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UMS Concert Program, Friday Nov. 10 To 17: University Musical Society: Fall 2000 - Friday Nov. 10 To 17 --

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University Musical Society
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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 Letter from the President
1................. 4 Letter from the Chair
Corporate LeadersFoundations
UMS Board of Directors WM&&k
UMS Senate _JHB1
Advisory Committee BMJiiM
ums staff jumtSwiBiB
UMS Teacher Advisory Committee
UMS services 17 General Information
?.-.? u, y, 19 Tickets
Group Tickets
Gift Certificates
--? 21 The UMS Card
--rmwamrais 23 UMS History WftfUMf'ii,
AuditoriaBurton Memorial Tower
The 20002001 UMS Season"
Education & Audience Development
Dining Experiences
Restaurant & Lodging Packages
UMS Preferred Restaurant Program
UMS Delicious Experiences
Advisory Committee L_
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i Repertory Theater The King St?? (Richard FeMnun), FUg of I
? '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 I 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 734.647.117'4, 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-expanding
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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
performance, we want to recognize and thank 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
"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 "AutoCom Associates is a strong supporter of the University Musical Society one of North
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 E 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
CFl 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 "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 Surovell 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."
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
"Music is Key to keeping our society vibrant, and Key is proud to support the cultural institution rated number one by Key Private Bank clients."
Richard A. Manoogian
Chairman and CEO Masco Corporation "We at Masco applaud the University Musical Society's 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, Can field, 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
Foundation 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 Knight Foundation
The Lebensfeld Foundation Benard L. Maas Foundation VJ 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 . Rossi Ray-Taylor Prudence L. Rosenthal
Maya Savarino J Herbert Sloan Timothy P. Slottpw
James L. Telfer Marina v.N. Whitman Karen Wolff Elizabeth Yhouse
ms senaiJI!S]
(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 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
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,
Sara Billmann, Director Aubrey Alter,
Coordinator Ryonn Clute,
Coordinator Gulshirin Dubash,
Public Relations
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
Hlainc Bennett
Lynda Berg
Yvctte Blackburn
Barbara Boyce
Letitia Byrd
Doug and Nancy Cooper
Naomi Corera
Gail Davis Barnes
x0Gail Dybdahl
Keisha Ferguson
Doreen Fryling
Brenda Gluth
Louise Gruppen
Vickey Holley Foster
Taylor Jacobsen
Callie Jefferson
Deborah Katz
Deb Kirkland
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 ? fPrtffJl
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 ;
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 Ann Arbor, MI 48109-1011
on the University of Michigan campus
Outside the 734 area code, call toll-free 800.221.1229
Order online at the UMS website:
Visit our Power Center Box Office in person
Due to the renovation of Burton Tower,
our Box Office has been relocated to the
Power Center.
Mon-Fri: 10 a.m. to 6p.m.
Sat: 10 a.m. to 1 p.m.
Performance hall box offices open
90 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, wrappec 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 $100. Patronize these businesses often and enjoy the quality products and services they provic'
Amadeus Cafe Ann Arbor Acura Ann Arbor Art Center The Back Alley
Gourmet Bivouac Outdoor
Clothing and
Equipment The Blue Nile
Restaurant Bodywise Therapeutic
Massage " Cafe Marie Chelsea Flower Shop Dough Boys Bakery Fine Flowers Gandy Dancer Great Harvest John Leidy Shop
John's Pack and Ship Kerrytown Bistro King's Keyboard House Le Dog Michigan Car Services,
Inc. and Airport
Sedan, LTD Nicola's Books, Little
Professor Book Co. Paesano's Restaurant Randy Parrish Fine
Framing Regrets Only Ritz Camera One Hour
Photo Shaman Drum
Bookshop SKR Downtown SKR Uptown
oin the more thaii zu;uw savvy
people who log onto each month!
Why should you log onto
Tickets Forget about waiting in long ticket lines--order your tickets to UMS performances online! And now you'll know your specific seat location before you buy online, thanks to our new relationship with!
Cyber$avers Special weekly discounts appearing every Tuesday only available by ordering over the Web.
Information Wondering about UMS' history, event logistics, or volunteer opportunities Find all this and more.
Program Notes and Artist Bios Your online source for performance programs and 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.
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 igBr 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.
f 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 j______
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
Sixty 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
'he 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.
St. Francis of Assisi Catholic Church
In 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
? otwithstanding an isolated effort to estab?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 s -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 mmmsmmm,
of the University of Michigan 20002001 Fall Season
Event Program Book Friday, November 10 through Friday, November 17,2000
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. -
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While in the Auditorium
Starting Time Every attempt is made to" begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
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prohibited in the auditorium. '.'!---------
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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.
Camerata Academica Salzburg
Friday, November 10, 8:00pm Hill Auditorium
Herbie Hancock and Wayne Shorter
Saturday, November 11, 8:00pm Michigan Theater
Menahem Pressler with The Shanghai Quartet .
Sunday, November 12, 4:00pm Rackham Auditorium .
Ravi and Anoushka Shankar
Friday, November 17, 8:00pm Hill Auditorium
Camerata Academica Salzburg ?
Sir Roger Norrtkgton"CondiiciS
Joshua Bell Violin
Friday Evening, November 10,2000 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Ludwig van Beethoven Coriolan Overture, Op. 62
Allegro con brio
sl " 7f1' r
Symphony No. 8 in F Major, Op. 93
Allegro vivace e con brio Allegretto scherzando ?fv. ? Tempo di Menuetto ?? -:..r .?? ? Allegro vivace '
Concerto for Violin and Orchestra in D Major, Op. 61
Allegro ma non troppo Larghetto ..,--
. Rondo: Allegro . j-
Mr. Bell
Joshua Bell will be performing his own cadenzas.
Performance ___r_
of the 122nd Season
@@@@122nd Annual Choral Union Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is made possible by the Catherine S. Arcure and ijjjs Herbert E. Sloan Endowment Fund. ..l.;-,j_.. .. _.:.-.--..:_:.--., jJs
University Musical Society.
Additional support provided by media sponsor, WGTE.-..
Eighteenth-century timpani provided by the University of Michigan Stearns Collection. ?' ' ?????..? -.. .:. .,.,.
Large print programs are available upon request.
Coriolan Overture, Op. 62 :_..
Ludwig van Beethoven
Born December 16, 1770 in Bonn, Germany
Died March 26, 1827 in Vienna
Of all the heroes Beethoven ever wrote music about, Coriolanus is the most deeply flawed personality. Prometheus, Leonore and Egmont all represent the highest ideals of courage, selflessness and love of freedom. The hero of Symphony No. 3 is either an ide?alized Bonaparte, the exalted leading spirit of the French Revolution, or an unnamed Great Man of perfect character. It seems that Beethoven was not interested in portraying heroism gone awry, or in dealing with the often-tragic dilemmas inherent in securing or maintaining power. The day Bonaparte had himself crowned Emperor, he could no longer be the protagonist of the "Eroica."
Coriolanus is an exception. This enig?matic Roman general, who lived, tradition has it, in the fifth century B.C., was at once ? a hero and a villain, a triumphant warlord . and a vile traitor. His life is known from ?. Plutarch's Lives of the Noble Grecians and Romans, the source used by Shakespeare for his tragedy Coriolanus. Beethoven's overture; however, was not written for Shakespeare's tragedy; instead, its immediate inspiration was a contemporary Viennese adaptation by Heinrich Joseph von Collin, a poet and sec?retary at the Imperial Court. It was, howev?er, not performed with that play, except on one occasion, to which we shall return in a moment. It was more a reaction to Collin's work rather than an introduction to it.
Collin's tragedy was first performed at the court theatre in 1802, five years before Beethoven composed the overture. The 331; music at that time had been arranged from Mozart's Idomeneo by Abbe Stadler, a color?ful personality in Viennese musical life at the time. The title role was played with great success by Joseph Lange, who was a brother-in-law of Mozart.
The story of Coriolanus concerns the son of a prominent Roman family, Gaius Marcius, who led the Roman army in a vic?torious battle against the Volscians and cap?tured their city of Corioli (hence his hon?orary name, Coriolanus). Upon his return to Rome, he became embroiled in domestic disputes and alienated both the population and the senate to such a degree that he was sent into exile. Angry and revengeful, he went to the Volscians, swore allegiance to them and led them against Rome. His implacable wrath was calmed only when his mother and his wife came to plead with him before the walls of Rome. He finally with?drew his forces. In Plutarch's and Shakespeare's versions, Coriolanus was slain by the disappointed Volscians; in Collin's drama, however, he committed suicide.
In his biography of Beethoven, first published in 1912 but still remarkably fresh and informative, Paul Bekker made an inter?esting comparison between Shakespeare's and Collin's versions of Coriolanus. 'fg "Collin's...drama is not an adaptation of Shakespeare's drama, but an independent rendering of Plutarch's story." And we learn from another source that the court secretary had never read Shakespeare's tragedy. Bekker continued his analysis: HH
... -,. Shakespeare presents the tragedy of a SK towering personality who "drank hatred
of mankind out of the fullness of
love."...Collin lacks the wide outlook,
the penetrating imagery of Shakespeare.
Painstaking, rhetorical pathos is his medium of expression, and his drama ,' is no human or personal tragedy but a
philosophical debate....Coriolanus him-self is a passive, reflective personality. His
greatness is not exemplified in the action;
it is mutely postulated, and he always acts
according to his convictions.
udwig van Beethoven was born
in the provincial court city of Bonn, Germany, on December 16, 1770. His grandfather, also Ludwig, and his father, Johann, were both musicians in the service of, successively, the prince elec?tors Max Friedrich and Max Franz. Beethoven's own talent was such that at the age of twelve he was already an assistant to the organist Christian Gottlob Neefe, with whom he studied. However, attempts to establish him as a prodigy in the mold of Mozart had little success.
In 1787 Beethoven was sent to Vienna, but his mother fell ill, and he had to return to Bonn almost immediately. She died a few months later, and in 1789 Beethoven was left responsible for his younger brothers Caspar Carl and Nikolaus Johann. Beethoven left Bonn for Vienna a second time in November 1792, in order to study with Franz Joseph Haydn.
In 1794, French forces occupied the Rhineland; consequently, Beethoven's ties with and support from the Bonn court came to an end. His father had died a month after his departure from Bonn, and in 1794 and 1795 his two brothers joined him in Vienna. He remained there the rest of his life, leaving only for long summer holidays in the surrounding countryside and, in his early years, for occasional concerts in nearby cities.
The last thirty years of Beethoven's life were shaped by a series of personal crises, the first of which was the onset of deafness. The early symptoms, already noticeable to the com?poser before 1800, affected him socially more than musically. His reactions--despair, resigna?tion, and defiance--were conveyed in letters to two friends in 1801 and in a document--half letter and half will--addressed to his brothers in late 1802, now known as the "Heiligenstadt testament." Resolving finally to "seize fate by the throat," he emerged from the crisis with a series of triumphant works that marked the beginning of a new period in his stylistic devel?opment.
A second crisis a decade later was the end of a relationship with an unnamed lady known
Beginning of the Napoleonic Wars
Concerto for Violin and Orchestra composed
Coriolan Overture composed
1809 ??-,.-
Franz Joseph Haydn dies in Vienna
The United States declares war on
Britain, beginning the War of 1812
Symphony No. 8 composed
Napoleon Bonaparte is defeated at Waterloo
to us as the "Immortal Beloved," as Beethoven addressed her in a series of letters in July 1812. This was apparently the most serious of several such relationships with women who were in some way out of his reach, and its traumatic conclusion was followed by a lengthy period of resignation and reduced musical activity.
During this time Beethoven's deafness advanced to the stage that he could no longer" perform publicly, and he required a slate or little notebooks (now known as "conversation books") to communicate with visitors. The death of his brother Caspar Carl in 1815 led to a five-year legal struggle for custody of Caspar's son Karl, then nine-years old, in whom Beethoven saw a last chance for the domestic life that had otherwise eluded him. Shortly thereafter, Beethoven's health began to fail, and he diedjT on March 26, 1827 in Vienna.
Beethoven, for his part, did know both Plutarch and Shakespeare, and this knowl?edge certainly colored his approach to the figure of Coriolanus. His Coriolanus is cer?tainly not a rhetorical figure but a highly dramatic one. This circumstance has led M several commentators, including Richards Wagner, to believe that the music was "? directly related to Shakespeare; others asserted--and they may be right--that after all, the overture has more to do with Shakespeare than with Collin, regardless of the surface story of the work's genesis.
