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UMS Concert Program, Saturday Jan. 06 To Jan. 21: University Musical Society: Winter 2001 - Saturday Jan. 06 To Jan. 21 --

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University Musical Society
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Season: Winter 2001
University Of Michigan, Ann Arbor

university musical society
University of Michigan, Ann Arbor
university musical society
University of Michigan Ann Arbor
UMS leadership 3 Letter from the President
5 Letter from the Chair
6 Corporate LeadersFoundations
14 UMS Board of Directors
14 UMS Senate
14 Advisory Committee
15 UMS Staff
15 UMS Teacher Advisory Committee
U MSservices 17 General Information
19 Tickets
19 Group Tickets
19 Gift Certificates
21 The UMS Card
UMSannals 23 UMS History
25 UMS Choral Union
27 AuditoriaBurton Memorial Tower
UMS experience 29 The Winter 2001 UMS Season
35 Education & Audience Development
37 Dining Experiences
37 Restaurant & Lodging Packages
39 UMS Preferred Restaurant Program
43 UMS Delicious Experiences
support 45 Advisory Committee
45 Sponsorship & Advertising
47 InternshipsCollege Work-Study
47 Ushers
48 Membership
56 UMS Advertisers
Mark M " ? " Bell performs the ?
? .
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.
1 am particularly excited about the three-week residency of the Royal Shakespeare Company in March 2001. Three years in development, the RSC residency represents the largest international project ever under?taken by UMS in our 122-year history. UMS is especially grateful for the personal interest and involvement of University of Michigan President Lee C. Bollinger and for the leading financial support of the University of Michigan and the State of Michigan in this historic project. The presentation of William Shakespeare's History Plays, along with the extensive educational programs that sur?round the performances, takes place only in Ann Arbor and in Stratford-upon-Avon and London in England. We arc pleased to welcome theater lovers from all over North America win) arc taking advantage of this exclusive US presentation in our community.
It takes a large group of dedicated and tal?ented people to put bring you the Royal Shakespeare Company and the other world-
renowned artists and ensembles that have been part of UMS' tradition since 1879. I'm privileged to work with an outstanding Board of Directors, Senate, Advisory Committee, and staff, all of whom are listed on pages 14-15. In addition, UMS works with more than 500 volunteers who serve in our dedicated usher corps, sing in our outstanding Choral Union, and assist us with many of our programs, especially our Youth Education Program.
It is the UMS staff (see photo) who works day in and day out to assure that you are able to see and hear the world's best performing artists. The programming staff, led by Michael Kondziolka, works with artists and artists' managers to design a diverse, exciting, and high-quality season, which this year fea?tures over ninety performances. The produc?tion staff, led by Gus Malmgren, looks after the well-being of our artists and, working with an outstanding group of local stagehands, assures that each performance looks great and runs smoothly. The education and audi?ence development staff, led by Ben Johnson, designs and manages more than 200 events, working with nearly 100 community partners to enhance the audiences' understanding and appreciation of our artists and their work. People learn about our programs through many different media, thanks to the efforts of our marketing staff, led by Sara Billmann, which last year oversaw an all-time record in ticket sales for UMS. Our box office staff, led by Michael Gowing, has a well-deserved rep-
utation of providing outstanding personal?ized service. Our finances, computer systems, human resources, and office management are under the purview of our administrative staff, led by John Kennard. Finally, there is the development staff, led by Christina Thoburn, which must raise nearly half of UMS' budget this year to supplement our income from ticket sales and which has never failed to exceed their ambitious goals in each of the last ten years.
I feel extremely fortunate to work with this outstanding team of colleagues, whom many leaders in our field consider to be the finest
staff of any performing arts presenting organization in the country. I hope you will have a chance to get to know members of this exceptional group of people, who delight in their opportunity to serve you and the other members of the UMS family.
If you would like to learn more about UMS, let me suggest that you purchase a copy of Bravo!, a popular, high-quality 224-page cookbook that includes recipes, legends, and lore from our long history. For more infor?mation and to place an order, see page 37.
I'd like to know your thoughts about this performance. I'd also like to learn from you
about anything we can do at UMS to make your performance experience the best possi?ble. If we don't see each other in the lobby, feel free to call my office at 734.647.1174, drop me a note, or send me an e-mail message at
Kenneth C. Fischer President
On behalf of the UMS Board of Directors, I am delighted to welcome you to the Winter 2001 season. With world-renowned performers bringing their artistry to our stages, new community partnerships enhancing our programs, and our ever-
expanding educational activities serving thou?sands 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 indi?viduals, companies, organizations and foun?dations whose support makes this extraordi?nary season possible. In contributing to UMS, these donors, including the corporate leaders listed on the following pages, have publicly recognized the importance of the arts in our community. They have demon?strated their commitment to the quality of life in our area, and helped create new educa?tional opportunities for students and audi?ences 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 Solutions "For 122 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 America's leading presenters of
the performing arts. Along with our corpo?rate public-relations
clients, we're proud to partner with UMS in bringing the arts to appreciative audiences in southeastern Michigan."
William Broucek
President and CEO Bank of Ann Arbor "As Ann Arbor's community bank, we are glad and honored to be a supporter of the cultural enrichment that the University Musical Society brings to our community."
Jorge A. Soli's
Senior Vice President Bank One, Michigan "Bank One, Michigan is honored to share in the University Musical Society's proud tradi?tion of musical excellence and artistic diversity."
Habte Dadi Manager Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organi-
zation that provides such an important service to Ann Arbor."
Carl A. Brauer, Jr. Owner Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically support the University Musical Society in bringing great music to our community."
David G. Loesel President T.M.L. Ventures, Inc. "Cafe Marie's support of the University Musical Society Youth Program is an honor and a priv?ilege. Together we will enrich and empower our community's youth to carry forward into future generations this fine tradition of artistic talents." ?
Clayton Wilhite Managing Partner CFI Group, Inc.
"Can you imagine a more power?ful demonstration of Ann Arbor's quality of life than the University Musical Society We at CFI can't, and that's why we're so delighted to be a concert sponsor. We salute UMS for its accomplishments and for what it has contributed to the pride in our community."
Charles Hall
C. N. Hall Consulting "Music is one way the heart sings. The University Musical Society helps our hearts enjoy and par?ticipate in song. Thank you."
Eugene Miller
Chairman and CEO Comerica Incorporated "Bravo to the University Musical Society! Their contributions are vital to the arts community. Comerica applauds their tradition of excellence, and their commit?ment to the presentation of arts and promotion of arts education."
S. Martin Taylor Sr. Vice President, Corporate & Public Affairs and President Detroit Edison Foundation 'The Detroit Edison Foundation is proud to sponsor the University Musical Society because we share a mission of enhancing south?eastern Michigan's reputation as a great place to live and work. To this end, UMS brings the joy of the performing arts into the lives of community residents, provides an important part of Ann Arbor's uplifting cultural identity and offers our young people tremen?dous educational opportunities."
Larry Denton
Global Vice President Dow Automotive "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."
Donald Spence Senior Vice President, Sales & Marketing GKN Sinter Metals 'GKN Sinter Metals is pleased to support the University Musical Society's arts programs. The
quality of the music, dance and theatrical offerings is superb, and
greatly enhances the cultural life of our community."
Joseph Borruso
President and CEO Hella North America, Inc. 'Hella North America is delight?ed to support the University Musical Society. As our compa?ny's roots are in Germany, we especially appreciate that UMS brings so many great interna?tional artists to this area."
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 innova-
tive cultural offerings and
education for all ages. McKinley is proud to play a 'supporting role' in these time-honored efforts."
Erik H. Serr Principal Miller, Canfield, Paddock and Stone, P.L.C.
'Miller, Canfield, Paddock and Stone is particularly pleased to support the University Musical Society and the wonderful cultural events it brings to our community."
Phillip R. Duryea Community President National City Bank 'National City Bank is pleased to continue our historical support of the University Musical Society, which plays such an important role in the richness of our community."
Joe O'Neal President O'Neal Construction "A commitment to quality is the main reason we are a proud supporter of the University Musical Society's efforts to bring the finest artists and special events to our community."
Michael Staebler Partner Pepper Hamilton LLP "Pepper Hamilton congratulates the University Musical Society for providing quality perform?ances in music, dance and the-
ater to the diverse community that makes up southeastern
Michigan. It is our pleasure to be among your supporters."
Jeanne Merlanti President Personnel Systems, Inc. Arbor Technical Staffing Arbor Temporaries, Inc. "As a member of the Ann Arbor business community, I'm thrilled to know that by supporting UMS, I am helping perpetuate the tradition of bringing out?standing musical talent to the community and also providing education and enrichment for our young people."
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 anymore. UMS provides the best in educational entertain?ment."
James Davis President TI Group Automotive Systems "The University Musical Society and its diverse roster of terrific performances is one of the things that makes southeastern Michigan a great place to live and do business. TI Group Automotive Systems is proud to support it."
Dr. James R. Irvvin 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."
FOUNDATION AND GOVERNMENT SUPPORT 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 Charitable
Foundation Erb Foundation J. F. Ervin Foundation The Ford Foundation Harold and Jean Grossman
Family Foundation The Heartland Arts Fund Hudson's Community Giving Elizabeth E. Kennedy Fund KMD Foundation The Lebensfeld Foundation
Michigan Council for Arts
and Cultural Affairs Mid-America Arts Alliance Montague Foundation The Mosaic Foundation
(of R. & P. Heydon) National Endowment
for the Arts New England Foundation
for the Arts The Power Foundation The Shiffman Foundation The Sneed Foundation, Inc. State of Michigan--Arts and
Quality of Life Grant Program The Texaco Foundation Vibrant of Ann Arbor 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,
Treasurer Lee C. Bollinger
Janice Stevens Botsford Barbara Everitt Bryant Kathleen G. Charla Jill A. Corr Peter B. Corr William S. Hann Toni Hoover Alice Davis Irani Gloria James Kerry
Leo A. Legatski Helen B. Love Barbara Meadows Alberto Nacif Jan Barney Newman Gilbert S. Omenn Randall Pittman Rossi Ray-Taylor Prudence L. Rosenthal
Maya Savarino Erik H. Serr Herbert Sloan Timothy P. Slottow Peter Sparling James L. Telfer Clayton Wilhite Karen Wolff Elizabeth Yhouse
(former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Paul C. Boylan Carl A. Brauer Allen P. Britton Letitia J. Byrd Leon S. Cohan Jon Cosovich Douglas Crary Ronald M. Cresswell John D'Arms
Robert F. DiRomualdo 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 Joe E. O'Neal 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 Marina v.N. Whitman Iva M. Wilson
Robert Morris, Chair Sara Frank, Vice-Chair Louise Townley,
SecretaryTreasurer Raquel AgranofT Martha Ause Barbara Bach Lois Baru Kathleen Benton Mimi Bogdasarian Victoria Buckler Barbara Busch Laura Caplan Cheryl Cassidy Patrick Conlin
EUy Rose Cooper
Nita Cox
Mary Ann Daane
Norma Davis
Lori Director
Betty Edman
Michael Endres
Andra Bostian Ferguson
Nancy Ferrario
Penny Fischer
Anne Glendon
Maryanna Graves
Linda Greene
Karen Gundersen
Nina E. Hauser
Kathy Hentschel Debbie Herbert Mercy Kasle Steve Kasle Anne Kloack Maxine Larrouy Beth LaVoie Stephanie Lord Esther Martin Mary Matthews Ingrid Merikoski Ernest Merlanti leanne Merlanti Candice Mitchell Nancy NiehofT
Mary Pittman leva Rasmussen Meeyung Schmitter Penny Schreiber Sue Schroeder Meg Kennedy Shaw Aliza Shevrin Morrine Silverman Maria Simonte Loretta Skewes Cynny Spencer Sally Stegeman 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,
Laura Birnbryer, Staff 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,
Donald Bryant, Conductor Emeritus
Christina Thoburn,
Director Mary Dwyer, Manager
of Corporate Support Karen Meske, Advisory
Committee and Events
Coordinator Lisa Michiko Murray,
Manager of
Foundation and
Government Grants J. Thad Schork, Direct
Mail, Gift Processor Anne Griffin Sloan,
Assistant Director -
Individual Giving
Development Ben Johnson, Director Kristin Fontichiaro,
Youth Education
Manager Dichondra Johnson,
Coordinator Warren Williams,
MarketingPublic Relations
Sara Billmann, Director Aubrey Alter, Coordinator
Ryonn Clute,
Coordinator Gulshirin Dubash,
Public Relations
Production and Special Projects
Gus Malmgren, Director Emily Avers, Production
and Artist Services
Manager Jerica L. Humphrey,
Coordinator Production Supervisors
Eric Bassey
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 Eric Blanchard Jo Chen Patricia Cheng Patrick Elkins Christine Field Mariela Flambury Milena Gruber David Her Benjamin Huisman Laura Kiesler Dawn Low Kathleen Meyer Rossalyn Quaye Rosie Richards Jennifer Salmon Angela Sitz Corey Triplett Sean Walls
Interns Helene Blatter Erin Dahl Angela Dixon Robert Frey Shaila Guthikonda Michael Steelman Ryan Suit Shauna Voltz
President Emeritus Gail W. Rector
Fran Ampey Kitty Angus Alana Barter Kathleen Baxter Elaine Bennett Lynda Berg Yvette Blackburn Barbara Boyce Letitia Byrd
Doug and
Nancy Cooper Naomi Corera Gail Davis Barnes Gail Dybdahl Keisha Ferguson Doreen Fryling Brenda Gluth Louise Gruppen Vickey Holley Foster
Taylor lacobsen Callie 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
loan Singer Sue Sinta Grace Sweeney Sandy Trosien Melinda Trout Sally Vandeven Barbara Wallgren Jeanne Weinch
Barrier-Free Entrances
For persons with disabilities, all auditoria have barrier-free entrances. Wheelchair loca?tions are available on the main floor. Ushers are available for assistance.
