
Mr. Neil P. Anderson
Catherine S. Arcure
Mr. and Mrs. Pal E. Barondy
Mr. Hilbert Beyer
Elizabeth Bishop
Barbara Everitt Bryant
Pat and George Chatas
Mr. and Mrs. John Alden Clark
Dr. and Mrs. Michael S. Frank
Beverly and Gerson Geltncr
Mr. Etlwin Goldring
Mr. Seymour Greenstone
Mr. and Mrs. Richard Ives
Marilyn Jeffs
Thomas C. and
Constance M. Kinnear Sally C. Maggio Charlotte McGeoch Michael G. McGuire Dr. Eva Mueller Len and Nancy Niehoff Dr. and Mrs. Frederick O'Dell Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Herbert Sloan Roy and JoAn Wetzel Mr. and Mrs. Ronald G. Zollars
H. Harlan Bloomer Tom Bob Boothby George W. Brooks James A. Davies William G. Dow Kathleen Fischer Edwin Goldring Thomas Michael Karun Anna Marie Kauper Fred C. Matthaei, Sr Robert Meredith Valerie Meyer Steffi Reiss Fred C. Shure Clarence H. Stoddard Charles R. Tieman Covert W. Vanden Bosch Norman Wait Alice Warshaw Carl H. Wilmont
A. R Smith Electric, Inc.
AAA Michigan
Aetna Corporation
Alcan Automotive Products
Allen & Kwan Commercial
Ann Arbor Acura
Ann Arbor Center for Financial
Services Atlas Tool, Inc. Austin $c Warburton AutoCom Associates Bank of Ann Arbor Bank One, Michigan The Barfield CumpanyBartech Blue Nile Restaurant Brauer Investments Briarwood Mall The BSE Design Group, Inc. Butzel Long Attorneys Cafe Marie CFI Group Charles Reinhart Company
Coffee Express Co. Comerica Bank Complete Design & Automation
Systems Inc. Consumers Energy DaimlerChrysler Dennis A. Dahlmann Inc. Diametron, Inc. Doan Construction Co. Dobbs Opticians Inc. of Ann
Dow Automotive Dupuis 5c Ryden RC. Edward Surovell Realtors Edwards Brothers, Inc. Elastizell Corp of America Ford Motor Company Fund Forest Health Services
Corporation Garris, Garris, Garris & Garris
Law Office
Guardian Industries Corporation Hudson's Project Imagine Ideation, Inc. John Leidy Shop, Inc. Joseph Curtin Studios KeyBank
Lansstyrelsen Vastra Gotaland Lewis Jewelers Malloy Lithographing, Inc. Masco Corporation McKinley Associates Milan Vault Miller, Canfield, Paddock and
Stone P.L.C. National City Bank Office of the Provost, University
of Michigan O'Neal Construction Organizational Designs Pepper Hamilton LLP Pfizer Global Research and
Development; Ann Arbor
Pollack Design Associates Public Sector Consultants, Inc. Quinn EvansArchitects Republic Bank Ann Arbor Scandinavian Airlines System Sesi Lincoln Mercury Stirling Thermal Motors, Inc. SWEA Inc. Texaco
Thalner Electronic Labs Thing-a-majigs for Kids Thomas B. McMullen Company Vistcon Wolverine Technical Staffing, Inc.
Peter Holderness Woods IN-KIND GIFTS
Bernard and Ricky Agranofif
Allen & Kwan
Catherine Arcure
John Barfield
Kathleen Benton and
Robert Brown Edith Leavis Bookstein
& The Artful Lodger Briarwood Mall Barbara Busch Busch's Valu-Land Charlie Trotter's Chelsea Flower Shop Chicago Symphony Orchestra Claridge Hotel Common Grill Peter and Jill Corr Paul and Pat Cousins,
Cousins Heritage Inn Dr. and Mrs. Ronald Crt Dan Courser Mary Ann and Roderick Daane David Smith Photography Peter and Norma Davis Katy and Tony Derezinslu Dough Boys Bakery Downtown Home and Garden Charles and Julia Eisendrath
Grillworks, Inc. Encore Studio Bob and Chris Euritt Fahrenheit Restaurant Katherine and Damian Farrcll Ken and Penny Fischer Food Art
Ford Racing Technology Sara B. Frank The Gandy Dancer Beverley and Gerson Gcltner Anne and Paul Glendon Great Harvest Bread Company Linda and Richard Greene Jeanne Harrison Jim and Esther Heitler Debbie and Norman Herbert Matthew Hoffmann Bob Hughes Dan Huntsbarger Iguanaworks, Inc. John Leidy Shop John's Pack 8c Snip Jutes
Mercy and Stephen Kasle King's Keyboard House Kitchen Port Richard LeSueur Doni Lystra Stephanie Lord Mediterrano Merchant of Vino Ingrid Merikoski Jeanne and Ernest Merlanti Michigan Car Services, Inc. Ron Miller
Richard and Christine Noyes Nicola's Books Little Professor Karen O'Neal Randall and Mary Pittman Bev and Pat Pooley v -leva Rasmussen -Regrets Only i
Melissa Richtcr
Maya Savarino______w-,.
Schlandcrer & Sons
Bo and Cathy Schembechler
Ann and Tom Schriber
SeloShevel Gallery
Howard and Aliza Shevrin
Morrinc Silverman
Grace Singleton
Loretta Skewes
Herbert Sloan
Irving and Carol Smokier
South House Bed and Breakfast
Edward Surovell
Ann and Jim Telfer
Tom Thompson Flowers
Donna Tope
Robert and Marina Whitman
Elizabeth and Paul Yhousc
Youki Asian Bar & Bistro
Soloists $25,000 or more
Maestro $10,000-24,999
Virtuosi $7,500 9,999
Concertmaster $5,000 7,499
Leader $2,500 4,999
Principal $1,000-2,499
Benefactor $500 999
Associate $250 499
Advocate $100-249
Friend $50 99 'S
Youth $25 S
38 Ann Arbor Symphony
12 Bank of Ann Arbor 44 Bellanina Day Spa 38 Beresh Jewelers
2 Blue Hill Development
38 Bodman, Longley, and
20 rkavo! Cookbook
44 Butzel Long Attorneys
43 Carty's Music, Inc.
42 Chelsea Community Hospital
10 Chris Triola Gallery
42 Cleveland's Gill & Grill 22 Comerica Bank
10 Dobson-McOmbcr Agency, Inc.
13 Edward Surovell Realtors BC Ford Motor Company 34 Foto 1
10 Fraleigh's Nursery
6 Glacier Hills
8 Harmony House
40 Howard Cooper Imports
44 John Schultz Photography 38 Kana Korean Restaurant 44 Kerrytown Bistro
16 KeyBank
40 King's Keyboard
27 Lewis Jewelers
8 Littleficld and Sons
22 Miller, Canfield, Paddock,
and Stone
8 Mundus and Mundus
43 National City
42 Performance Network 40 Prudential Securities
44 Rudolf Steiner School FC St. Joseph Mercy Health
10 Swcetwaters Cafe
8 Swing City Dance Studio
34 Three Chairs
8 Ufer 8c Co. Insurance
43 University Living
8 Washington Street Gallery
, 18 Whole Foods

Download PDF