The key of the overture, c minor, is the one in which some of Beethoven's most dra?matic works, such as the "Pathetique" piano sonata and Symphony No. 5, were written. The startling dissonance and sudden general rests that open the overture are unique even by Beethovenian standards. Strong sforzatos (offbeat accents), syncopations, and the fre?quent use of the dissonant diminished-sev?enth chord create a high level of dramatic tension from beginning to end, except for the two occurrences of a lyrical second sub?ject that probably represented the women pleading with Coriolanus before the gates of Rome. The work follows the principles of sonata form (exposition, development, and recapitulation), with an extended coda, at the end of which the first notes of the open?ing theme are repeated a number of times, ever softer and in longer and longer note values. This gradual "dying away" of the music unmistakably represents the death of Coriolanus, and ensures that the ending of the overture is every bit as extraordinary as its opening.
$ Beethoven considered his Coriolan Overture an important piece. For one thing, he had long needed a new overture to replace the Creatures of Prometheus as a con?cert opener. In addition, he was fascinated by the special dramatic problems raised by the overture as a genre. He grappled with some of these problems in the three:,
"Leonore" overtures, of which the last (now known as No. 1) was written in 1807, the same year as Coriolanus. Most importantly, however, he hoped that Coriolanus would be helpful in securing for him Collin's collabo?ration on a new opera for the Imperial the?atres. His Fidelio, given there in its early ver?sions of 1805 and 1806 (under the title Leonore) without much success, left him with the desire to try his luck again as an opera composer. In 1807, negotiations, in fact, seem to have been under way for a new operatic contract for Beethoven. One of the composer's most generous patrons, Prince Lobkowitz, who was also a member of the court theatre's governing board, arranged a single performance of Collin's tragedy with Beethoven's overture in April 1807, perhaps with the intention of helping his cause. But there was no follow-up. Beethoven's further operatic plans came to nothing, and it was not until 1814 that his Fidelio, in a revised form, would see the stage again. His only stage project involving the Court Theatre during the intervening years was the inci?dental music to Goethe's Egmont, performed in June 1810.
Symphony No. 8 in F Major, Op. 93
Beethoven ;
Symphony No. 8 is perhaps the most misun?derstood of Beethoven's symphonies. Often overshadowed by its more monumental companion piece, Symphony No. 7, it has been regarded by most commentators as a lesser work. Many authors of the past, real?izing that Beethoven tended to write his symphonies in groups of two coming in close succession (nos. 3-4, 5-6, 7-8), have theorized about the differences between Beethoven's "odd and even-numbered" sym?phonies, implying that nos. 3, 5, 7, and 9 grapple with "universal" issues and prob?lems of the whole of humanity, while the
even-numbered works represent "temporary rests" during which the artist "enjoys his art 'for its own sake."' The quotes are from the 1927 book Beethoven--His Spiritual Development by J.W.N. Sullivan, who alsoS maintained that the even-numbered sym-S phonies "are not in the main line of -W Beethoven's spiritual development." ? jjgf. In reality, the even-numbered sym?phonies are every bit as important as the odd-numbered ones, and are just as repre?sentative of Beethoven's personality. Lyrical -rather than heroic, serene rather than tragic, ? they are nonetheless full of the same energy that animates the "revolutionary" works.
Symphony No. 8 is usually known for its humorous touches as well as its style, closer to Haydn and Mozart than anything Beethoven had written since his youth. True, some of the surprise effects he uses are : clearly intended as comical, and the allu's sions to the music of his predecessors are ] numerous. Still, the humorous aspect is only 'A one of many in the work, and it is clear that ; the symphony could not have been written . twenty years earlier.
Take the first movement, "Allegro vivace ; e con brio." It starts with a jocular theme whose beginning is played forte by the full orchestra, the middle piano by the winds, '? and the end forte by everyone again. The melody itself could perhaps be characterized : as light, but the vehemence it receives from the orchestration (note especially the brass ? and timpani!) makes it sound a lot more __ serious. In the course of the whole move-S ment, we hear a great deal of rhythmic ener-; gy, sudden pauses, tonal shifts and mood :: changes. In the development section, the "., music becomes highly dramatic, even vio] lent, for a few seconds before the recapitula?tion begins in a triple-orfe, with the theme : in the bass. These moments are anything but light and humorous; the same is true of : most of the lengthy coda (a kind of musical ' epilogue), where the theme becomes myste'
rious and full of suspense, before bursting out in a new double-orfe explosion. It ma all be a joke, but it is certainly a giant jok?ing. .
Beethoven first wrote this coda much ? shorter than it is in the final version. He later ' brought back the humor to the ending of the movement by adding a new fanfare vets sion of the theme that suddenly fades intol pianissimo as the first notes of the melody appear again as a soft-spoken farewelLjg
According to the well-known story, the l second-movement "Allegretto scherzando" was inspired by the ticking of the metronome, newly invented by Beethoven's friend ;es Johann Nepomuk Malzel. Beethoven used "" the same melody in a canon written in 1812 on the words "Ta ta ta ta...lieber, lieber Malzel" The charming and witty little piece is not the first instance Beethoven replaced the slow movement with a quasi-scherzo; jk-;-earlier examples include the String Quartet ' in c-minor (Op. 18, No. 4) and the Piano i Sonata in E-flat Major (Op. 31, No. 3). Scherzos normally take the place of minuets of earlier times; yet in these cases, as in Symphony No. 8, both the scherzo and the.?? ' minuet were retained. Symphony No. 8 is ? the only Beethoven symphony to have this f-particularity. Btw
The third movement, "Tempo di " "" Minuetto," looks back on the minuets of old from a certain distance and with noticeable nostalgia. Its greatest moments include the pianissimo recapitulation of the first theme on the solo bassoon, and the triumphant fortissimo closing figure on the horns and trumpets. The Trio, or middle section, is a dialog between the pair of horns and the first clarinet over the lively accompaniment of the cellos. It is interesting that the violins and violas are silent throughout the Trio except for one short phrase.
The finale, "Allegro vivace," is the most grandiose of the symphony's movements. It starts in a whisper on high-pitched instru-
merits only, but the whole orchestra soon enters in a thundering fortissimo on C-sharp, a note foreign to the key of F Major. ' The bustling orchestral activity continues until it is suddenly interrupted by a lyrical ' second theme that also starts with a "wrong" note in the "wrong" key (that is, one not consistent with the rules) of A-flat Major. The key soon changes, however, reaching the proper C Major. The development section takes us to many new keys and introduces the main melody in many new guises, including a famous spot called by musicologists the "false recapitulation." We hear the main theme played by the entire orchestra fortissi?mo; what we don't realize (unless we have perfect pitch) is that the theme is, once again, not in the key where it should be. We find out, though, when Beethoven interrupts the theme with soft, repeated octave leaps on the note 'E.' Then, he simply moves up a half-step to 'F,' a pitch intoned, in repeated octave leaps, by the first bassoon and the timpani. At this point we know that this is the home key, and now the real recapitulation begins.
The Symphony ends with one of Beethoven's longest codas; it is even more extended than that of the first movement, and, indeed, takes up almost half of the entire finale. It includes a new subject, a return of the main theme, and repeated emphasis on the off-key C-sharp we heard at the beginning of the movement. In the last minute, when listeners might assume that the journey has reached its end (and the only thing remaining being to confirm the home key), this 'C-sharp' becomes the springboard for a whole passage in the very distant key of f-sharp minor, out of which Beethoven extricates himself with a real master's stroke. After a return of the lyrical second theme, and yet another variant of the first one, there is a seemingly unending succession of F-Major chords, high and low, soft and loud. The ultimate joke of the sym?phony is that we can never be sure when it will be over.
Concerto for Violin and Orchestra in D Major, Op. 61
Beethoven J
Two years after moving from Bonn to Vienna, the twenty-four-year-old Beethoven met a violin prodigy ten years his junior named Franz Clement. The boy had already toured much of Europe, performed in ; London under Haydn, and earned the admi-ration of many important musicians on the , continent. He carried with him an album i! that was signed by many of the aristocrats, musicians, and officials he had come in con-tact with during his travels. Beethoven, a Jj former child prodigy himself, made this Jt entry in Clement's album:. . ... .-.., :.2
s&3j Dear Clement,
Voa '
Proceed along the path which you have hitherto trodden so splendidly and so glo-i riously. Nature and art vie in making you i one of the greatest artists. Follow both, .g ' and you need not fear that you will fail to ;? reach the great--the greatest goal on _ earth to which the artist can attain. Be .gg [? happy, my dear young friend, and come -:'r back soon, so that I may hear again your delightful, splendid playing.
L. v. Beethoven (in the service of ' ''? His Excellency the Elector of Cologne) o
Clement later went on to become the"5 conductor of the Theater an der Wien in Vienna. His musical memory was legendary and gave rise to many fantastic stories. ... (According to one of them, he once pre?pared a piano score of Haydn's Creation ; after hearing it performed several times, ' with only a libretto, no full score, to help j him.) He was always a great champion of Jr Beethoven's music: he was involved in the I production of the original Fidelio in the autumn of 1805 and was the concertmaster
at the first public performance of Symphony No. 3 in the same year. ;___ _ _
It seems, then, that Clement was not as unworthy of Beethoven's Violin Concerto as some have later thought. He may not have been above such stunts as playing pieces "reversed violin" (the instrument held upside down)--something he did the very same night he premiered the Beethoven. Yet by all accounts he was an excellent artist, widely praised for the gracefulness and ten?derness of his playing as well as for his extraordinary technical skills. Although his fame was eventually to decline and he was to die in poverty in 1842, in 1806 he must have been at the height of his powers.
One wonders what this not insignifi?cant artist thought when he first saw the manuscript of Beethoven's Violin Concerto with the punning inscription "Concerto par Clemenza pour Clement primo Violino e direttore al theatro a Vienna." Was it really on the day of the first performance As best as we can know 180 years later, the work was not finished until the last possible moment and Clement sight-read it at the concert (which, by the way, also included a performance of the "Eroica" Symphony led by Beethoven). We will never know how the concerto sounded under the circumstances, and that may even be a good thing. The critics, at any rate, gave mixed reviews. As one of them wrote:
The judgment of connoisseurs is unani?mous; the many beauties of the piece must be conceded, but it must also be admitted that the continuity is often completely broken and that the endless repetitions of certain commonplace passages might easily become tedious to the listener....It is to be feared that if Beethoven continues upon this path he and the public will fare badly.
One thing that may have helped ' Clement find his way through the new work "i is that at least certain passages must have . been somewhat familiar. Clement (himself a composer) had written his own violin con?certo (also in D Major), which was pre.,. -,.;. miered about a year-and-a-half before the ?'. ,'.$ Beethoven. In a new (1998) monograph on )t the Beethoven Violin Concerto (Cambridge ;= Music Handbook), Robin Stowell has exam?ined this entirely forgotten work and found ;? that some of the passagework in the vliSf&
Beethoven Concerto is closely modeled on 'i Clement's piece. This shows that Beethoven ;
friend's playing style, using some of , ''?51
Clement's favorite playing techniques, and ra5 showing him in the process how much more could be gotten out of those techniques. ;??}
The new concerto went unappreciated p for a long time, despite the fact that the J comnoser anrl nianist Muzin Clpmpnti nerKftfci
suaded Beethoven to arrange it as a piano iidSf concerto, which Beethoven did. Although '$jgj the concerto is too violinistic to work well $$. on the piano, Clementi would hardly have 'j?S proposed such an arrangement if it had not ;f J? made some business sense to him. But there ..ikN were apparently no performances of the v0? piano version during Beethoven's lifetime, !'Jz& and only a few not very successful ones of ., 4$$. the original. The longest and probably the 5jjj$!f$i& most difficult violin concerto written to .$$Vj&fe date, it was awaiting the exceptional artist ;j&$&pi who could uncover all its beauties. jp"iyv!