Listening Systems
For hearing impaired persons, the Power Center, Mendelssohn Theatre, and Rackham Auditorium are equipped with infrared listen?ing systems. Headphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, and Mendelssohn Theatre please call University Productions at 734.763.5213. For items lost at St. Francis of Assisi Catholic Church and the Michigan Theater, please call the UMS Production Office at 734.764.8348.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Limited street parking is also available. Please allow enough time to park
before the performance begins. Parking is complimentary for UMS members at the Principal level and above. Reserved parking is available for UMS members at the Leader level and above.
UMS offers valet parking service for all performances in the Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before each performance. There is a $10 fee for this service. UMS members at the Leader level and above are invited to use this service at no charge.
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Smoking Areas
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
For phone orders and information, please contact:
UMS Box Office Burton Memorial Tower 881 North University Avenue 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.
Many thanks to all of the groups who have joined UMS for an event in past seasons, and welcome to all of our new friends who will be with us in the coming 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.
Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than eighty
events throughout our season, wrapped and delivered with your personal mes?sage, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming
present when new friends move to town.
UMS and the following businesses thank you for your generous support by pro?viding you with discounted products and services through the UMS Card, a privilege for subscribers and donors of at least $100. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe Ann Arbor Acura Ann Arbor Art Center The Back Alley
Gourmet Bivouac Outdoor
Clothing and
Equipment The Blue Nile
Restaurant Bodywise Therapeutic
Massage Cafe Marie Chelsea Flower Shop Dough Boys Bakery Fine Flowers Gandy Dancer Great Harvest John Leidy Shop
John's Pack and Ship Kerrytown Bistro King's Keyboard House Le Dog Michigan Car Services,
Inc. and Airport
Sedan, LTD Nicola's Books, Little
Professor Book Co. Paesano's Restaurant Randy Parrish Fine
Framing Regrets Only Ritz Camera One Hour
Photo Shaman Drum
Bookshop SKR Downtown SKR Uptown
Join the thousands of savvy people who log onto each month!
Why should you log onto
Tickets Forget about waiting in long ticket lines--order your tickets to UMS performances online! And now you'll know your specific seat location before you buy online, thanks to our new relationship with!
Cyber$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 opportu-
nities surrounding each UMS performance. Choral Union Audition information and per?formance schedules for the UMS Choral Union.
The goal of the University Musical Society (UMS) is to engage, edu?cate, and serve Michigan audiences by bringing to our community an ongoing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 121 years, strong leader?ship coupled with a devoted community has placed UMS in a league of internationally-recognized performing arts presenters. Indeed, Musical America selected UMS as one of the five most influential arts presenters in the United States in 1999. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, balanced by a commitment to dynamic and creative visions of where the performing arts will take us in the new millennium. Every day UMS seeks to cultivate, nurture and stimulate public interest and participation in every facet of the live arts. UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first performance of Handel's Messiah was in December of 1879, and this glorious oratorio has since been per?formed by the UMS Choral Union annually.
As a great number of Choral Union members also belonged to the University, the University
Musical Society was established in December 1880. UMS included the Choral Union and University Orchestra, and throughout the year presented a series of concerts featuring local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the perform?ing arts--internationally renowned recitalists and orchestras, dance and chamber ensem?bles, jazz and world music performers, and opera and theatre. Through educational endeavors, commissioning of new works,
Musical America selected UMS as one of the five most influential arts presenters in the United States in 1999.
youth programs, artist residencies and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction and innovation. UMS now hosts over eighty performances and more than 150 educational events each season. UMS has flourished with the support of a generous community that gathers in Hill and Rackham Auditoria, Power Center for the Performing Arts, Lydia Mendelssohn Theatre, Michigan Theater, St. Francis of Assisi Catholic Church, the Detroit Opera House, Music Hall and the Residential College Auditorium.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor cam?pus, and a regular collaborator with many University units, UMS is a separate not-for-profit organization that supports itself from ticket sales, corporate and individual contri?butions, foundation and government grants, and endowment income.
Throughout 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. Other programs included Mahler's Symphony No. 3 with the Ann Arbor Symphony Orchestra.
During the current season, the UMS Choral Union again appeared in two series with the Detroit Symphony Orchestra, both conducted by Neeme Jarvi. The chorus joined 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 followed, and 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
Standing 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 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
The Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities was mentioned "a new theatre." The Powers were immediately 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.
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 splendid three manual "mechani?cal action" organ with thirty-four stops and forty-five ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and contempla?tion of sacred a cappella choral music and early music ensembles.
Lydia Mendelssohn Theatre
Notwithstanding 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 for the world premiere of Curse of the Gold: Myths from the Icelandic Edda, part of UMS' new International Theater Festival.
Detroit Opera House
The 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 the?atres in the nation. In only two sea?sons, the Detroit Opera House became the foundation of a land?mark programming collaboration with the Nederlander organization and Olympia Entertainment, formed a partnership with the Detroit Symphony Orchestra and played host to more than 500 per?formers and special events. As the home of Michigan Opera Theatre's grand opera season and dance series, and through quality pro?gramming, partnerships and educa?tional initiatives, the Detroit Opera House plays a vital role in enriching the lives of the community.
Burton Memorial Tower
Seen from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor land?marks. 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.
Hill Auditorium
Power Center 1,390
St. Francis 950
Detroit Opera House
University Musical Society
of the University of Michigan 2001 Winter Season
Event Program Book Saturday, January 6, 2001 through Sunday, January 21, 2001
General Information
Children of all ages are welcome at UMS Family and Youth Performances. Parents are encouraged not to bring children under the age of three to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS perfor?mance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment are
prohibited in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event: electronic-beeping or chiming digital watches, beeping pagers, ringing cellular phones and clicking portable comput?ers should be turned off during perfor?mances. In case of emergency, advise your paging service of auditorium and seat location and ask them to call University Security at 734.763.1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS performances included in this edition. Thank you for your help.
Pilobolus with The Klezmatics
Saturday, January 6, 2:00pm (Family Performance) Saturday, January 6, 8:00pm Sunday, January 7, 4:00pm Power Center
Moses Hogan Singers
Wednesday, January 10, 8:00pm
St. Francis of Assisi Catholic Church
Vermeer Quartet
Saturday, January 13, 8:00pm Rackham Auditorium
Mingus Big Band Blues and Politics
Monday, January 15, 8:00pm Hill Auditorium
Michigan Chamber Players
Sunday, January 21, 4:00pm Rackham Auditorium
The Klezmatics
Matt Darraiu, Clarinet, Saxophone, Kaval
Lisa Gutkin, Violin
David Licht, Drums
Frank London, Trumpet, Keyboards
Paul Morrissett, Bass, Santouri, Alto Horn, Hurdy Gurdy
Lorin Sklamberg, Vocals, Accordian, Piano
Artistic Directors Robby Barnett Alison Chase Michael Tracy Jonathan Wolken
Dancers Otis Cook Josie Coyoc Renee Jaworski Matt Kent Gaspard Louis Benjamin Pring
Program Saturday Afternoon, January 6, 2001 at 2:00 (Family Performance)
Power Center, Ann Arbor, Michigan
Walklyndon (1971)
The Particle Zoo (Excerpt) (1990)
Pseudopodia (1974)
Davenen (2000) World-premiere Season
The Klezmatics
Thirty-third Performance of the 122nd Season
Sixth Annual
Michigan Favorites Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
The creation of Davenen was made possible in part by University Musical Society. Please see page 7 for the full listing of funding partners.
Support for this performance is provided by media sponsor, WDET.
Special thanks to Christian Matjias and the National Foundation of Jewish Culture for their involvement in this residency.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Large print programs are available upon request.
Walklyndon (1971)
Choreography by Robby Barnett, Lee Harris, Moses Pendleton, and
Jonathan Wolken
Performed by Otis Cook, Josie Coyoc, Renee Jaworski, Matt Kent,
Gaspard Louis, and Benjamin Pring
Costumes Kitty Daly
Lighting Neil Peter Jampolis
The Particle Zoo (Excerpt) (1990)
Choreography by Robby Barnett, Michael Tracy, and Jonathan Wolken;
in collaboration with Jack Arnold, Adam Battelstein, Kent Lindemer, and John-Mario Sevilla
Performed by Otis Cook, Matt Kent, Gaspard Louis, and
Benjamin Pring
Music John Abercrombie, David DarlingTerje Rypdal,
Brian Eno, Jan GarbarekL. Shankar, Barbara Hyde, Jean-Luc Ponty, and Terje Rypdal Music edited by Barbara Hyde.
LightingSpecial Effects David M. Chapman Prop Rob Faust, Eoin Sprott
This work was commissioned by the Pittsburgh Dance Council with support from the Pennsylvania Council on the Arts, the Pittsburgh Foundation, and the Pew Charitable Trusts, and created with funding from the National Endowment for the Arts.
Pseudopodia (1974)
Choreography by Jonathan Wolken
Performed by Renee Jaworski
Music Moses Pendleton, Jonathan Wolken
Costume Malcolm McCormick
Lighting Neil Peter Jampolis
Davenen (2000) World-premiere Season
"When a man stands in prayer and desires to join himself to eternity, and the alien thoughts come and descend on him-these are holy sparks that have sunken and wish to be raised and redeemed by him; and the sparks belong to him, they are kindred to the roots of his soul; it is his own powers he must redeem."
--The Baal Shem Tov
Choreography by Robby Barnett and Jonathan Wolken;
in collaboration with Otis Cook, Josie Coyoc, Renee Jaworski, Matt Kent, Gaspard Louis and Benjamin Pring
Performed by Otis Cook, Josie Coyoc, Renee Jaworski, Matt Kent,
Gaspard Louis and Benjamin Pring
Music Original score by Frank London, performed by The Klezmatics.
Costumes Angelina Avallone
Lighting Neil Peter Jampolis
Dramaturge Michael Posnick

Prayer comes in limitless forms--from the prayer book, from the meditat?ing heart, from the song and the dance. This piece might well be dedicated to those who pray, who choose to refine and define their lives in this way and in so doing meet the daily round of alien thoughts, urgings and temp?tations--the wide-mouthed demons striving to be tamed, "raised and redeemed." Before beginning the choreography of Davenen, we studied a variety of texts and enjoyed long, thought-provoking discussions with rab?bis and teachers. One strong influence was I.B. Singer's uncharacteristic portrayal of shtetl life in his novel Satan in Goray. The book presents a hal?lucinatory vision of a world that has lost its spiritual compass, stimulating reflection on the fragility of will and the agility and often-freakish speed of retribution. It probes with mysterious force the genuine risks of faith itself. We were also drawn by the buoyant reverberations of ecstatic prayer described in the Kabbalah. How can we approach it What does it look like Must it be taught or can we discover it on our own When people pray where do they go and what do they seek--quiet, nothingness, oneness, community This questioning has been an essential part of our process which, like any act of discovery, can only spring from inquiry, free of assumptions and with a genuine willingness to be surprised, alarmed, or even redeemed by the answers.
Davenen was commissioned by the National Foundation for Jewish Culture in honor of its fortieth anniversary.