It was the thirteen-year-old Joseph '
Joachim who finally brought the work to :
triumph at a concert given in London under , Mendelssohn (1844). Since then, the world has never tired of the composition, which soon became known as the "Queen of Violin
Concertos" :MmmmM
Clement's violin concerto was by no ' ] means Beethoven's only model in his Violin
Concerto. It has long been known that ;
Beethoven was strongly influenced by the
composers of the French violin school. ? This school, founded by the Italian-born: Giovanni Battista Viotti (1755-1824), was "" continued by virtuosos such as Rodolphe i Kreutzer (1766-1831) and Pierre Rode "] (1774-1830). These violinist-composers 1 were the first to establish the violin concerto,; as a major concert genre, on par with sym; phonies. Their brilliant and dignified works ! abound in attractive melodies and often -j contain march-like themes that sometimes '?? give them a downright military character.
All of these features greatly impressed..-X
Beethoven, who was a great admirer of t__
French music in general. His opera Fidelio .; was based on French models; he regarded .; Luigi Cherubini, Italian-born like Viotti but;; a master of French opera, as the greatest '; composer of his time. And he was personal-: ly acquainted with Kreutzer and Rode; he ? dedicated his Violin Sonata, Op. 47 to the former, and wrote the Sonata, Op. 96 for the latter.
What exactly is the relationship between Beethoven's Violin Concerto and the. concertos of the French school It has been : suggested that even the five timpani strokes that open the work are a reflection of the French "military" concerto style. But the : movement that follows is anything but ;]_ march-like: it is one of Beethoven's most lyrical allegros.
The large scope and the melodic rich?ness of the French works, however, did inspire Beethoven. In addition, as violinist-musicologist Boris Schwarz showed in a 1958 article, Beethoven closely followed the works of Viotti and Kreutzer in the elabora?tion of the solo violin part. Some passages that don't originate with Clement have close parallels in the French composers' works. The borrowings or near-borrowings occur mostly, if not exclusively, in sections with virtuoso passagework, an area where the pianist Beethoven evidently did not have the practical experience the violinist
composers had.
In the end, though, Beethoven's concer?to is a masterpiece sui generis: the borrowed details were inserted into a completely new context. The unique Olympian serenity the work radiates is all Beethoven, as are the dramatic outbursts that temporarily cloud the happy atmosphere. -
On the whole, the Violin Concerto is' ' v one of the happiest works Beethoven ever wrote. The first, dream-like entry of the solo violin, evolving into a mini-cadenza after the orchestral exposition, is a case in point. So is the beautiful second theme, pre?sented both in the major and in the minor modes. This theme seems to be reserved entirely for the orchestra, and the solo violin never gets to play it in full until the very end, after the cadenza. Then, at last, the soloist makes the most of this delightful melody and takes it from the lowest register of the instrument to the highest. The simple and song-like style of performance is gradu?ally altered by the addition of virtuoso scales and passages, and the volume rises to a powerful fortissimo to close the movement.
The second-movement, "Larghetto," is in G Major and never leaves its home tonality, a quite unusual circumstance that explains the exceptional restfulness that pervades the movement. It is a set of free variations on a quiet, meditative theme. At the end, there is a bridge leading into the third-movement, "Rondo," without a pause.
According to the early twentieth-centu?ry musicologist Arnold Schering, there was an old Viennese tradition that ascribed the first theme of the "Rondo" to Franz Clement. Whether or not that is true, the melody provides a splendid starting point for a light-hearted and vivacious movement, whose cheerful dance rhythms (in 68 time) continue a time-honored classical Rondo tradition while introducing many individual touches in the elaboration of the model. The central episode in g minor, in which
the solo violin engages in a dialogue with the solo bassoon, is especially haunting. The ending of the movement is a typical Beethovenian joke: a pianissimo recapitula?tion of the theme is interrupted by two fortissimo chords, and the work is suddenly
Program notes by Peter Laki.
' he poetic musicality of Joshua Bell has earned the American-born --' violinist a prominent position among the leading musicians of the world. He came to national 'attention at age fourteen as winner of the' 7T Seventeen MagazineGeneral Motors compe?tition. His Philadelphia Orchestra debut that same year, followed by his Carnegie Hall debut, an Avery Fisher Career Grant and subsequent exclusive recording contract, '$ created a sensation that rapidly spread throughout the music world. Today, at age thirty-two, Joshua Bell has earned a reputa?tion as a dynamic performer, and a dedicat?ed and thoughtful musician who has suc?cessfully bridged the gap from child prodigy to inspired and mature artist.
Born in Bloomington, Indiana, Joshua Bell received his first violin at age five. He became seriously committed to the instru?ment by age twelve, when he had the privi-i lege to meet renowned violinist and peda-; gogue Josef Gingold, who became his beloved teacher and mentor. In 1981, Mr.
Bell made his highly acclaimed orchestral __
debut with Riccardo Muti and the Philadelphia Orchestra. Since that time, he has performed with the world's leading symphony orchestras and conductors. ,
Joshua Bell's 1999-2000 season began in Australia with the Sydney and West ,'$j Australian Symphony Orchestras. He ;;i appeared at the Mostly Mozart Festival in :; New York with the Camerata Academica : Salzburg and performed at the Ravinia and Tanglewood Music Festivals, in addition to a .M "Proms" concert at London's Royal Albert WiM Hall. He has recently renewed his collabora'? tion with longtime friend, bassist and com.J
poser Edgar Meyer. The two organized a 'M,__,
quartet with legendary bluegrass musicians Sam Bush and Mike Marshall for a collabo?ration which features a unique fusion of classical and bluegrass musical styles. Their ' first performances were at the Aspen Music .-Festival, Indiana University, and the ifiv
Chamber Music Society of Lincoln Center. A subsequent recording for Sony Classical entitled Short Trip Home was released in September 1999 to coincide with a fifteen-city concert tour.
North American orchestral engagements included appearances with the Chicago, Atlanta, San Francisco, Indianapolis and New Jersey symphony orchestras. He also performed with Washington's National Symphony Orchestra at the Kennedy Center and in Carnegie Hall with the Orchestra of St. Luke's. International engagements were with the Cologne Chamber Orchestra at the Beethovenfest Bonn, Trieste Orchestra, London's Philharmonic and Philharmonia, Munich's Bavarian Radio Symphony, NDR
Symphony Orchestra Hamburg, Palermo Orchestra Simfonica Siciliana, Berlin Symphony, Strasbourg Philharmonic and Orchestra Sinfonica di Milano. He also played and conducted the Beethoven Violin Concerto with the Norwegian Chamber Orchestra.
To further explore his interest in a vari?ety of musical genres, Joshua Bell inaugurat?ed a series of chamber music concerts in January 1997 at London's Wigmore Hall. This series was lauded by critics and has become an annual event. The Independent declared: "Joshua Bell has managed to sell out all four recitals and, to judge by the splendid second and third programmes, no ticket holders will have been disappointed." Mr. Bell returned to London's Wigmore Hall in January 2000 to continue the series with three performances centering around the works of Brahms and Mendelssohn. He was joined by his most regular chamber music partner cellist Steven Isserlis, clarinetist Michael Collins, pianist Alexander Lonquich and the Vellinger String Quartet. He also collaborates regularly with close friends and colleagues such as Pamela Frank, Zoltan g Kocsis, Olli Mustonen, Jon Kimura Parker, Jean-Yves Thibaudet, Tabea Zimmerman and the Orion String Quartet.
For the past three years, Joshua Bell has been involved in the production and pro?motion of The Red Violin, a feature film released in June 1999. The film features an Oscar-winning score by renowned compos?er John Corigliano and traces the fictional history of a rare violin through three cen?turies. Mr. Bell served as artistic advisor to director Francois Girard, body double and the performing artist responsible for all vio?lin sound. He gave world premiere perfor?mances of Mr. Corigliano's Red Violin Chaconne with the San Francisco Symphony and Boston Symphony Orchestra and also premiered the Suite from the Red Violin with Jonathan Sheffer and the Eos Orchestra.
Joshua Bell is interested in the works of living composers and, in addition to the Corigliano Red Violin Chaconne and his work with Edgar Meyer, has recently per?formed and recorded the world premieres of two works written for him: a violin concerto by eminent British composer Nicholas Maw, and Air for violin and piano by American composer Aaron Jay Kernis. He is unique among his peers in that he has composed his own cadenzas for most of the major vio?lin concertos. His cadenzas for the Brahms, Beethoven, Haydn and Mozart violin con?certos have received consistent praise from conductors and critics alike.
In October 1996, Joshua Bell signed an exclusive recording contract with Sony Classical. The Red Violin soundtrack, featur?ing the film's orchestral score and the Red Violin Chaconne, was released in May 1999 and received a Grammy nomination for "Best Instrumental Composition Written For A Motion Picture" and won an Academy Award for "Best Original Score." Additional releases, including the Sibelius and 3JJJjjj Goldmark violin concertos with Esa-Pekka Salonen and the Los Angeles Philharmonic, and the Nicholas Maw Violin Concerto with Roger Norrington and the London Philharmonic Orchestra, were released in the spring of 2000.
Joshua Bell has been featured on The Tonight Show with Johnny Carson, A&E's Biography and Breakfast with the Arts, CNN, CBS and NBC News, CNBC, and PBS' Evening at Pops and Live from Lincoln Center. He was one of the first classical musicians to be the focus of a music video, which has been broadcast on the VH1, A&E and Bravo television networks. Mr. Bell was the subject of a March 1995 documentary film presented on BBC's Omnibus, recently broadcast on Bravo. He has been featured on National Public Radio's All Things Considered and Morning Edition and in Esquire, Glamour, Newsweek, New York,
People, and Gramophone magazines. ?fipljfl Joshua Bell holds an Artist Diploma "" ''-'1 from Indiana University. In 1998, he began ; teaching a series of master classes at London's Royal Academy of Music, a project' he continues to develop this season. Mr. Bell-resides in New York City and his interests include tennis, golf, chess and computers. He plays an Antonio Stradivari violin dated 1732, known as the "Tom Taylor." :
Tonight's performance marks Joshua Bell's third appearance under UMS auspices.
0 ir Roger Norrington is a native of . Oxford, England, where he came "; from a university family with strong musical connections. He wa a talented boy soprano, studying the violin from the age of ten, and singing from seventeen, but his higher education was in English Literature at Cambridge. After sev?eral years experience as a violinist, tenor and conductor, he returned to his studies at the Royal College of Music under Sir Adrian , Boult. i
In 1962, he founded the Schiitz Choir and thus began a thirty-year exploration of ? historical performance practice. With the Choir, he gave many innovative concerts } and made numerous recordings for ,
ArgoDecca, mainly of seventeenthand I nineteenth-century repertoire. Such perfor-1 mances were at first accompanied by the London Baroque Players, but as the period of rediscovery moved forward, the London Classical Players (LCP) became the normal partner. When Norrington reached the era of the symphony in his researches, the LCP took on a life of its own and the Schiitz ?-Choir went into semi-retirement.
The LCP leapt to worldwide renown, with Norrington's dramatic performances of the Beethoven symphonies on period instru?ments. The recordings of these for EMI won
prizes in the UK, Germany, Belgiui and the United States, and are still among the most sought after readings of modern times. Many other ground?breaking recordings followed, not only of
Haydn, Mozart and Beethoven but of a stream of nineteenth-century masters: Berlioz, Weber, Schubert, Mendelssohn, wi Rossini, and Schumann, which carried the research forward into the Romantic Movement. Most recently remarkable record?ings of Brahms' four Symphonies, of Wagner, Bruckner and Smetana have moved the boundaries even further.
Norrington's work on scores, on sound, on orchestra size, seating and playing style, has had a profound effect on the way nine?teenth-century music is now perceived, and not surprisingly, he is in great demand by symphony orchestras worldwide. He works regularly with orchestras in Berlin, Vienna, Salzburg, Amsterdam, Paris, New York, San Francisco, Los Angeles, and, of course, London. He is Chief Conductor of the Radio Sinfonie Orchester in Stuttgart and of the Camerata Academica in Salzburg. He is closely associated with the London ,-v!gj$(j?jiij' Philharmonic and the Orchestra of the Age of Enlightenment, which has, since January 1997, taken over the work of the London Classical Players.
For ten years, Sir Norrington was an exclusive EMI artist. Now, again, he has a major contract with Decca, but also records for Sony and BMG, as well as EMI and Virgin Classics. He is currently recording a complete cycle of Vaughan Williams Symphonies with the London Philharmonic for Decca.