Davenen was co-commissioned by The John F. Kennedy Center for the Performing Arts, Washington, DC; The American Dance Festival, Durham, NC, with support from the John S. and James L Knight Foundation; The University Musical Society of the University of Michigan, Ann Arbor, MI; UA Presents, University of Arizona, Tucson, AZ; Woodruff Arts Center of Atlanta, GA; Society for the Performing Arts, Houston, TX; The Kravis Center, West Palm Beach, FL; Northrop Auditorium of the University of Minnesota, Minneapolis, MN; and Meany Hall for the Performing Arts of the University of Washington, Seattle, WA. This work was also made possible in part by funds from the Connecticut Commission on the Arts.
We especially wish to thank David Eden who was the inspiration and true organizer of it all. The commission of this new work is made possible by Ford Motor Company.
Please refer to page 13 for biographical information on Pilobolus.
The Klezmatics
Matt Darraiu, Clarinet, Saxophone, Kaval
Lisa Gutkin, Violin
David Licht, Drums
Frank London, Trumpet, Keyboards
Paul Morrissett, Bass, Santouri, Alto Horn, Hurdy Gurdy
Lorin Sklamberg, Vocals, Accordian, Piano
Artistic Directors Robby Barnett Alison Chase Michael Tracy Jonathan Wolken
Dancers Otis Cook Josie Coyoc Renee Jaworski Matt Kent Gaspard Louis Benjamin Pring
Saturday Evening, January 6, 2001 at 8:00 Sunday Afternoon, January 7, 2001 at 4:00 Power Center, Ann Arbor, Michigan
Davenen (2000) World-premiere Season The Klezmatics
intermission Tsu-Ku-Tsu (2000)
A Selection (1999)
Thirty-fourth and
of the 122nd Season
Sixth Annual
Michigan Favorites Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
The creation of Davenen was made possible in part by University Musical Society. Please see page 7 for the full listing of funding partners.
Support for this performance is provided by media sponsor, WDET.
Special thanks to Kate Remen-Wait for leading the Pre-performance Educational Presentation (PREP).
Special thanks to Christian Matjias and the National Foundation of Jewish Culture for their involvement in this residency.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Large print programs are available upon request.
Davenen (2000) World-premiere Season
Please refer to page 6 for program notes on Davenen.
Tsu-Ku-Tsu (2000) Choreography by
Performed by
Alison Chase in collaboration with Rebecca Anderson, Otis Cook, Josie Coyoc, Matt Kent, Gaspard Louis and Benjamin Pring
Otis Cook, Josie Coyoc, Renee Jaworski, Matt Kent, Gaspard Louis and Benjamin Pring
Leonard Eto Angelina Avallone Steven Strawbridge
Tsu-Ku-Tsu was co-commissioned by Dance Umbrella, Boston, Inc., with funds from The lap,in Foundation (through the Performing Arts Japan program) and The LEF Foundation, The Joyce Theater, The Quick Center for the Arts at Fairfield University, Hancher Auditorium at the University of Iowa with support from Gary and Ladonna Wickland, as well as with funds from the National Endowment for the Arts and the Connecticut Commission on the Arts. Mr. Eto's appearances have been made possible by support from ASANO TAIKO CO., LTD and The Asano Foundation for Taiko Culture Research. Mr. Eto's international transportation for Tsu-Ku-Tsu performances was pro?vided by Continental Airlines, Inc.
A Selection (1999)
For Primo Levi (1919-1987)
Created by
Performed by
Sound Design Set Design Scenic Painting Costume Design Costume Construction Lighting
(continued on next page)
Robby Barnett, Maurice Sendak, Michael Tracy, Jonathan Wolken and Arthur Yorinks; in collaboration with Rebecca Anderson, Otis Cook, Josie Coyoc, Matt Kent, Gaspard Louis and Benjamin Pring
Otis Cook, Josie Coyoc, Renee Jaworski, Matt Kent, Gaspard Louis, and Benjamin Pring
Composed by Hans Krasa
Performances by arrangement with Bote & BockBerlin and
Hendon Music, Inc., a Boosey & Hawkes, Company.
String Quartet No. 2 Pavel Haas
Des Knaben Wunderhorn
Gustav Mahler
performed by Christa Ludwig, Walter Berry, and
The New York Philharmonic conducted by
Leonard Bernstein.
Used with permission of Sony Classical.
Bob Bielecki Maurice Sendak Michael Hagen Maurice Sendak Gail Fresia Mark Stanley
All stories need to begin somewhere, and A Selection has a beginning: A group of people who know each other--a small theatrical company, say--miss a train to safety. The work that follows is a pool of sorts into which individuals can look and see for themselves, with varying details, the story that they desire or deserve.
Mr. Sendak and Mr. Yorinks also brought with them an offering, the music of Hans Krasa, and this pointed in turn to that of Pavel Haas. Krasa and Haas were highly regarded young composers when, in 1938, their work was branded by the Nazis as Entartete Musik (Degenerate Music). They were interned during the winter of 1941-42 in Teresienstadt, a concentration camp at Terezin, Czechoslovakia, used as a deceptive front for the Nazi's international propaganda. There they continued, with varying difficulty, to write music until being deported to Auschwitz. They traveled to their deaths together on October 16, 1944. It would be accurate to say that the setting of this work has been inevitably shaped by a response to their music and their lives.
A Selection has been commissioned by the American Dance Festival with support from the Andrew W. Mellon Foundation and the National Endowment for the Arts. It was also made possible in part by The Rockefeller Foundation and the Connecticut Commission on the Arts. Special thanks to The Terezin Chamber Music Foundation, The Hawthorne String Quartet, Bob Jaffe and Mirra Bank.
Pilobolus (crystallinus) is a pho-totropic zygomycete--a sun-loving fungus that grows in barnyards and pastures. It's a feisty little thing--only 14-inch tall--that can throw its spores nearly eight feet. Right over a cow. It is also a highly unusual dance company, now celebrating its thirtieth year of evolution.
Pilobolus, the arts organism, germinated in the fertile soil of a Dartmouth College dance class in 1971. What emerged was a collaborative choreographic process and a unique weight-sharing approach to partner?ing that gave the young company a non-tra?ditional but powerful new set of skills with which to make dances. The group was immediately acclaimed for its startling mix of humor and invention and Pilobolus soon became a completely self-sufficient organiza?tion, its members choreographing, danc-
ing, managing, and publicizing their own programs. Today, Pilobolus is
a major American dance com?pany of international influ?ence. It has not, however, for-
saken its original impe?tus. Pilobolus remains a deeply committed col?laborative effort with four
artistic directors and six dancers contributing to one of the most popular and varied repertoires in the field. Almost
three decades of making dances now stand as a testament to the company's position as an artistic collective of remark?able fruitfulness and longevity. Pilobolus lives and works
in Washington Depot, Connecticut, a small town in the state's rural north?west, and performs for stage and television audiences all over the
world. Pilobolus' works are also represented in the repertoires of other major dance com?panies including the Joffrey, Feld, Ohio, Hartford and Arizona Ballets in the US, the Ballet National de Nancy et de Lorraine and the Ballet du Rhin in France, and Italy's Verona Ballet. The company has received several prestigious honors, among them the Berlin Critic's Prize, the Brandeis Award, the Scotsman Award for performances at the Edinburgh Festival, the New England Theatre Conference Prize, the Connecticut Commission on the Arts Award for Excellence, and, in 1997, a Primetime Emmy Award for outstanding achievement in cul?tural programming. In June 2000, Pilobolus received the Samuel H. Scripps American Dance Festival Award for achievement in performance and choreography during the last thirty years.
Pilobolus often collaborates with
other organizations and has direct?ed, for the Jacob's Pillow Dance
Festival, a traveling program entitled Men Dancers, a cen?tennial celebration of the birth of modern dance leg-
end Ted Shawn. The com?pany has a long relation?ship with the National Theater of the Deaf and most recently joined
forces to choreo?graph NTD's 1996-97 Lewis
Carroll adaptation, Curiouser and Curiouser, and co-direct their 1997-98 production of Ibsen's Peer Gynt. Pilobolus recently finished work on a European production of Mozart's Magic Flute with John Eliot
Gardiner's Monteverdi Choir and the English Baroque Soloists, and has just completed a nationally recognized
production of An Urban Nutcracker for The Cleveland
School of the Arts.
The physical vocabularies of Pilobolus works are not drawn from the long tradi?tions of codified dance movement but are invented, emerging from intense periods of improvisation and creative play. This process has been the source of much inter?est, and, in 1991, the company inaugurated the Pilobolus Institute, an educational out?reach program that uses the art of choreog?raphy as a model for creative thinking in any field. The Institute now maintains active programs in schools, colleges and universi?ties, and both public and private arts orga?nizations throughout the US.
In 1997 Pilobolus announced the founding of a new two-person performing company, Pilobolus TOO. Presenting a full-evening program of solos and duets, P. TOO was originally designed for performance in smaller or less well-equipped venues, allow?ing the company to bring its work to a number of more rural and underserved areas of the country.
This weekend's performances mark Pilobolus' fifth, sixth, and seventh appearances under UMS auspices.
Robby Barnett, Artistic Director, was born and raised in the Adirondacks and graduat?ed from Dartmouth College in 1972. In addition to his work with Pilobolus, he has been variously employed as a technical metal worker, an instructor for Outward Bound, Inc., a garden and landscape design?er, and has taught skiing and high school art. Mr. Barnett lives in northwestern Connecticut with his wife and two children.
Alison Becker Chase, Artistic Director, born and raised in St. Louis, received her BA in Intellectual History and Philosophy from
Washington University and her MA in Dance from UCLA. She was choreographer in resi?dence and Assistant Professor of Dance at Dartmouth College for three years before joining Pilobolus in 1973. In 1980 she was a Guggenheim Fellow and she and Moses Pendleton premiered the company Momix at the Milan Festival. Ms. Chase taught at Yale from 1991-1997. In 1997 she was a recipient of the Connecticut Governor's Award. Ms. Chase has choreographed for the Ririe-Woodbury Company, La Scala Opera, the Geneva Opera, the Ballet du Rhin and for the Fete du L'Humanite. She is currently choreographing an "Urban Nutcracker" in collaboration with the Cleveland School for the Arts. Ms. Chase is Director of the Pilobolus Institute and lives with her husband and three children on the coast of Maine.
Michael Tracy, Artistic Director, was born in Florence and raised in New England. He began studying choreography in 1969 with Ray Cook and Alison Chase and began col?laborating with the other directors of Pilobolus in 1970, graduating magna cum laude from Dartmouth College in 1973 with a BA in Psychology. He has been one of Pilobolus' artistic directors since 1974, and in 1980, became the sole artistic director touring with Pilobolus, training, directing and performing with the company through 1987--a total of fourteen years. Since then he has continued to choreograph for and co-direct Pilobolus and also to set works on the Joffrey, Ohio, Hartford, Nancy (France) and Verona (Italy) ballet companies. In 1995 he choreographed Mozart's Magic Flute with John Eliot Gardiner, the Monteverdi Choir and the English Baroque Soloists, in a pro?duction that toured Parma, Ferrara, Lisbon, Amsterdam and London. In 1996 he chore?ographed the national tour production for the National Theater of the Deaf. Mr. Tracy teaches at Yale University.
Jonathan Wolken, Artistic Director, co-founded Pilobolus in 1971. He is proud to have become acquainted with pilobolus, the fungus, while researching its photoreceptor mechanism in his father's biophysics lab. Mr. Wolken graduated from Dartmouth College with a degree in Philosophy. In addition to his work with Pilobolus, he has choreographed for the Glyndebourne Festival Opera's production of Maurice Sendak's Where the Wild Things Are. He cre?ated Oneiric, which was featured in a jointly produced PilobolusDanish Television show, for members of the Royal Danish Ballet. He was also Artist-in-Residence for the USIS-sponsored Arts America Program in Kuopio, Finland, and each summer he teaches Pilobolus' Summer Workshop in Maine. To find symmetry and mystery in his work, since 1991 Jonathan has built a secret second life as Pilobolus' Development Director. He lives with his wife, JoAnne, and their four daughters in Washington, CT.
Otis Cook, Dancer, one of Pilobolus' newest members, knows that dreams do come true. A professional breakdancer in high school, he left the stage to study architecture at Kent State University. Experiencing an epiphany at the Beijing Opera, he began to study theater and to chase his dreams. After two years of scholarship study in Japan, becoming an itinerant performer working at the Cleveland Public Theater, he performed with The Legend of Daniel Boone in Kentucky, Blue Jacket in Ohio, and Double G Productions in Chicago. After a chance viewing of Pilobolus in Lexington, KY, his direction was set and he joined forces with Los Angeles dynamic Diavolo Dance Theater which in 1997 opened the Getty Museum's Performance Series. With Diavolo he performed at UCLA, USC, and many other California venues. He is glad to be in the Eastern woods, harvesting herbs and living a dream.
Josie Coyoc, Dancer, was born in Belize, Central America. She attended Rutgers University and graduated with honors from the Boston Conservatory of Music. Ms. Coyoc has studied with Claudia Gittleman, Ann Marie Sarazin, Adrian Hawkins, Marcus Schulkind, Dr. Ingrid Brainard and Richard Colton. She has danced for SpencerColton Dance Ensemble and for five years with the Bill T. JonesArnie Zane Dance Company. In 1994 she appeared in the Guthrie Theatre's production of Dream on Monkey Mountain, and can be seen in the film version of StillHere, as well as the Bill Moyer's special for PBS, Healing and the Arts. She joined Pilobolus in 1998. She sends her love to her family and friends. Special thanks to the Smith family.
Renee Jaworski, Dancer, was born and raised on Long Island, in the State of New York. She received her BFA in Modern Dance from the University of the Arts in Philadelphia where she studied with Ruth Andrien, Milton Myers, Pat Thomas, Joanne Tulli, Ronen Koresh, Beth Hirschaut-Iguchi, Wayne St. David and Andrew Pap. Upon graduating, she fell directly into the hands of Moses Pendelton, touring and teaching extensively throughout the US, Canada, South America, Europe, Australia and Japan with Momix. In 1997 she returned to Philadelphia and took a brief hiatus to give life to her daughter, Anastasia Winter. Upon returning to her career, she created her own work in the Philadelphia dance scene while also working for Group Motion, Eric Schoeffer, Brian Sanders, Nicole Cousineau and touring part-time with Momix. In 1998 she returned to the New York area, where she soon began working with the Carolyn Dorfman Dance Co. Renee is silly with excitement as she embarks on her first sea?son with Pilobolus. She dedicates every per?formance to her family and to all of those in the pursuit of a full and passionate life.
Matt Kent, Dance Captain, was born and raised in Georgia. At the age of fourteen he began training in the martial art ninjutsu with Bud Malmstrom; later at the University of Georgia in Athens, while pursuing a degree in Music Therapy, Matt began creat?ing dance with Bala Sarasvati in the CORE Concert Dance Company. In 1996 he joined Pilobolus and has since taught master class?es and choreographed for high school and college students. In his spare time he con?tinues his martial training, brews his own beer and practices the string bass. He con?tinues to thank all his incredible inspiring teachers and friends, Mom, Dad, Christi and Scott, and especially his fiancee Emily.
Gaspard Louis, Dancer, was born in Haiti and received his BFA in Dance from Montclair State University. His dance training includes modern, jazz, tap, ballet, Haitian and African dance. He was a scholarship recipient with Gus Giordano in Chicago as well as with NikolaisLouis Dance Lab in NY. He also studied with Alfred Galman, Smith & Shapiro, and Sara & Patrik. His professional experience has been with Herve Maxi Haitian Dance Company, Shirley Mordine and Company in Chicago and AllNations Dance Company in NYC. Gaspard has appeared as a dancer in the New York Renaissance Festival and has choreographed and danced in the music video Compas Z. He also trained in kung-fu and tae kwon do. He says, "I'm proud to have been chosen as a member of Pilobolus. Many thanks to everyone who has been a positive force in my dance career."
Benjamin Pring, Dancer, who joined Pilobolus in 1998, is a graduate of New York University, Galatin Division, where he earned his BA in Performance and Administration. A native of Boston, he has previously danced with Washington Square Repertory Ensemble, Doug Elkins Dance Co., and Megatron. In addition to dancing,
Ben is an accomplished violinist. He loves dancing and chocolate. Many thanks to his family and friends for their love.
Dan Feith, Director of Production, grew up in Cincinnati, Ohio, with a big ambition to become a high school music director. But after high school he spent eight years on the road as an actordirector with Covenant Players of L.A. Thereafter, he received a BS in Music from the University of Wisconsin Platteville and an MA in Theatre from Montclair State CollegeUpper Montclair, NJ. He has worked as a freelance electrician rigger and lighting designer and as Production Stage ManagerLighting DesignerCompany Manager with the American Repertory Ballet Company.
Sarah Borg, Lighting Supervisor, joined Pilobolus in the year 2000. Upon graduating with a liberal arts degree from Hanover College, she began her lighting career at Actors Theatre of Louisville where she survived two seasons of the Humana Festival of New American Plays. Sarah's next venture was as lighting designer for a cultural awareness program called Free at Three, which per?formed at the Joseph Papp Public Theatre. She also spent a summer at the Delacorte Theatre, part of New York's Shakespeare in the Park. Most recently, while working at Trinity Reperatory Company in Providence, Rhode Island, Sarah had the opportunity to be assistant lighting designer on two shows, one at Trinity Reperatory Company, the other at Wings Theatre in New York. Sarah is delighted to now be part of this collabora?tive company.
Maurice Sendak, Creative and Choreographic Collaborator, received the 1964 Caldecott Medal for Where the Wild Things Are. In 1970 he received the international Hans Christian
Andersen Medal for illustration and remains the only American ever award?ed this honor. In 1983 Mr. Sendak received the Laura Ingalls Wilder Award from the American Library Association--given in
recognition or his entire body of work. He also received a 1996 National Medal of Arts in recognition of his contribution to the arts in America.
Arthur Yorinks, Creative and Choreographic Collaborator, writer and director, has written for opera, theater, dance, and film, and is the author of many acclaimed books for children, including the Caldecott Medal winner, Hey, Al. His writing has been proclaimed as "one of the most distinctive prose styles in chil?dren's literature." Throughout his twenty-five years of picture-book making he has collab?orated with such celebrated artists as William Steig, Maurice Sendak, Mort Drucker, David Small, and Richard Egielski. The New York Times once hailed Mr. Yorinks' body of work as "some of the best humor to appear since Woody Allen was writing for The New Yorker." In his thirty years of working in the theater, Mr. Yorinks has written and directed numerous plays including Six, Pipkin, and So, Sue Me which had its premiere at The Kennedy Center. He was Philip Glass' libret?tist for the operas The Juniper Tree and The Fall of the House of Usher, both of which have been performed all over the world. Most recently, with Maurice Sendak, he co-foiunded The Night Kitchen, a new theater company. Mr. Yorinks lives in New York.
Michael Posnick, Dramaturge, is a Theater Consultant for the National Foundation for Jewish Culture and is the Director of the Department of Dance and Theatre at Manhattanville College, Purchase, NY.
Leonard Eto, Composer, is widely regarded as one of the world's leading performers on the dynamic Taiko drums. As a lead performer and composer for the renowned Kodo troupe from 1984 to 1992, Mr. Eto's virtuosity and kinetic performance riveted audiences in Asia, Europe, Africa and North America. In the US he has appeared at City Center Theater and Carnegie Hall in New York City. He has played a major role in the evolution of the ancient Taiko percussion form from an outdoor village tradition to concert-art. In 1993 he established the "Leo Project"--a Tokyo-based ensemble fusing a wide range of musical styles--and since 1994 has appeared in Japan under the name "Club Leo," featuring musicians such as saxophon?ists Kazutoki Umezu and Wolfgang Puschnig and pianist Fumio Itabashi. Mr. Eto also took part in "The Great Musical Experience '94," which brought together major interna?tional artists including Bob Dylan, Jon Bon Jovi and The Chieftains. Mr. Eto is also a prolific composer, his compositions featured in films such as JFK and The Hunted. Leonard Eto was born in New York City, son of the founder of the Ikuta Eto style of koto playing. He is very excited about his return to the country he considers a second home. Mr. Eto is managed by Ms. Kumiko Yoshii of Gorgeous Entertainment, Inc., of New York City and represented for his work on Tsu-Ku-Tsu by Tony Micocci of Micocci Productions, LLC, also of New York City. Special thanks to Asano Taiko Co., Ltd., The Asano Foundation for Taiko Culture Research, and Continental Airlines, Inc.
Frank London, ComposerTrumpetKeyboards, is a member of The Klezmatics and Hasidic New Wave. He has performed with John Zorn, LL Cool J, Mel Torme, Lester Bowie's Brass Fantasy, LaMonte Young, They Might Be Giants, David Byrne, Jane Siberry, Itzhak Perlman, Ben Folds Five, Mark Ribot, Gal Costa and more. His own recordings include
Nigunim (with Lorin Sklamberg and pianist Uri Caine); Frank London's Klezmer Brass Allstars' Di shikere Kapelye (winner of the Deutsche Preis der Schallplatenkritik); Invocations (settings of cantorial music); The Debt, a CD of his film and theater music; and the soundtrackCD for the film The Schvitz, as well as four CDs with Hasidic New Wave and seven with The Klezmatics. He composed music for the Czech-American Marionette Theater's pro?duction of The Golem, Great Small Work's The Memoirs ofCluckel ofHameln and the Public Theater's production of Tony Kushner's A Dybbuk. His latest project is an operasong cycle, A Night In The Old Marketplace, based on I.L. Peretz's classic Yiddish drama, Bay nakht oyfn altn mark. Other compositions for film and dance include Min Tanaka's Romance, Yvonne Rainer's Murder And Murder, Bruno de Almeida's The Debt (prizewinner, 1993 Cannes Film Festival), John Sayles' Hombres Armados and The Brother From Another Planet, Tamar Rogoff's Ivye Project (Byelorussia, 1994) and the theatre piece Chelm California (with Flying Karamozov Brother Paul Magid). He music-directed David Byrne and Robert Wison's The Knee Plays and composed, produced and arranged music for Itzhak Perlman, Jane Siberry, Simon Shaheen and Macedonian Gypsy star, Esma Redzepova.
The Klezmatics play soul-stirring Jewish roots music for the twenty-first century, concocting klezmer as only adventurous musicians in New York City would--in arrangements and compositions that combine Jewish identity and mysticism with a contemporary Zeitgeist and a post-modern aesthetic. Since 1986 The Klezmatics have celebrated the ecstatic nature of Yiddish music, creating music by turns wild, spiritual, reflective, and
danceable. The vitality and joy of their music has uplifted sold-out audiences around the world. The ensemble has reached millions of television viewers on Great Performances, Late Night with David Letterman, CBS Nightwatch, Fox TV's After Breakfast, the BBC's Rhythms of the World, and MTV News. Their sessions for the BBC's John Peel Show and National Public Radio's New Sounds earned them a place on those programs' "best of the year" lists. Additionally, throughout the years the band has taken part in a numerous collabo?rative works with groups such as North Carolina's newest rock export, Ben Folds Five, and on such albums as Festival Of Light, Klezmer Music: A Marriage of Heaven and Earth, and Klezmania: Klezmer For the New Millenium. Their creative collabora?tions have included projects with artists as varied as violin virtuoso Itzhak Perlman, Pulitzer Prize-winning playwright Tony Kushner (Angels In America), Moroccan folk ensemble The Master Musicians of Jajouka, Israeli singer Chava Alberstein, poets Allen Ginsberg and Jerome Rothenberg, New York City avant-rockers Elliot Sharp, Marc Ribot and John Zorn, and members of the Flying Karamazov Brothers. The Klezmatics have provided music for new works by choreog?rapher Twyla Tharp, filmmakers Judith
Helfand (A Healthy Baby Girl), Jonathan Berman (The Shvitz) and Gregg Bordowitz (Fast Trip, Long Drop), and for Mark Lamos' 1995 Hartford Stage production of Tony Kushner's adaptation of the classic Yiddish stageplay A Dybbuk: Between Two Worlds. The band's latest album, The Well, a collabo?ration with Israeli diva Chava Alberstein, was chosen as one of the ten best albums of 1998 by various newspapers, magazines, and radio stations throughout the world.
This weekend's performances mark The Klezmatics' second, third and fourth appear?ances under UMS auspices.
Matt Darriau, ClarinetSaxophoneKaval, plays reeds, flutes and ethnic woodwinds. His longstanding commitment to jazz, klezmer, Balkan and Celtic music informs all his work. In addition to working with The Klezmatics, he leads his own Balkan rhythm quartet Paradox Trio whose third CD, Source, explores the common ground between Balkan and klezmer music.
Lisa Gutkin, Violin, has used her unique synthesis of Irish and Scottish traditional music and a varied ethnic musical palette to form the acoustic CelticWorldJazzFusion Feast Whirligig. Co-founded with multi-instrumentalist and producer Greg Anderson, the group's debut CD The Wheel was released in 1996 and their second, Spin was released in March 2000.