Sir Norrington's opera experience is as wide as that with symphony orchestras,
choirs arid chamber orchestras. For fifteen years, he was Music Director of the very successful Kent Opera, where he conducted over 400 performances of forty different works. He has worked as a guest in Britain at Covent Garden and the English National Opera and in Italy at La Scala, La Fenice and the Maggio Musicale. He has also received invitations to conduct operas in Vienna, Berlin, Paris and Amsterdam.
Sir Norrington was knighted in June 1997 and is a Commander of the Order of the British Empire, a Cavaliere of the Italian Republic, Prince Consort Professor of the 4 Royal College of Music, an Honorary T Member of the Royal Academy of Music, an Honorary Fellow of Clare College, Cambridge! a Doctor of Music at the University of Kent and a Doctor of the University of York. He lives in the Berkshire countryside with his choreographer wife and small son.
Tonight's performance marks Sir Roger Norrington's sixth appearance under UMS auspices. Sir Roger Norrington first appeared under UMS auspices in residence during the Michigan MozartFest in November 1989. Since then, he has appeared in Ann Arbor with the London Classical Players in 1990 and with The Orchestra of St. Luke's in March 1993. _ ._---
'he Camerata Academica Salzburg
does not comply with the conven?tional notion of a chamber orchestra. Those who play in the Camerata Academica and who shape, form and contribute to its success, must have an artistic disposition that draws its strength mfc from the chamber music dialogue. 'v
Instrumentalists must possess highly tuned, keen hearing, have an open-minded i-
approach, self-confidence and a tolerant attitude. Such pre-requisites are some of the reasons why the Camerata has remained, since it was founded by Bernhard Paumgartner in 1951, a kinship with strong affinities in every phase of its artistic development; to such an extent that it adopted a family character during the long leadership of Sandor Vegh (from 1978 to his death in January 1997). In September 1997, Sir Roger Norrington was appointed chief conductor of the orchestra.
The repertoire takes also the less well-known works of Mozart into consideration and is also dedicated to the masters of the baroque period, the entire Viennese classics through to the main protagonists of the twentieth century (ie. Schonberg, Berg, Bartok, Stravinsky). mM&&i
Extensive sets of works (such as Mozart's serenades, divertimenti, cassations and vari?ous piano concerts) and numerous individ?ual works of the repertoires mentioned were produced for the audio media (Capriccio, DECCA, Philips) under the supervision of Vegh. More recently, Mozart's violin concer?tos (Augustin Dumay) have been recorded for Deutsche Grammophon, the works of HK Gruber (Franz Welser-Most) for EMI, for ERATO (Mozart piano concertos with Till Fellner) and for DECCA (Bach-Cantatas with Matthias Goerne and Sir Roger .?,,ai&i Norrington).
The Camerata Academica Salzburg leads an active schedule with various con?certs and tours amounting to eighty-five
performances per year at home and abroad, mainly sponsored by private initiative.
The Camerata gives a series of concerts in Salzburg in cooperation with the International Mozarteum Foundation and is a frequent guest every year in the Viennese Concert Hall. For many years, the Camerata Academica has been invited to the Salzburg Festival as well as to the Mozart Week
Salzburg as an opera and concert orchestra.
In the year 2000, the Camerata WSi& Academica Salzburg will work together with a large number of artists, such as Murray Perahia, Franz Welser-Most, Pierre Boulez, Maxim Vengerov and Rudolf Buchbinder. ...
Tonight's performance marks the Camerata: Academica Salzburg's UMS debutmp
Camerata Academica Salzburg
;Sir Roger Norrington Conductor
Winfried Rademacher, Leader Timea Ivan, Principal Seconds
Claire Dolby
Annelie Gahl
Dagny Mirjam Wenk-Wolff'
Yukiko Tezuka
Gyorgy Acs
Alexander Hohenth
Gabor Papp
Anna Zimmerebner Norah Farkas Werner Neugebauer Hannah Perowne Kavus Davis . .,
Kirsten Ohst """
Violas '--:T-Tr-:. Benjamin Rivinius, Principal William Coleman Wolfram Trondle Firmian Lermer Claudia Hofert Jorg SteinkrauS
Heidi Litschauer, Principal Bernadette Valik Jeremy William Findlay Dana Micicoi Shane Woodbornc . ....
Josef Radauer, Principal, Notburga Pichler Martin Hinterholzer ,-i
Andrea Wild P Christoph Bachhuber
Louise Pellerin -,
Laura Urbina de Malzer'
Wolfgang Klinser Michael Domanig
Basson _......__..
Frank Forst Christoph Hipper
Josef Sterlinger ";_ Thomas Heissbauer
Kurt Korner Wolfgang Gaisbbck
Karl Fischer
Benedikt Fohr, General
Geza Rhomberg, Orchestral '--iManager
Herbie Hancock
Wayne Shorter
Saturday Evening, November 11,2000 at 8:00, Michigan Theater, Ann Arbor, Michigan M

Tonight's selections will be announced by the artists from the stage.
Twenty-sixth Performance of the 122nd Season '
Seventh Annual .5 Jazz Series
The photographing or sound recording of this concert or .. possession of any device for such photographing or sound recording is prohibited -
This performance is sponsored by Comerica Incorporated. Additional support provided by media sponsors, WEMU and WDET.
Special thanks to Caroline Chambers of Comerica for her generous support of the University Musical Society. ';
This performance is presented with support from JazzNet, a program of the . Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation i and the National Endowment for the Arts. 1 '
The Steinway piano used in this evening's performance is made possible by ? Hammell Music, Inc., Livonia, Michigan.
La,9e prints a, avaable upon
azz has long been the art form of constant innovation. Herbie Hancock and Wayne Shorter, two legendary masters of the art, rely heavily on the intuitive relationship they cultivated in the classic Miles Davis quintet from 1963 to 1968 in their sponta?neous performances. "It's something that reverberates from the experience that we had together with Miles," Shorter says of the duo's palpable empathy, "something that was going on in that group, where improvi4 sation and intuition took place at a moment's notice. Whatever made those " recordings unique unto themselves had to j do with being prepared to work on a one-on-one basis, even though the group was a quintet. We bounced off each other, one at a time, and that experience enabled us to be like an extract from the quintet, to do duetiS' based on a lot of things we had lived M through together like a family." $
Mr. Hancock and Mr. Shorter have jjj been exploring the unknown for nearly forty years. They left an indelible stamp on' modern jazz during their joint tenure in the, Miles Davis quintet, along with bassist Ron Carter and the late drummer Tony Williams.
But their individual histories encompass a .. variety of other significant landmarks in I contemporary music. Wayne Snorter's tenor and soprano saxophone virtuosity, his improvisational acumen, and his experi'?? mental approach to structure, harmony, and rhythm became integral to the second great Miles Davis Quintet, inspiring the late ' trumpeter to call him "the intellectual cata?lyst for the band." But he had also been a ? member of Art Blakey's Jazz Messengers ?? from 1958 to 1963, and throughout the six?ties helped give the Blue Note label its leg?endary status as a haven of innovative post-bop. His timeless albums from that era ffl include Speak No Evil, Schizophrenia, and g The Soothsayer, and several of Shorter's ?. compositions, such as "Footprints," "Water Babies," and "Pinocchio," have become -touchstones of the modern jazz canon. w P As Miles made the transition from .'Jg purely acoustic music to plugged-in jazz-rock with In a Silent Way and Bitches Brew, Shorter was a valuable contributor, and he went on to further pioneer the fusion move?ment when he formed Weather Report with keyboardist Joe Zawinul and bassist Miroslav Vitous in 1970. Bassist Jaco Pastorius later
joined the band, and Weather Report soared to unprecedented popularity, scoring the first mil?lion-selling fusion album with Heavy Weather in 1978. On the solo front, Shorter recorded Native Dancer, his breakthrough Brazilian-influenced album with vocalist Milton Nascimento, in 1974. His 1980s recordings included the Grammy-nominat?ed Atlantis (1985), Phantom Navigator (1987), and Joy Ryder (1988). He also appeared in Bertrand Tavenier's acclaimed Round Midnight in 1986 and received a Grammy nomination for his contribution to that film's
soundtrack, Call Sheet Blues. Before return?ing to solo recording in 1995 with High Life, which featured keyboardist Rachel Z., bassist Marcus Miller, guitarist David Gilmore, percussionist Airto Moreira, and drummer Will Calhoun, Shorter added his . distinctive saxophone sounds to the sound-' tracks of the feature-films Glengarry Glen,., Ross, The Fugitive, and Losing Isaiah. mk
Herbie Hancock was classically trained as a youth, performing Mozart with sym?phony orchestras as a teen. His shift to jazz took full effect when he broke into the pro?fessional ranks playing with saxophone ? ?? legend Coleman Hawkins and trumpeter Donald Byrd. Like Shorter, he was a main, stay of the Blue Note stable before, during and after his tenure with Miles in the 1960s, recording such timeless albums as Maiden , Voyage, Speak Like a Child, and Takin' Off, and adding such classic compositions as "Dolphin Dance" and "Watermelon Man" to the lexicon. The rhythmic innovations hes displayed during his five years with Miles exploded into the jazz and funk inventions of his Head Hunters band (with Bennie Maupin, Harvey Mason, Paul Jackson, and Bill Summers). The trailblazing Head Hunters album of 1973 not only became one of the best-selling jazz albums of all time, eventually achieving platinum status, but it ,' has become a source of samples for the cur-: rent hip-hop generation.
Although much of Hancock's notoriety and popularity since the 1970s has been based on his electronic, dance-beat experi?ments, such as the MTV hit "Rockit" in the ; 1980s and the hip-hop-timed Dis Is Da Drum in 1994, he was never far removed . from his acoustic roots. In 1976, he and K Shorter were reunited to record and tour in j V.S.O.P., featuring members of the Miles I Davis Quintet with Freddie Hubbard in the s trumpet role. The 1983 edition of the same I band featured an up-and-coming Wynton ?" Marsalis. In 1986, Hancock won an Oscar
for his original score to Round Midnight, ' and the following year he launched his ,"._
acoustic jazz trio with Buster Williams on bass and Al Foster on drums. His Grammy-winning 1996 recording, The New Standard, featuring Michael Brecker, John Scofield, .s Dave Holland, Jack Dejohnette, and Don Alias, was less a radical departure for the , idiosyncratic pianist than a brilliant consolidation of strains that have been crucial to ., his music all along. i$
In the late 1980s and early '90s, the paths of Shorter and Hancock continued to intertwine. They joined bassist Stanley Clarke and drummer Omar Hakim for a series of all-star concerts and spearheaded the 1992 "Tribute to Miles" tour (which fea?tured rising star Wallace Roney on trumpet). ?.; They also performed together at President : Clinton's first and second term inaugurals in 1993 and 1997. Shortly thereafter, both J Hancock and Shorter pursued new individyjj ual projects: Hancock continues to tour ,j
with a variety of band configurations and_jp has started the Rhythm of Life Foundation, " dedicated to putting technology to the seri vice of humanity, aiming especially at older , teenagers and young adults. Shorter is j
sketching out ideas for his next jazz album, 1 with the notion of a subsequent classical recording brewing in his mind.
"We have to put on our Isaac Stern and Horowitz clothes in order to go out and weather that storm," Shorter says with a chuckle in response to the "1 + 1" tour. "A lot of the people who came before Wayne and me are gone," Hancock adds. "So now, in some sense he and I are the old guard even though the music is still new. The main thing is to really capture the moment and capture something honest in the
Tonight's performance marks Herbie Hancoqk and Wayne Shorter's UMS debuts. J
UT' -t y
A ;
Menahem Pressler with The Shanghai Quartet
Menahem Pressler, Piano
Weigang Li, Violin ?? " Yiwen Jiang, Violin Honggang Li, Viola Nicholas Tzavaras, Cello
Program Sunday Afternoon, November 12, 2000 at 4:00
g,Rackham Auditorium, Ann Arbor, Michigan j
Franzjqsegh Haydn String Quartet in D Major, Op. 20, No. 4 j
Allegro di molto ;K9H9MHI
Un poco adagio, affettuoso Menuetto: Allegretto alia zingarcse ! : Presto scherzando '
': Shanghai Quartet J$i ? ? '" ' -"'? ? ??''?'?'? '" ? ' ""1
Ludwig van Beethoven Piano Sonata No. 31 in A-flat Major, Op. 110
Moderato cantabile, molto espressivo Molto allegro ,'
; Adagio, ma non troppo--arioso dolente, Fuga: Allegro, ma non troppo , '""
Robert Schumann
[ Mr. Pressler INTERMISSION "-
Piano Quintet in E-flat Major, Op. 44.:
Allegro brilliante .'?
In modo d'una marcia Scherzo (molto vivace)-Allegro ma non troppo
of the 122nd Season
Thirty-eighth Annual Chamber Arts Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is presented in celebration of the life of David A. Eklund.
Special thanks to Susan Nisbett and the U-M School of Music for their involvement in this residency, gggljjpif f-f-jf 1T
Menahem Pressler appears by arrangement with Double M Arts & Events, LLC.
The Shanghai Quartet appears by arrangement with ICM Artists, Ltd.
Large print programs are available upon request.
String Quartet in D Major, Op. 20, ,v No. 4
;'3 Franz Joseph Haydn'1 . . ...?,.
Born March 31,1732 in Rohrau, Lower Austria Died May 31, 1809 in Vienna . -
The "Sun" quartets, as Haydn's Op. 20 is 'known, are among the first in which the vio?lin line is not merely a solo accompanied by M' three subordinate instruments. In these works, Haydn began the integration of the ensemble that resulted in the greatest development of '??? e sr'nS Quartet form up to and beyond that " time. The cello solo that dominates the highly . original "Menuetto" is recognition of Haydn's integration of individual parts in this genre.
Elegance is the keynote of the first movement, "Allegro di molto." This is ; Abendmusik for a princely salon, where it , undoubtedly had its first hearing. The sec?ond movement, a theme and four variations, reminds one of its counterpart in th. much later "Emperor" Quartet. Here again the cello is given an eminent spot, particu-: larly in the second variation, ;
The short minuet is the most inventive ? movement of the quartet. On its few mea-lsures, Haydn has lavished his most polished craft, its attractive syncopation and subtle canonic treatment arresting the ear. Marked "Allegretto alia zingarese" it is less gypsy-like than the last movement, which bears a rela-l tion to the "Gypsy Rondo" in the Piano Trio I in G Major and its Hungarian folk base.
; r.
Piano Sonata No. 31 in A-flat Major,
feop. no ill J ??"?'
Ludwig van Beethoven
Born December 16, 1770 in Bonn, Germany
Died March 26, 1827 in Vienna -
A London critic wrote in 1824, at just about the time Beethoven's Piano Sonata in A-flat Major had reached England, "Beethoven's
compositions more and more assume the character of studied eccentricity. He does not write much now, but most of what he . produces is impenetrably obscure in design. and so full of unaccountable and often repulsive harmonies, that he puzzles the , critic as much as he perplexes the per"?? . former." Yet, the melodic material made this sonata one of Beethoven's relatively accessi-ble late works, as it is strongly expressive, lyrical, dreamy, and even elegiac. It is also a bold expansion of the idea of a sonata, $ ' requiring it to admit such procedures as ' recitative and fugue, for example. Beethoven dated his manuscript of the Sonata December 25, 1821, but he may have revised the finale in 1822, shortly before its publica-tion in Berlin and Paris. In 1823, he tried to arrange for its publication in London, too, but it was already known there in the Continental edition. r!QJ
The first movement, "Moderato Mj cantabile, molto espressivo," is a perfect, ii seamless, sonata-form structure, brief and apparently of great simplicity, but actually stretching great harmonic distances, with a gracious--or amiable, as Beethoven says-opening phrase that seems perfectly laid out for a string quartet, rather than for the piano. Elsewhere, too, the music seems to be going in the direction of Beethoven's last quartet, which was begun around 1822.
The second movement, "Molto allegro," is a major-key scherzo, in duple meter but with a highly irregular rhythm that makes a strong contrast with the lyrical mood of the first movement. Its second theme resembles a German folk song, and in the contrasting central section the difficult passage-work for the right hand is made more difficult by the rhythmic displacement of the left hand's single notes. -raSHGB
The reminder of the work is one of Beethoven's new structures, a combination of slow movement and fast finale. The sequence of musical events is as follows: ?$
a slow introduction, Adagio ma non troppo; a plaintive recitative, a beautiful arioso lament; then a complex fugue, Allegro ma non troppo; a "Chopinesque" ornamented version of the lament in a key that tradi?tional harmony reckons to be as remote as one could get; a mysterious inversion of the fugue in the new key; and then a long clos?ing section based on the fugue theme that, of course, arrives back in the original key of A-flat.
Piano Quintet in E-flat Major, Op. 44
Robert Schumann 1_
Born June 8, 1810 in Zwickau, Saxony .
Died July 29, 1856 in Endenkh, near Bonn .
The year 1842 was Schumann's "chamber ; music year," just as 1841 had been his "sym?phony year" and 1840 his "song year." At this crucial point in his career, the composer who until then had concentrated mostly on solo piano music, made a conscious effort to conquer the other musical genres of the time. This expansion in Schumann's creative output certainly wouldn't have happened without another fortunate "conquest:" on September 12,1840, he married Clara Wieck after a courtship of many years during which the couple had to overcome numer?ous obstacles (not least the objections of .? . Friedrich Wieck, Clara's father and ;$
Schumann's former piano teacher).., The long-awaited union with his beloved released enormous creative energies in Schumann; in 1842, his "chamber music year" alone, Schumann completed his three string quartets (Op. 41), his Piano Quintet Op. 44 and Piano Quartet Op. 47, in addi?tion to the Phantasiestiicke for piano trio (Op. 88). It was an enormous amount of work, completed amidst the demands of a growing family and between bouts of the severe depression that had plagued him since his youth. (His condition would even-
tually worsen to the point where, in 1854, he attempted suicide and was committed to a mental hospital for the rest of his life. The nature of Schumann's illness is still being debated among psychiatrists; bipolar-manic-depressive--disorder is perhaps the : most likely diagnosis.) 1
The Quintet in E-flat Major, one of a Schumann's most popular works, plumbs I those extreme mood swings that character--ized the composer's mental state at the time of composition. Few works in the entire his-tory of music are more despondent than the Quintet's second-movement funeral march, and few are more carefree than the third. movement, "Scherzo," with its rapid scales scurrying up and down. Framing those tw(M poles are an energetic "Allegro brillante" inl sonata form that combines solemn, lyrical 1 and playful moments, and a finale -j "Allegro ma non troppo" -full of zest, j jumping happily from key to key and ...Jj culminating in a grandiose fugue.SMSlM!!.,
Schumann dedicated the Quintet to his wife Clara, one of the greatest pianists of the nineteenth century. Throughout her long M life (she outlived her husband by forty J years), she participated in so many performances of this work that biographer Nancy Reich aptly called it her "signature piece." jg
In chamber music written for piano and strings, the piano traditionally plays the leading role. This was the case in the piano trios and quartets of Mozart and Beethoven, and even more so in the works of the early-nineteenth-century virtuosos--people like-jg Moscheles or Kalkbrenner, now forgotten '8 but crucial to Schumann's development-who wrote for piano and instrumental ensembles of varying sizes. Schumann, while not taking anything away from the piano,
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entrusting them with important melodic 'f material both individually and as a group. He was the first major composer to combine the piano with a string quartet, well estab-
lished by then as the most important type of chamber ensemble. (Schubert's "Trout" Quintet, an important predecessor, includes the double bass and has only one violin.) With this work, Schumann created a whole new genre, which inspired such later mas?terpieces as the piano quintets of Brahms, Dvorak, and. Franck........ ..
Program note by Peter Laki.
enahcm Pressler was born in Magdeburg, Germany, and received most of his early musi?cal training in Israel. He began his international career when.... he won first prize in the Debussy Piano ) Competition in San Francisco in 1946, a distinction that led to solo appearances in recitals and with major US orchestras. He made his North American debut with the Philadelphia Orchestra under the baton of Eugene Ormandy, which was followed by extensive tours throughout the US and Europe and appearances with many leading orchestras, among them New York, Washington, Chicago, Cleveland, Pittsburgh, London, Paris and Brussels.
In 1955 he co-founded the Beaux Arts Trio with Daniel Guilet and Bernard Greenhouse. That same year the Beaux Arts Trio made its debut at Tanglewood. In the intervening years the Beaux Arts Trio has become one of the most enduring, and most widely acclaimed chamber-music ensem?bles, has been credited with giving rise to the enormous popularity of the piano-trio literature, and the proliferation of perma?nent piano trios. It has recorded and re?recorded almost the entire chamber-music-with-piano literature and has inspired numerous eminent contemporary com?posers to write works for it, among them Ned Rorem's Spring Music which was com?missioned by Carnegie Hall, and which . Hift
received its world premiere during Carnegie Hall's Centennial Celebration and was later performed in Ann Arbor.
In the year 1955, Mr. Pressler also start?ed his long association with Indiana University, where he holds the rank of Distinguished Professor of Music, and where his teaching has gained him wide recognition, enhanced by his masterclasses in many countries. He is also a frequent guest of some of the foremost string quar?tets. Deutsche Grammophon has just released his recordings with the Emerson Quartet of Dvorak's and Schumann's piano quartets and quintets.
While expanding his field of activity, Mr. Pressler has always continued his solo performances, albeit on a reduced scale. He recently recorded, for Philips Records, Beethoven's Choral Fantasy with the Leipzig Gewandhaus and Kurt Masur. Richard Dyer, of the Boston Globe, wrote about it as fol?lows: "It's always fun to hear the Choral Fantasy, which begins in one place and ends in another, as an early glimpse of the finale of the Symphony No. 9. Pressler plays the long introduction with enormous imagina?tion and authority, scampers delightfully through the variations, and then splashes
ornamentation around the chorus at the ' end like a kid in a summer pool."
In 1999, Mr. Pressler was awarded the Gramophone Lifetime Achievement Award. He also embarked on a groundbreaking video project with Isaac Stem and Yo-Yo Ma focused on the teaching of young children.
This afternoon's performance marks Menahem Pressler's tenth appearance under UMS aus?pices. He last appeared under UMS auspices with the Emerson String Quartet at Rackham Auditorium on November 22, 1998.
Mr. Pressler will be appearing as a member of the Beaux Arts Trio in concert with the Prague Chamber Orchestra at Hill Auditorium on March 7, 2001 as part of UMS' 122nd Annual Choral Union Series. ,.?:?.?
ailed by The Strad as "a four?some of uncommon refinement and musical distinction," the Shanghai Quartet has just com?pleted the tenth year of its resi?dency at the University of Richmond during the 19992000 season. In honor of this anniversary, the University of Richmond, along with the Freer Gallery in Washington, DC, commissioned a new work by Bright Sheng, which the Shanghai Quartet pre?miered in the spring of 2000. ..?? Recognized by the press and public a alike as one of the leading quartets of its generation, the Shanghai Quartet regularly tours the major music centers of North America, Europe and Asia. Recent engage, ments have taken the Quartet to Detroit, j Los Angeles, Philadelphia, Portland, rggg Princeton, St. Paul, Toronto and Washington, DC, where it appears frequent?ly at the Freer Gallery. Its annual appearances in New York City have recently -'?' included a sold-out three-concert series with pianist Ruth Laredo at the m.:?
Metropolitan Museum and a return to Carnegie Hall's Weill Recital Hall, where the Quartet was joined by pianist Joseph
Kalichstein. The Quartet's other distin'"? guished collaborators include pianists Gerhard Oppitz and Lilian Kallir, guitarist Eliot Fisk, flutist Eugenia Zukerman, violist Arnold Steinhardt and cellists Carter Brey 1 and Yo-Yo Ma. The ensemble has also made several tours of Europe, giving concerts in London, Hamburg, Milan, and Amsterdam. In early 1996 the Quartet made its first tour of the Far East, encompassing Hong Kong, Taiwan and Japan, where it gave sold-out concerts in Tokyo and Osaka. The Quartet was subsequently nominated for the AsahJ Broadcasting Company's International Music Award.