David Licht, Drums, is one of the founding members of The Klezmatics. He comes from a background of rock, jazz, folk, African and Brazilian music. David has performed and recorded with Andy Statman, Michael Alpert, David Krakauer, Pete Sokolow, Henry Sapoznik, Sid Beckerman, and many others. He also performs on the Grammy-nominated CD Partisans ifVilna.
Paul Morrissett, BassSantouriAlto HornHurdy Curdy-, is a collector and accomplished player of traditional folk instruments. He has recorded and per?formed in venues from Lincoln Center to Zagreb on instruments such as kaval, bass, zurla, violin, trumpet, accordian and tamburitza.
Lorin Sklamberg, VocahAccordianPiano, is The Klezmatics' founding singer whose work as a Yiddish vocalistaccompanist can be heard on over three dozen recordings includ?ing Source with Matt Darriau's Paradox Trio. Among his many accomplishments is the composing and performance of the score for Greg Boudowitz' film The Suicide and the contribution of special material for New York City's Circus Amok. Together with Klezmatics' trumpeter Frank London and pianist Uri Caine, he presents Nigunim--an evening of Hasidic "spirituals" which have been recorded by John Zorn's Tzadik label.
Angelina Avallone, Costume Designer, has designed costumes for, among others, The America Play at the Public Theatre and at Yale Repertory Theatre; The Last Adam at Syracuse Stage; and off-broadway The Principality of Sorrows with Robert Sean Leonard. While at Yale she designed The Father, A Doll's House, When We Dead Awaken, In the Shadow of the Glenn, Amodeus, Pericles and Glengarry Glen Ross. Recently she has designed for Pascal Senichou for New Works on Point as well as for the new opera Marco Polo, directed by Martha Clarke. She was associate costume designer for Once Upon a Mattress and The Scarlet Pimpernel on Broadway. Ms. Avallone received her MFA in Design from The Yale School of Drama and was the 1994 recipient of the Leo Lerman International Design Award at Conde Nast.
Kitty Daly, Costume Designer, has worked with Pilobolus since 1975. A graduate of Cornell University, she designed and built the costumes for Molly's Not Dead, The Detail of Phoebe Strickland, Bonsai, The Empty Suitor, Moonblind, Lost in Fauna, Mirage, What Grows in Huygen's Window, Stabat Mater, and Elegy for the Moment, and has collaborated on other Pilobolus designs. Other companies for which Ms. Daly has worked include the Ohio Ballet, the Pennsylvania Ballet, the Milwaukee Ballet, Merce Cunningham, Ririe-Woodbury, Crowsnest, and ParkerPucci. Ms. Daly works in Ellicott City, Maryland.
Gail Fresia, Costume Designer, is a designer and technician based in Massachusetts. She has worked with theater, music, and dance groups both in New England and on the West Coast. While freelancing as Catalyst Design, her range of work broadened to include spe?cialty garments for private clients and graphic art projects. Currently the costumer for Hartford Ballet, she continues to freelance.
David M. Chapman, Lighting Designer, was Director of Production for Pilobolus Dance Theatre from 1978 to 1997. A native of the Berkshires, his early credits include many summers with the Berkshire Theatre Festival and Jacob's Pillow Dance Festival and win?ters on the road with rock, mime, and dance tours. David has designed the lighting for numerous Pilobolus works including Day Two, Bonsai, Particle Zoo, and Axons. Other work includes positions as assistant lighting designer for the 1978 Spoleto Festival USA and Production Manager of the 1981 American Dance Festival. In his most recent New York project, he served as lighting coordinator for the Japanese singer Tokiko at Carnegie Hall. His lighting designs can also be seen in the repertory of Peter Pucci Plus Dancers. He is now Director of Production at Jacob's Pillow. In his free time
he tries to keep up with a Victorian house in northwest Connecticut which he shares with his wife, Kate.
Neil Peter Jampolis, Lighting Designer, has designed sets or costumes or lighting for more than 300 plays, musicals, operas and ballets internationally. Recent set designs have included the 1995 Opera Theatre of St. Louis production of Armida, Michael Langham's productions of The Tempest and The Cherry Orchard for the 1995 premiere season of Canada's Atlantic Theater Festival, Stratford Ontario's 1991 Carousel, the London Earls Court's Tosca, the national tour of The Sound of Music and the Matrix Theatre's production of The Homecoming (1995 L.A. Drama Critics' Circle Nomination for Set Design) and The Tavern (1994 Los Angeles Drama Critics' Circle Nomination for Set Design) and over forty productions of Forever Plaid, including those in Los Angeles, London, Toronto, New York, and Tokyo. His dozens of Broadway designs have earned him four Tony Nominations for Lighting, including his Tony-winning work for the Royal Shakespeare Company's Sherlock Holmes, the musical revue Black and Blue (co-designed with Jane Reisman, his wife and partner for over twenty-four years), Pinter's production of The Innocents, and Peter Hall's mounting of Orpheus Descending. His designs for Lily Tomlin and Jane Wagner's The Search for Signs of Intelligent Life in the Universe netted the Los Angeles Drama Critics' Circle Award. Designer for Pilobolus since 1974, he has designed works in the repertories of the Canadian National Ballet, the Berlin Opera Ballet, Momix, the Ballet de France at Nancy, and three 1995 premieres for Eliot Feld's Company. After years of designing productions for opera companies from the Metropolitan and New York City Operas to the Vienna State Opera, he has recently extended his work to include the role of
director-designer, most notably with Electra, Pelleas and Melisande and Hansel and Gretel for the Seattle Opera, and with Fahtaff for Opera Theatre of St. Louis.
Mark Stanley, Lighting Designer, previously collaborated with Maurice Sendak and Arthur Yorinks at the New York City Opera and the Night Kitchen Children's Theater. He is currently the Lighting Director for the New York City Ballet where he has designed over 100 world premieres for their repertory including the new full-length Swan Lake. He has worked with numerous choreographers including Peter Martins, Christopher D'Amboise, Kevin O'Day, Susan Marshall, William Forsythe, Ulysses Dove, David Gordon, Lar Lubovitch, Laura Dean, and others. In addition, his designs are in the repertory of The Royal Danish Ballet, The Stuttgart Ballet, The Deutsche Staatsoper Ballett-Berlin, The Royal Flanders Ballet, The National Ballet of Holland, The Bayerisches Staatsballett, Alvin Ailey Dance Theater, The San Francisco Ballet, The Joffery Ballet, The National Ballet of Canada, The Pennsylvania Ballet, and other regional companies. He has served as Resident Lighting Designer for the New York City Opera, lighting over twenty new productions for the resident and touring companies. Internationally he has served as Lighting Director for the US tours of The Bolshoi Ballet, The Kirov Ballet, The Frankfurt Ballet, The Vienna Volks Oper, San Kai Juku, The Donestk Ballet, The Kodo Drummers, The National Puppet Theatre of Japan, and The Carleton International Dance Festival in Brazil. Mr. Stanley is on the Board of Directors of the Gilbert V. Hemsley Jr. Internship in Lighting and is the author of the Color of Light Workbook.
Stephen Strawbridge, Lighting Designer, has several pieces in the repertory of Pilobolus Dance Theatre. His work has been seen on Broadway, off-Broadway, at regional theaters
across the country, and internationally. Mr. Strawbridge has twice been nominated for the American Theatre Wing Award for Lighting Design and once for Washington DCs Helen Hayes Award. He was the 1991 recipient of the Bay Area Critics' Circle Award and the 1993 recipient of the Dallas Theater Critics Forum Award. In 1993 he joined the faculty of the Design Department at the Yale School of Drama.
Bob Bielecki, Sound Designer, has been work?ing in the audio field for more than thirty years years and is known for his engineering, recording and sound design contributions to the work of a long list of innovative artists in music, performance and theater. His work with Maurice Sendak and Arthur Yorinks includes productions of Really Rosie, So, Sue Me, and It's Alive. His work with Laurie Anderson dates from the mid-1970s and he has most recently served as electronic designer of her new opera Songs and Stories from Moby Dick, a co-commission with the University Musical Society. He's toured with productions including: Philip Glass's 1000 Airplanes on the Roof, Koyaanisqatsi, Powaqaatsi, Einstein on the Beach; Julie Taymor's Juan Darien and The Green Bird; Pauline Oliveros' Njinga and Deep Listening Band. Other credits include the creation of many unique instru?ments and interfaces used in performance and installations by artists including Laurie Anderson, LaMonte Young and many others. He also teaches in the Music and Integrated Arts programs at Bard College.
Michael Hagen, Scenic Backdrop Painter, born in Germany, was trained as a scene painter at the Deutsche Opera Berlin. He came to Canada in 1965 and worked for the Opera de Montreal, television and film. He soon established his own studio in Montreal and quickly earned a reputation in his field. Michael Hagen, Inc. has painted scenery for over 200 stage and film productions through-
out Canada and the US. In 1980, he painted Maurice Sendak's The Magic Flute for the Houston Grand Opera, and has painted most of Mr. Sendaks shows ever since. In 1990, Mr. Hagen moved his studio to Glens Falls, New York.
Manager Susan Mandler
Tour Manager and Presenter Liaison Susan Ericson
Director of Production Daniel Feith
Lighting Supervisor Sarah Borg
Dance Captain Matt Kent
Lighting Design Neil Jampolis
IMG Artists
825 Seventh Avenue, New York NY 10019
Box 388, Washington Depot CT 06794
Pilobolus is a tax-exempt, not-for-profit corporation, supported in part by funds from the Connecticut Commission on the Arts, The American Dance Festival, The Chase Manhattan Foundation, Citicorp, The Diebold Foundation, The Dyson Foundation, The Harkness Foundation for Dance, The John S. and James L. Knight Foundation, The J. L. Foundation, Newman's Own, People's Bank, Philip Morris Companies, Inc., Rubin-Wollman Foundation, The Rockefeller Foundation, The Shubert Foundation, The Silver Mountain Foundation, The Wallace Reader's Digest Funds, United Technologies Corporation, and Zuberry.
Moses Hogan Singers
Moses Hogan Artistic Director Marietta Simpson Mezzo-soprano
Brian Stratton, Tenor Kent Jordan, Flute
Moses Hogan Arr. Hogan
Hogan Arr. Hogan Arr. Hogan
Arr. Hogan
Arr. Hogan Narration by Walter Bonam
Arr. Hogan
Arr. Hogan Arr. Hogan
Wednesday Evening, January 10, 2001 at 8:00
St. Francis of Assisi Catholic Church, Ann Arbor, Michigan
Hear My Prayer (Dedicated to the memory of Jester Hairston) Ev'ry Time I Feel The Spirit
Ms. Simpson
I'm Gonna Sing Till The Spirit Moves In My Heart
Ride On, King Jesus
Ms. Simpson
Swing Low, Sweet Chariot
Mr. Jordan
His Light Still Shines (In Honor of Dr. Martin Luther King, Jr.) Stacey Sartor, Narrator
Wade In The Water
Ms. Simpson
The Battle of Jericho
I Stood On The River of Jordan
Arr. Hogan I Got A Robe
Ms. Simpson
Arr. Hogan I Can Tell The World
Arr. Hogan Old Time Religion
Arr. Hogan I Want Jesus To Walk With Me
Mr. Stratton
Arr. Hogan Good News, the Chariot's Comin'
An. Hogan My Soul's Been Anchored In The Lord
of the 122nd Season
Sixth Annual Divine Expressions Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Support for this performance is provided by media sponsor, WEMU.
Special thanks to Faye Burton, the Our Own Thing Chorale, Bethel A.M.E Church, and the U-M Department of Choirs for their involvement in this residency.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Marietta Simpson appears by arrangement with Herbert Barrett Management.
Large print programs are available upon request.
The Moses Hogan Singers made their international debut in 1998 in New York to critical acclaim. The Moses Hogan Singers completed an inter?national tour with Barbara Hendricks to Greece, Germany, Spain and Switzerland during the summer of 2000. Concert perfor?mances in the US during the 20002001 season include this recital as well as visits to Texas, Louisiana, Ohio and California.
A nationally auditioned ensemble, the Moses Hogan Singers are a collaboration of musicians dedicated to the preservation, integrity and excellence of multiple aspects of choral music. Special emphasis is given to the choral works of Mr. Hogan and African-American composers. Based in New Orleans, Louisiana, the Moses Hogan Singers main?tain a local chapter in New Orleans, a recording ensemble, a collegiate choir and an international touring ensemble.
Moses Hogan, Artistic Director, began exploring the choral music idiom in 1980 with the New World Ensemble. In 1994, Hogan's acclaimed Moses Hogan Chorale came to the notice of the America Choral Directors Association, which extended invitations to perform at its conventions on both the regional and national levels. These appear?ances in turn led to invitations from around the world. The Moses Hogan Singers continue this performance legacy while preserving and celebrating the heritage of the African-American choral tradition.