During the 1997-98 season, the Quartet gave the premiere of Lowell Liebermann's String Quartet, in honor of the National 5ji Federation of Music Clubs' 100th anniver-S sary. That season also saw the Quartet S return to Japan and China, and make its first tours of Korea, Australia and New Zealand, all to great acclaim. A third tour of Japan took place in the spring of 2000. .fi
Recording exclusively for Delos .Jg
International, the Shanghai Quartet has . built up an extensive discography. Its most recent releases include The Flowering Stream, Chinese folk songs and tone poems by Zhou Long, with pipa player Min Xiao-' Fen; and a Brahms album, pairing the String Quartet No. 3 in B-Flat Major, Op. 67 and the String Quintet No. 1 in F Major, Op. 88, with Arnold Steinhardt. The ensemble has also recorded the final two Mozart String Quartets, K. 589 and 590; a disc featuring quartet works by Alan Hovhaness and the Song of the Ch'in by Chinese composer Zhou Long; and an album with flutist Eugenia Zukerman entitled Music for a Sunday Morning, featuring works of Bach, Mozart, Arthur Foote, Amy Beach and Alberto Ginastera; and the Quartet's debut
release of works by Grieg and Mendelssohn. Its members are also heard on a new tworg" disc set on the Arabesque label of the 1 Brahms Piano Quartets, with pianist RuthJ Laredo. '
Formed at the Shanghai Conservatory . in 1983, the Quartet took second place at'p the 1985 Portsmouth International String Quartet competition (now the London . International competition). In 1987 the 1S ensemble won the prestigious Chicago Discovery Competition and embarked on . an extensive touring career. It has been H Ensemble-in-Residence at the Tanglewood and Ravinia Festivals and has made several appearances at Lincoln Center's Mostly IH Mozart Festival and on its Great Performers series. After leaving China, the Shanghai Quartet was coached by the Tokyo String Quartet and the Vermeer Quartet. In addi?tion, it was Graduate Ensemble-in-Residence at The Juilliard School, where it
assisted the Juilliard String Quartet. nfeeg;
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This afternoon's performance marks The Shanghai Quartet's UMS debut. .jecp
Ravi Shankar
Anoushka Shankar
Bikram Ghosh Tabla Tanmoy Bose Tabla
Friday Evening, November 17, 2000 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Full Circle
Tonight's program will be announced by the artists from the stage.
Twenty-eighth , .
of the 122nd Season "
Seventh Annual "' World Cultures 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, WDET.
Special thanks to Lynda Berg, Bob Galardi, and the teachers at Pattengill Elementary for their involvement in this residency. . jfWffMfflBW
Ravi and Anoushka Shankar appear by arrangement with IMG Artists. Ravi and Anoushka Shankar record for AngelEMI. "-?" "?r-?
Large print programs are available upon request.
Full Circle
Sitar master Ravi Shankar, India's most recf Ognizcd and esteemed musical ambassador, celebrates his eightieth birth year with con?certs around the world. This tour is a culmi-I'nation of Mr. Shankar's extraordinary career c in which he has shared his love of Indian
music and culture with people of all If nations. Beginning the day he joined his brother Uday's dance troupe in 1930, Ravi Shankar embarked on a pioneering path S which forged the way for so many of us to understand and love this exceptional music. "??' Full Circle marks this journey which Mr. Shankar celebrates with you.
he sitar is the most popular stringed instrument of India. Though it has gone through many changes and improvements, it has _ existed in its present form for approximately seven-hundred years. It is fashioned from a seasoned gourd and teak-wood. It has a track of twenty metal frets, with six or seven main-playing strings placed below. The sympathetic strings are 1 strummed upon occasion, with the little fin?ger of the right hand inserted in the main strings, which are tuned to the raga being played, and the main strings are plucked by a plectrum worn on the index finger of the right hand.
The tabla is the two-piece drum of India. The right-hand drum (the tabla) is tuned to the tonic, dominant, and sub-dom?inant, and is tuned with a hammer. The left-hand drum (or bayan) acts as the bass drum and is capable of many tones that can be f varied by degrees of pressure from the base of the left palm.
The pakhawaj is a one-piece ancient drum of India. The modern-day tabla evolved from this drum. In India, pakhawaj
has a dignity, and with its very deep sound, it is compared to "Elephants Walk, or dis?tant thunder!" It was more popular along .jragp with the old form of dhrupad and dhaniafWM singing and accompanying the ancient SB! instruments, veena and rahab. Only a few people play this drum today.
The tamboura is a four or five-stringed instrument that gives an essential drone '&M background to all Indian music. It is tuned ? ":" to the raga being performed and emphasizes the tonic, dominant, and sub-dominant, according to the raga.
The system of Indian classical music known as Raga Sangeet can be traced backjgjjj nearly two-thousand years to its origin in the Vedic hymns. Unlike Western classical music, as much as ninety percent of Indian music may be improvised, depending on the artistic facility and creative imagination of the performer. Our musical tradition is an oral one, taught directly to the student by his guru, rather than by the system of writ?ten notation used in the West. $ii&$B$S8i!!mi
The very heart of Indian music is the raga; the melodic form upon which the artist improvises his performance. A raga is a scientific, precise, subtle, and aesthetic melodic form with its own specific ascend?ing and descending movement consisting of either a full seven-note octave, or a series of six or five notes.
The are seventy-two basic melas, or par?ent scales on which all ragas are based. The subtle difference in the order of notes, an omission of a dissonant note, an emphasis on a particular note, and the use of micro-tones and other effects all distinguish one raga from the other.
Every raga is also characterized by its own particular rasa, or principal mood. The acknowledged order of these nine senti?ments or emotions is as follows: romantic and erotic, humorous, pathetic, angry, hero?ic, fearful, disgustful, amazed, and peaceful. Each raga, in addition to being associated
with a particular mood, is also closely con?nected to a particular time of day or season of the year. Thus, via the rich melodies and rhythm of Indian music, every human emo?tion, every subtle feeling in man and nature, can be musically expressed and experienced.
In terms of aesthetics, a raga is a projec?tion of the artist's inner spirit; a manifesta?tion of his most profound feelings and sen?sibilities. The musician must breathe life into each raga as he unfolds and expands it until each note shimmers and pulsates with life and the raga is revealed, vibrant and incandescent with beauty.
Next to be considered are the talas, or rhythmic cycles of a raga. There is a unique intricacy and rhythmic sophistication in Indian music. There are talas ranging from a three-beat cycle to 108 beats within a cycle! The divisions in a tola and the stress on the first beat, called sum, are the most impor?tant features.
Different talas with the same number of beats may have stresses on different beats (for example: a bar of ten beats can be divided as 2-3-2-3, 3-3-4, 3-4-3, or 4-4-2). Within the framework of the fixed beats, the drummer can improvise to the same extent as the main artist. The most exciting moment for a seasoned listener is when j both musicians, after their individual Jj improvisations, come back together on "Jjj the sum. The most popular talas are: ?'!$
Dadrcu JSE255BI.
cycle of six'beats, divided 3-3 ;; ?? ? ?? '?'?'--
cycle of seven beats, divided 3-2-2 ;
Jhaptal: :
cycle often beats, divided 2-3-2-3 2
Ektal: 'mL,.-
cycle of twelve beats, divided 4-4-2-2
Ada Chautal: ,
cycle of fourteen beats, divided 2-4-4-4
cycle of sixteen beats, divided 4-4-4-
' Although overtones are very much a part of Indian music, there are no deliberate modulations or harmonics, as in Western music. The existing harmony is in its sim-'l plest form and is more inherent than preI conceived. Ideally, the new listener in the m West is invited to forget counterpoint, har-? mony, and mixed color tones when he hears our music and instead relax into the rich melody and rhythm of our ancient art. With an open mind, he will be introduced to a -JI whole world of sound, of tones and micro-tones and improvisation never heard before.
The improvisational nature of Indian.J music requires the artist to take into consid: eration the setting, time allowed for his coq-cert, his mood, and the feeling he discerns j[ in the audience before he begins to play. .? Since our music is spiritual in origin, the 9 traditional recital begins with the alap sec-Jj tions, the stately and serene exploration ofjB the chosen raga. After this slow, introspec-tive, heartfelt, sometimes sad beginning, the musician moves on to the jor. In this part,.r rhythm enters and is developed, and innu' merable variations on the raga's basic theme are elaborated. There is no drum accompa?niment in either the alap, the jor, or the third section, jhala, where the side strings ;fjj, are played in rapid speed. "tl
The alap, jar, and jhala evolve into the gal, the fixed composition of the raga. Here, the drums enter with the wonderful rhyth-sj mic structure of the gal and its time cycle Jj the tala. A gal can be in any tala, and in Sra slow, medium or fast tempo. The musician improvises on a variety of jaans (musical phrases at four different speeds) and lodasW (a combination of plucked passages). The jg gal (a fixed composition anywhere between four and sixteen bars long) is the vehicle to which the artist must return after his impro-visation. "
While the Indian musician has complete freedom to improvise as he wishes, he may do so only as long as he does not
depart from a format of the raga and tala. The step-by-step accel?eration of the rhythm in the gal finally culminates in the return of the jhala: the final movement and climax of the raga. Here, the music becomes more and more playful and exciting. Sawal jahab, the dazzling interplay and rapid exchange between the sitar and tabla, has the power to enthrall and amaze the most uninitiated listener as it brings the raga to its conclusion. ig Often, at the conclusion of a recital, the musician may choose
to play a thurmi or dhum. This semi-classi?cal style is much freer and is completely romantic, sensual, and erotic. Today, Indian classical music is a permanent part of 3JL Western culture. Many composers and musicians have been influenced by our music. The openness, willingness to learn, and sincere enthusiasm of Western audi?ences are a continuing source of inspiration and delight.
Program note by Ravi Shankar.
egendary virtuoso sitarist, composer, teacher and writer, Ravi Shankar is renowned throughout the world for his pioneering work in bring-1 ing Indian music to the West. He has been a cultural influence in the West for more than three decades as India's most rec?ognized and esteemed musical ambassador.
The youngest son of a Bengali family, he was born in 1920 in Varansi (Benares), the holiest of Indian cities. At the age of ten he accompanied his elder brother, Uday Shankar, with his company of dancers and musicians to Paris where he attended school. He spent several years in the West absorbing different kinds of music but
returned to India in 1938 where he began-jjk his career in his native India. He combined his concert performances with his work for All India Radio (1949-56) where he estab?lished the National Chamber Orchestra. As word of his virtuosity spread throughout
Shankar embarked on one of the most :j extraordinary careers in the history of cor temporary music. ;
Ravi Shankar is a prolific composer and in addition to his numerous ragas and talas, he has written for musicians from the East and West including Yehudi Menuhin, Jean-Pierre Rampal and Japanese artists. Among his works are two concertos for sitar and orchestra, the first commissioned by the London Symphony Orchestra and premiered under Andre Previn. In 1980 he was com?missioned by the New York Philharmonic, under the direction of Zubin Mehta, to compose Raga-Mala (A garland of ragas), which was his Second Sitar Concerto. Ravi Shankar also wrote, composed and choreo?graphed the ballet Ghanashyam, a piece that made history on the British and Indian cul?tural scenes. Mr. Shankar has composed extensively for ballets and films including Satyajit Ray's Apu trilogy, which raised film music to a new standard of excellence, and
Gandhi, the Academy Award-winning classic by Sir Richard Attenborough which won him nominations for both an Oscar and a Grammy Award.
Ravi Shankar is the recipient of many awards and honors including the Presidential Padma Vibhushan Award (1980) and the Award of Deshikottam, given by Vishawa Bharati and presented in December 1982 by then Prime Minister, the late Mrs. Indira Gandhi. Mr. Shankar is an honorary mem?ber of the American Academy of the Arts and Letters and recipient of twelve doctorates. In 1986 he became a member of the Rajya Sabha, India's Upper House of Parliament. He is a Fellow of the Sangeet Natak Academy and Founder President of The Research Institute for Music and the Performing Arts. In 1999, the government of India honored Ravi Shankar by awarding him its highest civilian award, the "Bharat Ratna" or Jewel of India. In February 2000, Mr. Shankar received France's highest civilian award, the .r "Commandeur de la Legion d'Honneur". jj
Ravi Shankar's extensive discography of over sixty albums continues to grow, and in 1996 Angel records released In Celebration, a lavishly documented four-CD retrospective of his greatest recordings, in honor of his seventy-fifth birthday. AngelEMI is contin?uing to release many of Mr. Shankar's -albums previously unavailable on CD. Called the "Godfather of World Music" by George Harrison, Ravi Shankar has also been given the title "Global Ambassador" by the World Economic Forum. 'H
He continues to tour each season all over the world dividing his time between India and the US with regular visits to Europe and the Far East. He is the author of three books--My Music, My Life (in English), Rag Anurag (in Bengali) and Raga Mala (English)--the latest of which is an autobi?ography that was released in Fall 1999.