Tonight's performance marks the Moses Hogan Singers' UMS debut.
Moses George Hogan, born in New Orleans, Louisiana on March 13,1957, is a pianist, conductor and arranger of international renown. A gradu?ate of the New Orleans Center for Creative Arts (NOCCA) and the Oberlin Conservatory of Music in Ohio, he also studied at New
York's Juilliard School of Music and Louisiana State University in Baton Rouge. Mr. Hogan's many accomplishments as a concert pianist include winning first place in the prestigious twenty-eighth annual Kosciuszko Foundation
Chopin Competition in New York. Mr. Hogan was recently appointed Artist-in-Residence at Loyola University in New Orleans. He began his exploration of choral music in 1980 with the organization of the New World Ensemble, which led to the formation of the internationally acclaimed Moses Hogan Chorale. The newly organized Moses Hogan Singers made their international debut in 1998 on the EMI record label with the acclaimed soprano Barbara Hendricks. Mr. Hogan's choral style, high musical stan?dards and unique repertoire have consis?tently elicited praise from critics worldwide. Mr. Hogan is an exclusive arranger and com?poser for Hal Leonard Music Corporation and a member of the Phi Mu Alpha Fraternity and ASCAP.
Mr. Hogan has been increasingly in demand internationally as an arranger, con?ductor and clinician. He was commissioned to arrange and perform several compositions for the 1995 PBS Documentary The American Promise, whose soundtrack was released separately by Windham Hill records under the title Voices. His discography includes a recording of arrangements of spirituals for the acclaimed soprano Barbara Hendricks, sung by the Moses Hogan Singers, entitled Give Me Jesus, produced by EMI Virgin Records; An American Heritage of Spirituals., sung by the famed Mormon Tabernacle Choir, conducted by Moses Hogan and Albert McNeil; two recordings of spirituals with renowned countertenor Derek Lee Ragin on Afia Records and Channel Classic Records; The Best of the
Moses Hogan Chorale Souvenir Edition, cele?brating the final touring season of the chorale, featuring over thirty of Hogan's arrangements for mixed chorus, produced by MGH Records; and A Home in that Rock, a collection of spirituals and songs of faith, sung by the Moses Hogan Singers, produced and arranged by Moses Hogan on MGH Records. Mr. Hogan's contemporary settings of spirituals, original compositions and other works have been revered by audiences and praised by critics including distinct mention in Gramophone magazine. They have become staples in the repertoires of high school, college, church, community and professional choirs worldwide. Moses Hogan's choral series is published by Hal Leonard Corporation and by Alliance Music Publishers. Please visit Mr. Hogan's web site at
Marietta Simpson, one of the most sought-after mezzo-sopranos on the music scene today, is greatly admired for the rich beauty of her deeply expressive voice. She has sung with all the major orchestras in the US and under many of the world's great conductors, including the late Robert Shaw, Kurt Masur, Lorin Maazel, Simon Rattle, Helmuth Rilling, Charles Dutoit, Wolfgang Sawallisch, Robert Page and Gunther Herbig.
Highlights of Ms. Simpson's 20002001 season include performances with the Berlin Philharmonic under Sir Simon Rattle; the Los Angeles Symphony under Esa-Pekka Salonen in Beethoven's Symphony No. 9; the Cleveland Orchestra under Jahja Ling in Beethoven's Symphony No. 9; and with the Atlanta Symphony under Roger Norrington in Beethoven's Missa Solemnis.
Ms. Simpson can also be heard on the EMI recording of Porgy and Bess, conducted by Sir Simon Rattle.
Brian Stratton, a native of New Orleans, has traveled broadly and has sung with the Billy Graham Crusade and with the Glen Draper Singers in the former Soviet Union. The winner of several national competitions, Mr. Stratton is featured in the new record?ing of Am American Heritage of Spirituals with the Mormon Tabernacle Choir.
A native of New Orleans, Kent Jordan grad?uated from the New Orleans Center for Creative Arts and the Eastman School of Music. He was recently appointed Lecturer in Music at Dillard University and is an exceptional performer of jazz and classical literature.
Tonight's performance marks the debuts of Moses Hogan, Marietta Simpson, Brian Stratton, and Kent Jordan under UMS auspices.
Moses Hogan Singers
Moses Hogan, Artistic Director
Sopranos Bridget Bazile Pia Betts Cheryl Clansy Renay Joubert Brendolyn McKenna Holly Powe Katja Turner Alia Waheed
Carolyn Baumann Kiane Davis Andrea Keene Jalonda Robertson Stacey Sartor Loueka Wilkinson
Michael Adams Derrick Brookins Anthony Decuir Beauford Evangelister Larry Hylton Brian Stratton Rodney Vaughn Tristan Walker
Arthu Calton David Clarke Louis Davis Angelo Johnson LeSean Lewis John Macklin Joshua McGee Twyon Morgan Walter Swan
Dominic Fernandez, Production Assistant
Vermeer Quartet
Shmuel Ashkenasi, Violin Mathias Tacke, Violin Richard Young, Viola Marc Johnson, Cello
Saturday Evening, January 13, 2001 at 8:00 Rackham Auditorium, Ann Arbor, Michigan
Franz Joseph Haydn String Quartet in C Major, Op. 74, No. 1 (Hob. 111:72)
Andantino grazioso Menuet: Allegro Finale: Vivace
Dmitri Shostakvkh Aria (Elegy) from Lady Macbeth of the Mtsensk District,
Op. 29
Alexander Tchaikovsky String Quartet No. 2
{Performed attacca--without pause)
Felix Mendelssohn
String Quartet in E-flat Major, Op. 44, No. 3
Allegro vivace
Scherzo: Assai leggiero e vivace
Adagio non troppo
Molto allegro con fuoco
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.
Support for this performance is provided by media sponsor, WEMU.
Special thanks to Inna Naroditskaya for leading this evening's Pre-performance Educational Presentation (PREP).
The Vermeer Quartet records for Teldec, Orfeo, Cedille, and Alden Productions.
The Vermeer Quartet appears by arrangement with Arts Management Group, Inc.
Large print programs are available upon request.
String Quartet in C Major, Op. 74, No. 1
(Hob. 111:72)
Franz Joseph Haydn
Born March 31,1732 in Rohrau, Lower Austria
Died May 31, 1809 in Vienna
After Haydn gained some degree of inde?pendence from his court appointment at Esterhaza, members of the Austro-Hungarian aristocracy realized the tremendous social cachet that might be gained by having their name attached to the work of this great master. So it was that after Haydn returned from his second visit to London in 1795, Hungary's Count Antal Apponyi paid the composer 100 ducats, not as commission for a set of string quartets, but merely to have some already-composed quartets dedicated to him, and to ensure sole performing rights for one year in Vienna (Apponyi was him?self a talented violinist). As a result, Haydn's six string quartets, published in two volumes as Op. 71 and Op. 74, are often referred to as the "Apponyi" quartets.
But if Apponyi didn't actually commis?sion the "Apponyi" quartets, who did It seems that Haydn wrote them in Vienna during 1792-93 in preparation for his sec?ond visit to London. They were intended to be played during the orchestral subscription concerts that were the principal reason for his visits to that city. Most likely they were composed for Salomon, the impresario who invited Haydn to London, and who himself led a quartet that is known to have performed during these concerts. Consequently, they are sometimes also referred to as the "Salomon" quartets.
Just as Haydn customized his "London" symphonies to the tastes of English audiences and the strengths of London orchestras, so these quartets represent a distinct "London style" of quartet writing. In a small salon, with an attentive audience, Haydn could begin a quartet gently, perhaps with a soft murmur. But in a larger concert hall he
would need a "curtain-raiser," some kind of strong and unmistakable announcement that the work was beginning. Hence, each of the six "Apponyi" quartets opens forcefully. They also explore new levels of virtuosity in performance and composition, and more "modern" harmonic ventures than Haydn had ever before attempted in his quartets; Karl Geiringer identifies in them "the dawn of Romanticism."
The opening sonata-allegro movement of the String Quartet in C Major, Op. 74, No. 1, is marked Allegro in the manuscript and the original London edition, but Allegro moderato in the first Viennese edition, perhaps implying an attenuation of effect. But the two forte chords that open the movement, and the first theme that follows, are sym?phonic in weight and seriousness. In style and technical requirements, as well, the quartet is on a par with the first London Symphonies. Unusually for Haydn, and per?haps showing the influence of Mozart, he includes a contrasting theme in the second key area. This broadens the possibilities for the movement's dramatic interplay, which, as Laszlo Somfai writes, emerges from "explosive dynamics, the rich vocabulary of rhythm, the sparkling virtuosity of the first violin part, and the series of harmonic surprises."
The slow movement, in G Major, is a stylized minuet (though formally it follows the sonata principle), soothing and stately in the manner of classical ballet. The C-Major minuet that follows, however, is a genre piece in which the asymmetrical phrase extensions, rhythmic oddities, and unusual harmonic excursions show little connection to the traditional dance. The shift to A Major--the submediant key--for the trio, lends that section a decidedly Schubertian character. The sonata-form finale is rustic, with a dance-like main theme and a drone bass in the contrasting theme that booms like a "hurdy-gurdy." The movement is good-humored throughout, with a final
reprise of the "hurdy-gurdy" theme as a farewell gesture.
Aria (Elegy) from Lady Macbeth of the Mtsensk District, Op. 29
Dmitri Shostakvich
Born September 25, 1906 in St. Petersburg
Died August 9, 1975 in Moscow
Dmitri Shostakovich's Lady Macbeth of Mtsensk was the first Soviet opera to gain fame across Europe and the US, and was even performed at New York's Metropolitan Opera soon after its Russian debut in 1934. But this opera is most famous for arousing Stalin's ire in 1936, prompting an article in the Russian periodical Pravda that denounced Shostakovich's work as "chaos instead of music." No one knows for sure what upset Stalin so much. Some have presumed it was the opera's subject matter--as one present-day reviewer describes it: "Rape, murder, torture, lechery, and hot steamy sex, lots of it." But others suggest it may have been the actions of the central character, Katerina Izmailova, who, bored with her life and hus?band, resorts to murder and adultery to gain what society has denied her--fulfillment. Perhaps Stalin found such individualism more offensive than the on-stage sexual acts, or even the musical representation of it from the orchestra pit.
Shostakovich certainly intended to make the murderous Katarina the only sympathetic character in the opera. He gives her the most intensely lyrical music of the entire work, while the characters that surround her are portrayed much more acerbically. Katarina's aria in Scene 3 of Act I--the "Elegy"--is per?haps the most lyrical section of all. Here she bemoans the fact that while every other creature in the world seems to have found love and companionship, she has no one to satisfy her sensual needs: "No one will press his lips to mine, no one will stroke my white breast."
Before Shostakovich completed the score for the opera, he excerpted this aria and arranged it for string quartet--his first venture into that medium, predating his String Quartet No. 1 by seven years. Though originally arranged for the Jean Vuillaume Quartet in 1931, it was not performed until 1984. The musical substance of the aria is transferred almost literally to the quartet, with little re-composition, and only a small coda added at the end.
String Quartet No. 2
Alexander Tchaikovsky Born 1946 in Moscow
Alexander Vladimirovich Tchaikovsky-apparently not related to his more famous namesake--is one of the most promising and exciting Russian composers to emerge in the 1980s. Along with colleagues and contemporaries such as Sofia Gubaidulina and Boris Tischenko, Tchaikovsky has helped further the cause of Russian music, giving a pluralistic face to a tradition that suffered for decades from the uniform blandness of Social Realism.
Born in Moscow, Tchaikovsky entered the Moscow Conservatory in 1967, where he studied piano under Heinrich Neuhaus and Lev Naumov, and composition with Tikhon Khrennikov, a composer known more for his politics than this music (Khrennikov had very publicly denounced both Shostakovich and Prokofiev in 1936). Tchaikovsky contin?ued post-graduate studies with Khrennikov from 1972 to 1975. He presently teaches composition at the Moscow Conservatory, but has spent some time in the US and Canada as a guest lecturer.
Tchaikovsky's early works, most of them piano pieces, demonstrate the innately con?servative style of neo-classicism. But begin?ning with his 1974 Cello Concerto, he has turned increasingly to a more melodically centered neo-romanticism. Although he has
more recently used new techniques in com?position, the basis of his work remains tradi?tional in process and instrumentation. His style is marked by lyricism, delicate humor and by a powerful gift for dramatic represen?tation. Recent successes include some humorous chamberistic "mini-operas," and he has also produced film scores and inci?dental music for the theatre.
Three of Tchaikovsky's first four com?positions--all of them student works--were string quartets. His studies at the Moscow Conservatory centered on mastering the tra?ditional genres of composition, and the string quartet is a particularly difficult chal?lenge for any student. But Tchaikovsky has continued with string-based composition throughout his career, revealing a lasting affinity for string writing. He has written for renowned Russian string virtuosi including violist Yuri Bashmet and cellist Vagram Saradjian. Successful collaborations with Bashmet include the Bashmet Suite (1989), and the deeply moving Mournful Pavanefor Five Violas (1988). He has also arranged Shostakovich's String Quartet No. 13 as a Sinfonia for Viola and Strings, performed by Bashmet and the Moscow Virtuosi.
Tchaikovsky's String Quartet No. 2 dates from his early days as a student in Moscow, but the work was revised extensively in 1987.
String Quartet in E-flat Major, Op. 44, No. 3
Felix Mendelssohn
Born February 3, 1809 in Hamburg, Germany
Died November 4, 1847 in Leipzig, Germany
1838 was a happy year for Mendelssohn. He had married Cecile Jeanrenaud the previous year, and she had just given birth to their first child. But it was a period in which he began a lot of compositions, and discarded almost as many. Perhaps diverted from composition by his new interest in spouse and family,
Mendelssohn completed few works in 1838. The three string quartets of Op. 44 belong to this short list, though he had already been working on them for almost a year.
Mendelssohn's earlier quartets--espe?cially Op. 12 and Op. 13--seem to have fol?lowed the Beethoven model of intense origi?nality and profundity. But in the Op. 44 quartets Mendelssohn displays the traits that were a feature more of his own style: busy textures, lyricism, and vitality. In fact, the Op. 44 quartets are often regarded as con?servative or even reactionary when com?pared with his earlier ones. They certainly signal the start of a "classicizing" phase in Mendelssohn's compositional style.
Although the first quartet in the set was reportedly Mendelssohn's favorite, it is the String Quartet in E-flat Major that, as Eric Warner writes, "stands at the peak of Mendelssohn's art." It contains the strongest contrasts, is the most carefully worked out, and while reserved in expression it cajoles the listener's ear. The opening movement, which begins with a thematically crucial anacrusis, relies on thematic contrast, although the second theme is really only a variant on an earlier motif. After a balanced development section where there is free and equal exchange of materials, the recapitula?tion sneaks in almost imperceptibly in the second violin. The brief coda is also devel?opmental.
The "Scherzo" movement that follows begins with an evocation of horses galloping through a forest, but soon gives way to a series of contrapuntal passages--fugato, canon, stretto--that are far removed from such overtly Romantic notions. The coda, rich in deceptive cadences, concludes pianissimo.
An unusually somber atmosphere takes over at the start of the hymn-like slow movement. But while fervent, it avoids any pretense of profundity. George Marek claims that this "Adagio" is "as poignant as a Beethoven slow movement--or almost," though the comparison with Beethoven is
perhaps an unfair one; it is not poignancy but serene composure that predominates. The finale contrasts a motif from the third movement with a lightweight new theme in a typically bustling, virtuosic end?ing (this is the last instrumental work in which Mendelssohn made cyclic connec?tions between movements). Despite the movement's humor and vivacity, Mendelssohn scholar Larry Todd claims the finale is "marred by predictable motor rhythms and excessive length." Yet it remains full of pleasantry and good humor, unifying the preceding movements into a carefully crafted and satisfying whole.
Program notes by Luke Howard.
With performances in practically every major city in North America, Europe, and Australia, the Vermeer Quartet has achieved an international stature as one of the world's finest music ensembles. Formed in 1969 at Marlboro, the Vermeer has since performed at virtually all the most prestigious festivals, including Tanglewood, Aldeburgh, Mostly Mozart, Aspen, Bath, Lucerne, South Bank, Flanders, Albuquerque, Stresa, Berlin, Schleswig-Holstein, Santa Fe, Edinburgh, Great Woods, Spoleto, Ravinia, and the Casals Festival. In the 19981999 season, the quartet appeared in cities throughout the US includ?ing Detroit, Houston, Chicago, Urbana, New Orleans, Anchorage, and New Haven, and made three extensive tours of Europe.
Last season they again toured Europe on three separate occasions and in the US performed concerts in many cities including New York, Boston, Los Angeles, Philadelphia and Cleveland. Their New York appearance was for the Lincoln Center Chamber Music Society at Alice Tully Hall, where they col?laborated with cellist Anne-Marie McDermott and oboist Stephen Taylor.
The members of the Vermeer Quartet have been on the Resident Artist Faculty of Northern Illinois University at DeKalb since 1970. Beginning in 1978 they have presented annual master classes at the Royal Northern College of Music in Manchester, England. For over two decades they have spent part of each summer on the coast of Maine as the featured ensemble for Bay Chamber Concerts. The Vermeer makes its permanent home in Chicago, where it has been the resident quar?tet for Performing Arts Chicago since 1984.
The Vermeer Quartet offers an impres?sive variety of repertoire, including not only the standard quartet repertoire but many less familiar compositions as well. In addition they regularly present new works for string quartet, many of which were written for them. Their numerous recordings include the entire Beethoven cycle, in addition to works by Schubert, Dvorak, Mendelssohn, Verdi, Brahms and Tchaikovsky. Their Grammy-nominated CD of Haydn's The Seven Last Words of Christ has been broad?cast to over sixty million people throughout the world, thus reaching far beyond the traditional chamber music audience.
Tonight's performance marks the Vermeer Quartet's second appearance under UMS auspices.
and the
Detroit Edison Foundation
Mingus Big Band
Kevin Mahogany Vocals
Trumpets Eddie Henderson Walter White Alex Sipiagin
Saxophones Alex Foster John Stubblefield Ronnie Cuber Craig Handy David Lee Jones Mike Sim
Trombones Ku-umba Frank Lacy Conrad Herwig Douglas Purviance
Jonathan Blake
Boris Kozlov
Peter Madsen
Monday Evening, January 15, 2001 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Blues and Politics
Tonight's program will be announced from the stage by the artists and will contain selections from the following list of compositions:
Boogie Stop Shuffle
Don't Let It Happen Here
Fables of Faubus
Goodbye Porkpie Hat
Haitian Fight Song
Hog Callin' Blues
Little Royal Suite
Meditations For A Pair Of Wire Cutters
Oh, Lord, Don't Let Them Drop That Atomic Bomb On Me
Pussycat Dues
Wednesday Night Prayer Meeting
Story of Love
Love Is A Dangerous Necessity
All compositions written by Charles Mingus (1922-1979).
of the 122nd Season
Seventh Annual Jazz Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by the Detroit Edison Foundation.
Special thanks to S. Martin Taylor of the Detroit Edison Foundation for his generous support of the University Musical Society.
This performance is co-presented with the U-M Office of Academic Multicultural Initiatives.
Additional support provided by media sponsors, WEMU, WDET, and MetroTimes.
This performance is presented with support from the Wallace-Reader's Digest Funds and from JazzNet, a program of the Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation and the National Endowment for the Arts.
Special thanks to Sue Mingus and Michael Jewett for this evening's pre-performance interview.
The piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
Mingus Big Band appears by arrangement with Herbert Barrett Management.
The Mingus Big Band records for Dreyfus Records.
All Mingus compositions are published by Jazz Workshop Inc.
Large print programs are available upon request.
Blues and Politics
This mule ain't from Moscow, This mule ain't from the South, But this mule's had some learnin'
mostly mouth to mouth. This mule could be called stubborn
and lazy
But in a clever sort of way. This mule could be workin', and waitin' And plannin' for a sacred kind of day, A day when burnin' sticks and crosses
is not mere child's play But a madman in his most incandescent
bloom Whose loveless soul is imperfection in
its most lustrous groom.
So stand fast young old mule Soothe in contemplation thy burning
hole and aching thigh. Your stubbornness is of the living And cruel anxiety is about to die.
Freedom for your mama, Freedom for your daddy, Freedom for your brothers and sisters, But no freedom for me. Freedom for your mama's mama. Freedom for your daddy's daddy, Freedom for your brothers and sisters, But no freedom for me.
Stand fast young old mule. Stand fast.
At the beginning of the twenty-first century, the voice of Charles Mingus is still speaking out; his music as urgent as his earliest shouts and sermons from the stage. An American genius who left behind one of the most diverse, individual and uncategorizable bodies of work in our time, Mingus' uncompromising concern with justice and freedom of expression as it relates to both politics and art is as timely and resonant as any voice today. In this pro?gram, the Mingus Big Band (MBB) focuses on some of his more political pieces, as well as the blues at the heart of his music. Sometimes the warning or the loss is literal, and includes narrations or lyrics as in "Don't Let It Happen Here" or "Freedom." More often it's transformed and transcen?dent, as in "Meditations" or "Goodbye Pork Pie Hat."
Although "Haitian Fight Song" was originally written in tribute to the Haitian revolutionary, Toussiant L'Ouverture, Mingus once said the piece could just as eas?ily have been called "African-American Fight Song." He claimed he needed to feel angry to play it--he said that he would think about racism and injustice and the notes would follow.
"Goodbye Pork Pie Hat," perhaps Mingus' best-known piece, was written on March 15,1959, the night the great tenor saxophonist Lester Young died. Mingus returned home from a gig at the Half Note Club in New York, where he and his musi?cians had heard the news, and wrote down what he felt they'd experienced musically on the bandstand. "Pork Pie" entered the MBB
repertory recently in a sumptuous new arrangement by Sy Johnson.
"Don't Let It Happen Here" dates back to the mid-'60s and is Mingus' re-working of a Protestant minister's famous text writ?ten during the Holocaust. It contains the following narration:
One day they came and they took the
communists, And I said nothing because I was not a
communist. Then one day they burned the Catholic
churches, And I said nothing because I was born a
One day they came and took the unionists, And I said nothing because I was not a
unionist. One day they came and took the people
of the Jewish faith, And I said nothing because I had no
faith left.
Then one day they came and they took me, And I could say nothing because I was as
guilty as they were, For not speaking out and saying that all
men and women have a right to
freedom. So...don't let it happen here.
The legacy of racism and human intol?erance inspired "Meditations for a Pair of Wire Cutters," as well. This is an extended work written in the mid-'60s when the Civil Rights movement was gathering steam. Mingus had heard from saxophonist and bass clarinetist Eric Dolphy (shortly before Dolphy left his band) about prison camps in the South where protesters were incarcerat?ed behind electric barbed wire fences. Mingus gave this piece other titles as well, including "Meditations on Integration," "Meditations on Inner Peace" or simply, "Meditations." One of his most melodic compositions, "Meditations" is as hard to categorize as most Mingus music. It is clas?sical, jazz and a minor blues, all at once.
This exquisite arrangement of "Meditations" is by Michael Mossman. "Mingus knew how to break all the rules," Mossman says. "It shouldn't work, but it does: notes rubbing against each other, 'G's against 'A-flats,' full of material that's 'outside.' Charles had no need to stay within the boundaries. It's very freeing. He gives you the right to be your?self."
"Oh Lord, Don't Let Them Drop That Atomic Bomb On Me" was written during the Cold War era while Mingus was playing at Birdland in New York City. It was first recorded for Atlantic Records in 1961.
One of Mingus' most challenging works is "Little Royal Suite," written in 1972 for trumpet player Roy Eldridge. Mingus had expected Eldridge to perform the piece at an upcoming Philharmonic Hall concert, but Eldridge fell ill and was replaced by a then-unknown player named Jon Faddis. This piece is in three parts and ends with a rous?ing blues.
Part of the uniqueness of the Mingus Big Band is, of course, its astonishing flexi?bility, its ability to absorb new players, its changing nature from night to night. The awareness that anything can happen is what defines the band. "Mingus' music transcends style," says MBB trombonist Conrad Herwig. "The amazing thing is that anyone can play his music and explore it--a swing player, a be-bopper, an avant-garde musi?cian--and it still comes out Mingus."
And so Mingus lives on, his music as current and challenging as ever. The demands of his compositions, coupled with the astonishing freedom he has created within them, attest to an unwavering faith in his fellow musicians. This faith and this freedom ensure that his music will remain modern for all time.
Program notes adapted by Myles Weinstein from Sue Mingus' liner notes from Blues and Politics {Dreyfus Jazz).