Perhaps no other greater tribute can be paid to this remarkable musician than the
words of his colleague, Yehudi Menuhin: '
H. ? Ravi Shankar has brought me a precious ''. gift and through him I have added a new ? dimension to my experience of music. To ' me, his genius and his humanity can only,.,' be compared to that of Mozart's. S.
1 Tonight's performance marks Ravi Shankar's Ji
second appearance under UMS auspices. . E
t the young age of nineteen, AnoushkaShankar has shown herself to be a unique artist with tremendous talent and underi _ _ standing of the great musical tra?dition of India. Anoushka is the only artist in the world to be trained completely by her . father and legendary sitar virtuoso and composer, Ravi Shankar. She has been pla; ing and studying with him since she was '-,--nine, working first on a "baby" sitar that was built especially for her. At age thirteen she made her performing debut in New Delhi; India. That same year, Anoushka entered the recording studio for the first time to play on her father's recording, In Celebration. Two years later she helped as conductor with her father and George Harrison, Mr. Shankar's friend and frequent colleague, on the 1997 Angel release, Chants of India. Shortly there?after she signed an exclusive contract with AngelEMI Classics. In the Fall of 1998 her first solo recording, Anoushka, was released to tremendous critical acclaim. Her seconc album Anourag is due to be released in
August 2000. wmffi$mm$M&Mi
As her solo career continues to blossom, she is poised to carry forward her father's legacy as one of the most creative and influ?ential figures in the music world. In recogni?tion of her artistry and musicianship, on July 17,1998 the British Parliament presented Anoushka with a House of Commons Shield. She is the youngest as well as the sole female recipient of this honor.
'If Ravi Shankar is the ' guardian of Indian classical music, Anoushka is certainly the successor to his throne, by virtue of ability alone."
Dubai, February 2000 -,i$$?Vf;''
Born in London, Anoushka Shankar has grown up in California, where she recently graduated with honors from public school in Encinitas, and in India, where she spends part of every winter performing with her father and visiting her family. She is also a gifted classical pianist with a wide range of interests. But her devotion to the sitar and to her father's guidance is unmistakable, with a discipline that has led her into an already extraordinary performing career.
In addition to her own concerts, Anoushka continues touring the world with her father's ensemble with performances in India, Europe, Asia and the US. Anoushka is also championing her father's Concerto No. 1 for Sitar and Orchestra, which she first per?formed with Zubin Mehta conducting the London Philharmonic Orchestra in March 1997. In July 1999 Anoushka premiered a -new work for sitar and cello, written by her father, Ravi Shankar, with cellist Mstislav Rostropovich at the Evian Festival. Most recently, Anoushka became the first woman to ever perform at The Ramakrishna Centre in Calcutta in February 2000. , .-...
Tonight's performance marks Anoushka Shankar's UMS debut. .. .., .? .
Hailing from Calcutta, the much sought after tabla virtuoso Bikram Ghosh had his primary training of tabla from his illustrious father, Shankar Ghosh, and later from the great tabla guru, Jnan Prakash Ghosh.' He also was trained in the South Indian Carnatic style of drumming by the mridan-gist, S. Sekhar, Throughout his career, Mr. Ghosh has accompanied all the stalwarts of vocal and instrumental music. He has a number of CDs to his credit as an accompa?nist as well as a soloist. Since 1995, Ravi Shankar has taken him as his accompanist in some of his major concerts in India, Europe, the US and in the Far East. Mr. Ghosh has recorded several CDs including a recording of solo tabla. He has lectured on tabla performance at the reputed Rabindra Bharati (Calcutta) and the Vishwa Bharati (Shantiniketan) Universities.
Tonight's performance marks Bikram Ghosh's second appearance under UMS auspices.
Born in to a family of music connoisseurs, Tanmoy Bose was exposed to the subtle nuances of music and rhythm since childhood. Though he received vocal training from Shri Maharaj Banarjee and learned harmonium from the late Montu Banarjee, the charm of rhythm attracted Tanmoy towards the tabla.
A disciple of the late Kanai Dutta and Pandit Shankar Ghosh, Tanmoy has devel?oped a balanced technique which does not restrain itself to any one particular Gharana or school. Tanmoy has carved a niche for himself among the younger generation of top-ranking musicians of the country. A sought after tabla player both as a soloist and an accompanist, he has participated in numerous prestigious musical events in India and abroad winning accolades wherever he performs.
Tonight's performance marks Tanmoy Bose's UMS debut. ????? v
educational activities are free and open to le public unless otherwise oted ($). Many events dth artists are yet to be lanned--please call the FMS Education Office at 34.647.6712 or the UMS ox Office at 734.764. 538 for more informa-on. Activities are also osted on the UMS ebsite at
e second half of the educational
------will be published in the winter
h book.
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. eStiB!B
Opening Night Cabaret:
Puttin' On The Ritz
Mary Cleere Haran, cabaret
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.
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. Melodie" 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 Brustein, 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.m. Hill Auditorium Sponsored by Bank One. 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 Bale Folclorico 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 WEMU and 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 WEMU and 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 Comerka, 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. i Hill Auditorium Media sponsor WGTE.
Brentano String Quartet
Sunday, February 4, 4 p.m. Rackham Auditorium Presented in partnership with the i 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 Sponsored by CFI Group, Inc. Media sponsor WGTE.
Royal Shakespeare Company Shakespeare's History Cycle Henry Ml, 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. j-j----------
Media sponsor WGTE.
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 Natiottal 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 Prue 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. 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, Canfxeld, 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 IV. 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 Premiere 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.
h'ord Honors Program Honorees
19 96
Van Cliburn
Jessye Norman
1998 Garrick Ohlsson
1999 The
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. I
This season's Family Performances include:
American Repertory Theater:
The King Stag -----------------------
Bale Folclorico da Bahia ? iw,
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. ?JjjJjt'
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 B'
UMS residencies cover a diverse spectrum of artistic interaction, providing more insight and greater contact with the artists. Residency activities include interviews, open rehearsals, lecturedemonstrations, in-class visits, master classes, participatory 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
Liz Lerman Dance Exchange
? 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
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
eacher 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.
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.
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 M&f
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: i--------
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 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.
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.
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
326 West Liberty 734.663.3278 i Located just west of Main Street in the restored Brehm estate. Fine American cuisine with a global fare. Full service catering, bakery, wedding cakes.
347 South Main Street 888.456.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.
Weber's 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.
1 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.
internships 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. j
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.
Great performances--the best in music, theater and dance--are presented by the University .; Musical Society because of the much-needed and appreciated gifts of UMS supporters, members of the Society. J 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
Businesses ?
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.
Arts Midwest
Detroit Edison Foundation Elizabeth E. Kennedy Fund Benard L. Maas Foundation Mid-America Arts Alliance New England Foundation for the Arts
VIRTUOSI Individuals
Prudence and Amnon
Rosenthal Edward and Natalie Surovell
CFI Group
Maurice and Linda Binkow Douglas D. Crary ,t
Ken and Penny Fischer Beverley and Gerson Geltner Charles N. Hall David and Phyllis Herzig F. Bruce Kulp and Ronna Romney David G. Loesel Lawrence and Rebecca Lohr 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
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 (of R. & 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
Martha Darling John Psarouthakis ?S?& 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
Laura A. Van House Mrs. Francis V. Viola III Marion T. Wirick and
James N. Morgan
AJf Studios i
AAA Michigan Alcan Automotive Products Austin & Warburton Blue Nile Restaurant Dennis A. Dahlmann Inc. Lansstyrelsen Vastra Gotaland 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
Individuals "?"
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
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 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
Huntington Stuart and Maureen Isaac Lennart and
Karin (ohansson 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 t
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. 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 lohn Blankley and
Maureen Foley lane 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 lean Carlson Jack and Wendy Carman lames 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 ). 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. Grade William and Deborah Gray John and Helen Griffith Leslie and Mary Ellen Guinn Carl E. and Julia H. Guldberg Don P. Haefher 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 Petersen 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 lames 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 Lowenstein 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 I.. 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 Barfield
CompanyBartech Dupuis & Ryden P.C. Guardian Industries
Corporation Public Sector Consultants,
Inc. Charles Reinhart Company
Realtors Stirling Thermal Motors, Inc.
The Snced Foundation, Inc.
ASSOCIATES Individuals
Anastasios Alexiou
Christine Webb Alvey
Dr. and Mrs. David G. Anderson
David and Katie Andrea
Harlene and Henry Appelman
Patricia and Bruce Arden
Jeff and Deborah Ash
Mr. and Mrs. Arthur J. Ashe, III
Mr. and Mrs. Dan E. Atkins III
Jonathan and Marlene Ayers
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 Pomeranz 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 lanice L. Carr Jeannette and Robert Carr James 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 Dolcga
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. lames Ferrara Yi-tsi M. and
Albert Feuerwerker 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
ohn 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 Lela J. Fuester
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld Bernard and Enid Caller Eugene and Mary Anne Gargaro David and Marian Gates Mr. and Mrs. Michael Gillis James and Janet 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 Gribblc 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 Hershenson 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. Hungcrman 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 Dcnisc 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 Jane Kister
Beverly Klciber
Shira and Steve Klein
Laura Kletn
Clyde and Anne Kloack
Ruth and Thomas Knoll
Nick Knuth
Dr. and Mrs. Melvyn 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
Jacqueline H. Lewis
Earl Lewis
Leons and Vija Liepa
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 leanette and Jack Miller Robert Rush Miller John Mills
Thomas and Doris Miree Kathleen and James Mitchiner Dr. and Mrs.
William G. Mollcr, r. Jane and Kenneth Moriarty Frederick C. Neidhardt and
Germainc Chipault Laura Nitzberg and
Thomas Carli Donna Parmelee and
William Nolting
Marysia Ostafin and
George Smillie Julie and Dave Owens David and Andrea Page Helen I. 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. Reffells and
Elaine A. Bennett Glenda Rcnwick Janet L. Repp
Molly Resnik and John Martin Carol P. Richardson Jack and Margaret Ricketts John and Marilyn Rintamaki lay 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 lane L. Sayed Christine . 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 Scolt and Joan Singer John and Anne Griffin Sloan Tim and Marie Slottow Alenc M. Smith Carl and Jari 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
Glcnnis 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 )im and Emilie Van Bochove Kathleen and Edward Van Dam Hugo and Karla Vandcrsypen Tanja and Rob Van der Voo J. Kevin and Lisa M. Vasconi William C. Vassell Shirley Vcrrett 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. Wardncr 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 Westerman Marcy and Scott Westerman B. Joseph and Mary White Reverend Francis E. Williams Thomas and Iva Wilson Charles Witke and
Aileen Gatten Charlotte A. Wolfe Kathy and Alan Wright MaryGracc and Tom York Ann and Ralph Youngren Gail and David Zuk
Atlas Tool, Inc. Clark Professional Pharmacy Coffee Express Co. Complete Design &
Automation Systems Inc. Edwards Brothers, Inc. John LeidyShop, Inc. Malloy Lithographing, Inc. Pollack Design Associates Quinn EvansArchitects A. F. Smith Electric, Inc. Milan Vault
ADVOCATES! Individuals -J&
John R. Adams
Tim and Leah Adams
Dr. Dorit Adler
Dr. Diane M. Agresta
Thomas Aigler
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 Andresen
Martha Andrews-Schmidt
Barbara T. Appelman
Mary C. Arbour
Catherine S. Arcure
H. C. and Doris Arms'
Bert and Pat Armstrong
Gaard and Ellen Arncson
Rudolf and Mary Arnheim
Dwight Ashley
Eric M. and Nancy Aupperle
John and Rosemary Austgen
Shirley and Donala 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 K.irdas Barna Joan W. Barth Robert and Carolyn Bartle Leslie and Anita Bassett Dorothy W. Bauer Mrs. Jere 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 Antje Bcnenson Erling and
Mcrcte Blondal Bcngtsson Bruce Benner and
Hely Merle-Benner Linda Bennett
Mr. and Mrs. 1b Bentzen-Bilkvist Dr. Rosemary R. Bcrardi Mr. and Mrs. Joel S. Berger Barbara Levin Bergman Jim Bergman and
Penny Hommcl Marie and Gerald Berlin Abraham and Thclma Bcrman Susan A. Bernard Pearl Bernstein
Michel and Dominique Berny Gene and Kay Berrodin Andrew H. Berry, D.O. Mark Bcrtz
R. Bczak and R. Halstead Naren and Nishta Bhatia Bharat C. Bhushan John and Marge Biancke Eric and Doris Billes John E. Billie and Shervl Hirsch Jack and Anne Birch field William and Ilcne Birge Elizabeth S. Bishop Art and Betty Blair _-
Donald and Roberta Blitz Marshall and Laurie Blondy Dennis Blubaugh Dr. George ana Joyce Blum Mr. and Mrs.
Ralph O. Boehnke, Jr. Beverly J. Bole Mark and Lisa Bomia Dr. and Mrs. Frank P. Bongiorno Harold W. and
Rebecca S. Bonnell Edward and Luciana Borbely Lola J. Borchardt Morris and Reva Bornstcin Jeanne and David Bostian Victoria C. Botek and
William M. Edwanfs Jim Botsford and
Janice Stevens Botsford Bob and Jan Bower Dean Paul C. Boylan Marvin J. 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 Razelle 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. Darrcll A. Campbell Douglass and Sherry Campbell James H. Campbell Valerie and Brent Carey ; Barbara Carpenter '
James and Jennifer Carpenter Deborah S. Carr Margaret P. Carrigan Dennis B. and
Margaret W. Carroll j.-;
Dean Carter and Dr. Petra
Schindler Carter Joseph and Nancy Cavanaugh K. M. Chan
Bill and Susan Chandler J. Wchrley and Patricia Chapman Dr. Carey Charles-Angclos Barry and Marjorie Cneckoway Joan and Mark Cheslcr Tim Cholyway Felix and Ann Chow Catherine Christen Edward and Rebecca Chudacoff Sallie R.Churchill Pat Clapper
Brian and Cheryl Clarkson Barbara Clough Roger and Mary Coc Dorothy Coffey Alice S. Cohen Hubert and Ellen Cohen Hilary and Michael Cohen Mr. and Mrs. William Cohen Willis Colburn and Dcnise 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 lean 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
Townleyand Joann Culbertson
lean Cunningham
Richard J. Cunningham
Marylee Dalton
Joyce Damschroder
Mr and Mrs. Norman Dancy
Mildred and William B. Darnton
Jane and Gawainc 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 F. Decker Rossanna and George DeGrood Mr. and Mrs. Rolf A. Deininger George and Margaret Demuth Pamela DeTullio and
Stephen Wiseman Don and Pam Devinc Sheryl Diamond Macdonald and Carol in 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 Doezcma Steven and Paula Donn Deanna and Richard Dorner Roland and Diane Drayson Harry M. and Norrenc M. Dreffs Cecilia and Allan Drey fuss Janet Driver and Daniel Hyde John Dryden and Diana Raimi Rhetaugn Graves Dumas Rosanne and Sandy Duncan Robert and Connie Dunlap Richard F. Dunn Jean and Russell Dunnaback Edmund and Mary Durfce John W. Durstinc 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 Endrcs 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 Jeanettc Faber Mr. and Mrs. Robert B. Fair, Jr. Mark and Karen Falahcc Elly and Harvey Falit Dr. Cheryl C Farmer Inka and David Felbcck Reno and Nancy leldkamp Phil and Phyllis Fellin Ronda and Ron Ferbcr Larry and Andra Ferguson Dennis and Claire Fcrnly
Advocates, continued
Susan FilipiakSwing City
Dance Studio Clarissc (Clay) Finkbeincr Marilyn Finkbeincr David A. Finn Gerald B. and
Catherine L. Fischer Lydia H. Fischer Dr. and Mrs. Richard L. Fisher Janet and Tom Fisher Barbara and James Fitzgerald Linda and Thomas Fitzgerald Beth and Joe Fitzsimmons Morris and Dcbra Flaum Kathleen and Kurt Flosky Rochellc 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. Frceland Lucia and Doug Freeth Richard and Joann Freethy Sophia French Marilyn L. Friedman Esther and Pcrctz Friedmann Susan Froetich 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 Gelman Ms. )utta Gerber Deborah and Henry Gerst Michael Gerstenbcrger 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 Gitlis Beverly Jeanne Giltrow Gary and Rachel Glick Albert and Barbara Glover Albert L. Goldberg David and Shelley Goldberg Ed and Mona Goldman Arna and Michael J. Goldstein Beryl and David Goldsweig Mrs. Eszter Gombosi Mitch and Barb Goodkin Ann F. Goodman Selma and Albert Gorlin i Enid Gosling
lean and Bill Gosling .
Michael L. Gowing t
Mr. and Mrs. Gordon J. Graham. Mr. and Mrs. Robert C. Graham' Pearl E. Graves ;
Whitmore and Svea Gray Isaac and Pamela Green Lewis R. and Mary A. Green Deborah S. Greer Sandra Gregcrman G. Robinson and Ann Gregory Martha J. Greiner Linda and Roger Grekin 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 Guregian Nancy and Jon Gustafson Lorraine Gutierrez and
Robert Peyser Margaret Gutowski and
Michael Marietta Jeff and LeAnn Guyton
Caroline and Re-J-"1.....
Jennifer Shikes L_______
David Haines Sarah I. Hamcke Mrs. Frederick G. Hammitt Dora E. Hampel Dr. and Mrs. Carl T. Hanks Grace H. Hannenin Lourdcs S. Bastos Hansen Charlotte Hanson Mary C. Harms Stephen G. and
Mary Anna Harper Laurelynne Daniels and
George Harris Ed Saratn and Joan Harris Susan S. Harris Stephen Haskin and
Karen Soskin Elizabeth C. Hassincn Ruth Hastie
lames B. and Roberta Hause Ian and Barbara Hawkins Maureen Hawley D. Keith and Lori.Hayward Anne Heacock
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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.D. Ronald D. and Barbara J. Hertz Stuart and Barbara Hilbert Herb and Dee Hildebrandt Lorna and Mark Hildebrandt Carolyn Hiss
James and Ann Marie Hitchcock Louise Hodgson Jane and Dick Hoerner Robert and Claire Hogikyan Donna M. Hollowell Mr. and Mrs. Howard Holmes Pam and Steve Home Dave and Susan Horvath Mr. and Mrs. F. B. House James and Wendy Fisher House Jeffrey and Allison Housner Helga C. Hover Kenneth and Carol Hovey Drs. Richard and Diane Howl in John I.Hritz, Jr. Mrs.V.C Hubbs Hubert and Helen Huebl Jude and Ray Huetteman Harry and Ruth Huff Mr. and Mrs. William HufTord 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
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Professor and Mrs. Jerome Jelinek
James and Elaine Jensen
Keith and Kay Jensen
Mark and Linda Johnson
Paul and Olga Johnson
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Larry Friedman Paul Kantor and
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Thomas Kenney George L. Kenyon and
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Gregory F. Mazurc
LaRuth C. McAfee ,_____mJ.
Margaret and Harris '?
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Alfred and Jacqueline Raphelson Dr. and Mrs. Robert Rapp Mr. and Mrs.
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Mr. and Mrs. Bernard E. Reisman James and Judith Reiter Anne and Fred Remley Duane and Katie Renlien John and Nancy Reynolds
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Kathleen Roelofs Roberts Dave and Joan Robinson H. James and Kathleen Robinson Jonathan and Anala Rodgcrs Mary Ann and Willard Rodgcrs Joseph and Joan Rogers Mary F. Loeffler and
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Ada Herbert David Schultz Aileen Schulze Ed and Sheila Schwartz David and Darlenc Scovell Richard A. Seid Janet C. Sell
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John L. and Suzanne Smucker Nathan and Patrick Sohnly Hugh and Anne Solomon'
lames A. Somers
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Dr. Sheldon and Sydelle Sonkin
Errol and Pat Soskolne
Becki Spangler and Peyton Bland
Elizabeth Spencer
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Jim Spevak
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Scott Sproat
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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. Stebbins Bert and Vickie Steck Virginia and Eric Stein Frank D. Stella Thorn and Ann Sterling William and Georgine Steude 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 Stroebel Dr. and Mrs. Jeoffrey K. Stress Mary Stubbins Judy and Sam Slulberg Mr. and Mrs. Patrick Suchy Donald and Barbara Sugcrman Mike and Pee SupernauTt
Mike and Peg SupernauTt
Valerie Y. Suslow
Alfred Sussman
Ronald and Ruth Sutton
Eric and Natalie Svaan
Earl and Phyllis Swain
Rebecca Sweet and Roland Loup
John and Ida Swigart
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Michael W. Tart and
Catherine N. Herrington Jim and Sally Tamm John Tamminen
Denise Tanguay Larry and Robe:
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Elizabeth Stumbo Margie and Graham Teall James B. Terrill Scott Terrill and Maggie Long Carol and Jim Thiry Tom and Judy Thompson Peggy Tieman
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Ronald and Jacqueline Tonks Jim Toy
Angic and Bob Trinka Sara Trinkaus Ken and Sandy Trosien Luke and Merling Tsai Jeff and Lisa TuHn-Silver Claire and ferry Turcotte Jan and Nub Turner Mr. Victor and Dr. Hazel M.
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David J. Kinsella Morella Urbina Emmanuel-George Vakalo
Paul and Marcia Valen stein
Madeleine Vallier
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Rebecca Van Dyke
Bram and Lia van Leer
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Mr. and Mrs. Theodore R. Vogt
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Julia Tiplady-Walden Stanley H.Waldon George and Lorraine Wales David C. and Elizabeth A. Walker Timothy Wang Jill A. Warren Lorraine Nadelman and
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Erik and Lincke Zuiderweg
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The BSE Design Group, Inc. Diamctron, Inc. Doan Construction Co. Dobbs Opticians Inc.
of Ann Arbor Garris, Garris, Garris & Garris
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Organizational Designs SWEA Inc.
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Erb 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
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Elizabeth Bishop
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Mr. and Mrs. lohn Alden Clark
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Mr. and Mrs. Ronald G. Zollars
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fames A. Davies William G. Dow ' Kathleen Fischer ] Edwin Goldring ' Thomas Michael Karun Anna Marie Kauper Fred C. Matthaei, Sr
Robert Meredith __12
Valerie Meyer ? Steffi Rciss Fred C. Shu re Clarence H.Stoddard Charles R. Ticman Govert W. Vanden Bosch Norman Wait Alice Warshaw Carl H. Wilmont
A. F. Smith Electric, Inc.
AAA Michigan
Aetna Corporation
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Dow Automotive Dupuis c Ryden P.C. Edward Surovcll Realtors Edwards Brothers, Inc. Elastizell Corp of America Ford Motor Company Fund Forest Health Services -Corporation
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Thalner Electronic Labs Thing-a-majigs for Kids Thomas B. McMullen Company Visteon Wolverine Technical Staffing, Inc.
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Richard and Christine Noyes Nicola's Books Little Professor Karen O'Neal
Randall and Mary Pittman Bev and Pat Pooley leva Rasmussen Regrets Only Melissa Richter
Maya Savarino .. ?.j
Schlanderer & Sons Bo and Cathy Schembcchler Ann and Tom Schriber SeloShevcl Gallery Howard and Aliza Shcvrin Morrine SUverman rri ,
Grace Singleton Loretta Skewes Herbert Sloan Irving and Carol Smokier South House Bed and Breakfast
Edward Surovcll
Ann and )im Tclfcr
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Elizabeth and Paul Yhouse
Youki Asian Bar & Bistro
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38 Ann Arbor Symphony
12 Bank of Ann Arbor 44 Bcllanina Day Spa 38 Bcresh Jewelers
2 Blue Hill Development
38 Bodman, Longlcy, and
20 bravo! Cookbook
44 Butzej 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-McOmber Agency, Inc.
13 Edward Surovell Realtors BC Ford Motor Company 34 Foto 1
10 Fraleigh's Nursery
6 Glacier Hills
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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 Littlefield and Sons
22 Miller, Canficld, Paddock,
and Stone
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43 National City
42 Performance Network 40 Prudential Securities
[ Rudolf Steiner School
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10 Sweetwaters Cafe
8 Swing City Dance Studio
34 Three Chairs
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43 University Living
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34 WGTE '
18 Whole Foods

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