One of the most important figures in twentieth century American music, Charles Mingus was a vir?tuoso bass player, accomplished pianist, bandleader and compos?er. Born on a military base in Nogales, Arizona in 1922 and raised in Watts, California, his earliest musical influences came from the church--choir and group singing--and from "hearing Duke Ellington over the radio when [he] was eight years old." His early professional experience in the 1940s found him touring with bands like Louis Armstrong, Kid Ory and Lionel Hampton. Eventually he settled in New York where he played and recorded with the lead?ing musicians of the 1950s: Charlie Parker, Miles Davis, Bud Powell, Art Tatum and Duke Ellington himself. One of the few bassists to do so, Mingus quickly developed as a leader of musicians. By the mid-'50s he had formed his own publishing and record?ing companies to protect and document his growing repertoire of original music. He also founded the Jazz Workshop, a group that enabled young composers to have their new works performed in concert and on recordings.
Mingus soon found himself at the fore?front of the avant-garde. His recordings bear witness to the extraordinarily creative body of work that followed. They include Pithecanthropus Erectus, The Clown, Tijuana Moods, Mingus Dynasty, Mingus Ah Um, The Black Saint and the Sinner Lady, Cumbia and Jazz Fusion, and Let My Children Hear Music. He recorded over a hundred albums for many labels including Columbia, Atlantic, and Impulse! and wrote over three hundred scores.
Although he wrote his first concerto piece, "Half-Mast Inhibition," when he was seventeen-years old, it was not recorded until twenty years later by a twenty-two-piece orchestra with Gunther Schuller con?ducting. It was the presentation of "Revelations," which combined jazz and clas?sical idioms, at the 1955 Brandeis Festival of
the Creative Arts that established him as one of the foremost jazz composers of his day.
In 1971 Mingus was awarded the Slee Chair of Music and spent a semester teach?ing composition at the State University of New York at Buffalo. In the same year his autobiography, Beneath the Underdog (pub?lished by Knopf and now available on Vintage) was published. Mingus received grants from the National Endowment for the Arts, The Smithsonian Institute and the Guggenheim Foundation (two grants). He also received an honorary degree from Brandeis and an award from Yale University. His music was performed frequently by bal?let companies, and Alvin Ailey choreographed an hour program called "The Mingus Dances" during a 1972 collaboration with the Robert Joffrey Ballet Company.
He toured extensively throughout Europe, Japan, Canada, South America and the US until the end of 1977 when he was diagnosed as having a rare nerve disease, Amyotrophic Lateral Sclerosis (also known as Lou Gehrig's Disease). He was confined to a wheelchair, and although he was no longer able to write music on paper or com?pose at the piano, his last works were sung into a tape recorder.
From the 1960s until his death in 1979 at age 56, Mingus remained in the forefront of American music. When asked to com?ment on his accomplishments, Mingus said that his abilities as a bassist were the result of hard work but that his talent for compo?sition came from God. He died in Mexico on January 5, 1979, and his ashes were scat?tered in the Ganges River in India. Both New York City and Washington, DC hon?ored him posthumously with "Charles Mingus Day."
After his death, the National Endowment for the Arts provided grants for a Mingus foundation called "Let My Children Hear Music" which catalogued all of Mingus' works. The microfilms of these works were then given to the Music Division of the New York Public Library where they are currently available for study and scholar?ship. In 1993, the Library of Congress acquired his scores, recordings, photographs, correspondence and original manuscripts-a first, for jazz--and in September of 1995, the United States Postal Service issued a Charles Mingus stamp along with other great jazz artists including Charlie Parker and Thelonious Monk. During the 1997 Grammy ceremonies, NARAS posthumously awarded Charles Mingus with its Lifetime Achievement Award.
The Mingus repertory bands, which include the Mingus Big Band, The Mingus Dynasty, Epitaph Orchestra, and Five Guitars Play Mingus, continue to perform his music under the artistic direction of Sue Mingus. Recent biographies of Charles Mingus include Mingus by Brian Priestly and MingusMingus by Janet Coleman and Al Young.
Mingus' masterwork, Epitaph, a compo?sition which is more than 4,000-measures long and which requires two hours to per?form, was discovered during the cataloguing process. With the help of a grant from the Ford Foundation, the score and instrumen-
tal parts were copied, a thrity-one-piece orchestra conducted by Gunther Schuller premiered the piece, and Sue Mingus pro?duced the concert at Alice Tully Hall on June 3, 1989, ten years after Mingus' death. Convinced that it would never be per?formed in his lifetime, Mingus called his work Epitaph, declaring that he wrote it "for my tombstone."
Influenced by the sounds of Memphis, Motown, and the fresh sounds of rock 'n' roll, Kevin Mahogany is an accomplished singer, saxophonist and pianist. Able to move between musi?cal genres with ease, Mr. Mahogany has received rave reviews both nationally and internationally, having established himself
as one of the first truly gifted jazz singers to emerge in years. His 1999 recording Another Place, Another Time was a fazziz Critics' Pick for one of the best recordings of the year. Both fazziz and Down Beat magazines awarded Mr. Mahogany "Best Male Vocalist" in their Readers' Polls for 1998.
Tonights performance marks Kevin Mahogany's UMS debut.
The Mingus Big Band (MBB) remains devoted to the vast reper?toire that the late, great bassist and composer Charles Mingus left behind when he died in 1979. Organized and overseen by Sue Mingus (Mingus' widow) the Mingus Big Band con?sists of fourteen players from a pool of over
100 of the best musicians on the jazz scene today. MBB plays special big band arrange?ments of Steve Slagle, Ronnie Cuber, Jack Walrath, as well as Mingus himself and his frequent collaborator Sy Johnson. The Band has performed every Thursday night since 1991 to sold-out houses at the Time Cafe in Manhattan's Greenwich Village.
The Mingus Big Band has played to great critical acclaim in many cities in the US, including New York City, Chicago, Boston, Washington DC, San Francisco, Los Angeles, Atlanta, and Minneapolis. They have appeared at virtually every major jazz festival in Europe and at many of the major concert halls, including the Barbican in London and the Concertgebouw in Amsterdam. The Mingus Big Band has been featured on television in Japan, Germany,
Brazil, Italy and in the US on National Public Radio, live from both the Chicago and Detroit Jazz Festivals. In 1993, they per?formed in Washington, DC at the Academy of Arts and Sciences to celebrate the acquisi?tion of Mingus' music by the Library of Congress (the first African-American musi?cian to achieve this). Both the JazzTimes and
Down Beat critics and readers polls have voted the Mingus Big Band "Best Big Band" for several years running and in June 1999, the New York Jazz Awards (sponsored by Bell Atlantic) awarded Mingus Big Band both the "Best Big Band" and "Best Touring
Band" Awards.
During the 20002001 season, the Mingus Big Band offers a special election year program of Mingus' politically-inspired compositions. In support of their latest Dreyfus release, Blues and Politics, the Mingus Big Band will perform throughout the US at some of the nations most presti?gious venues. A few of these presenters are the Chicago Symphony, the Celebrity Series of Boston, the University Musical Society of the University of Michigan, the Flynn Theatre for the Performing Arts, as well as Ford Detroit International Jazz Festival.
The Mingus Big Band has currently released five recordings, all on the Dreyfus label. Gunslinging Birds was nominated for a 1996 Grammy for "Best Large Ensemble" Jazz Recording and won the 1996 NAIRD Indie Award for "Best Mainstream Jazz Recording." Live in Time was released in January 1997 and was also nominated for a Grammy.
Tonight's performance marks the Mingus Big Band's UMS debut.
Albert Sun, Road Manager Sue Mingus, Producer
"Arguably the smokingest regularly performing big band on the planet."
Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music
Lynne Aspnes, Harp Erling Blondal-Bengtsson, Cello Freda Herseth, Mezzo-soprano Andrew Jennings, Violin Mary Ellen Morris, Cello
Louis Nagel, Piano Amy Porter, Flute Yizhak Schotten, Viola Stephen Shipps, Violin
Ludwig van Beethoven
Jacques Ibert
Sunday Afternoon, January 21,2001 at 4:00 Rackham Auditorium, Ann Arbor, Michigan
Serenade in D Major for Flute, Violin, and Viola, Op. 25
Entrata: Allegro
Tempo ordinario d'un Menuetto
Allegro molto
Andante con Variazioni
Allegro scherzando e vivace
Adagio--Allegro vivace e disinvolta--Presto
Jennings, Porter, Schotten
Deux Steles Orientees
Mon amante a les vertues de l'eau On me dit
Herseth, Porter
Serenade for Flute, String Trio, and Harp, Op. 30
Aspnes, Jennings, Morris, Porter, Schotten INTERMISSION
Piotr ilykh Tchiakovsky Piano Trio in a minor, Op. 50
Pezzo elegiaco: Moderato assai; Allegro giusto
Tema con variazioni: Andante con moto
Variazione finale e coda: Allegro risoluto e con fuoco
Bl6ndahl-Bengtsson, Nagel, Shipps
Albert Roussel
Thirty-ninth Performance of the 122nd Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Thanks to all of the U-M School of Music Faculty Artists for their ongoing commitment of time and energy to this special UMS performance.
Large print programs are available upon request.
Serenade in D Major for Flute, Violin, and Viola, Op. 25
Ludwig van Beethoven
Born December 15, 1770 in Bonn, Germany
Died March 26, 1827 in Vienna
Beethoven's Serenade in D Major for Flute, Violin, and Viola was probably composed between 1795-96, and certainly before 1800. But the early composition date should not give the impression that it is an immature work. Along with the string trios of Op. 3 and Op. 9, the Serenade is one of the finest examples of pure trio writing (without piano) in the chamber repertoire. Although it was the quartet that emerged as a major genre of nineteenth-century composition, the leaner and more transparent textures of the trio are more likely to expose weakness?es in voicing and structure. That Beethoven was able to meet and surmount the chal?lenge of trio composition early in his career is evidence of his rapid mastery of chamber styles.
The serenade as a compositional genre has its origins in outdoor performance, and may still have carried some of these conno?tations when Beethoven wrote his Serenade, Op. 25. The nineteenth-century critic Wilhelm von Lenz suggested that Beethoven may have been influenced in this work by the itinerant musicians he heard in the way?side inns outside of Vienna, and he perhaps even wrote the Serenade for them. He seems to have had specific players in mind, as he was careful to stipulate the flute at a time when it was still considered interchangeable with the violin. (A later arrangement of this work for piano and flute or violin, though not by Beethoven himself, was published as his Op. 41 after Beethoven corrected it.)
Serenades typically consist of numerous short, straightforward movements--dances, marches, symphonic sections--that are light and pleasing to the ear. In this serenade, the spirited, march-like "Entrata" is in an arch
form, with a contrasting middle section that exploits the strings' lower registers. In the succeeding minuet, the flute's limpid melody is sometimes interrupted by out?bursts from the strings, but carries on unperturbed. There are two contrasting trios for this minuet: one that features the strings in rapid figuration, and a second trio that showcases the flute. The ensuing "Allegro molto" is characterized by syncopa?tions, and a fanfare-like middle section.
In the fourth movement, a calm and dignified theme is subjected to a short set of variations that allows each of the three instruments to shine individually. The brief "Allegro scherzando" is almost over before it has begun, and a pensive "Adagio" leads into the rondo marked "Allegro vivace e disin-volto"--fast and lively, with easygoing assur?ance.
Deux Steles Orientees
Jacques Ibert
Born August 15, 1890 in Paris
Died February 5, 1962 in Paris
Serenade for Flute, String Trio, and Harp, Op. 30
Albert Roussel
Born April 5, 1869 in Tourcoing, Department
du Nord, France Died August 23, 1937 in Royan
A late bloomer, Albert Roussel didn't take music seriously until he was twenty-five, after serving for some years in the Navy. Under the tutelage of D'Indy, he graduated from the Schola Cantorum at age thirty-nine. By the age of forty-eight he was in ill health, and had produced only seventeen compositions. And yet he is considered by many to be the leading French composer of the interwar era and the most important
French symphonist of all time. Some even rank him second after Debussy (but ahead of Ravel) among twentieth-century French composers.
Though Roussel was a staunch advocate of modernism, his own works are fresh and charming, with a conservative neoclassical bent. Despite his reputation as a Dionysian symphonist, it is the chamber works that perhaps show Roussel in his best light, as a master of delicate shading, sensitivity, and clarity.
The Serenade, from 1925, is one of Roussel's finest and most delicate chamber compositions. Roland-Manuel describes it as a "Symphony of light caprice and sometimes languorous ecstasy and dreaming sensuous-ness.... Music without bass which uses its feet less than its wings, fleeting harmony which defies analysis in its unrestrained course, obeying only the impulses of its familiar masters." The avoidance of bass instruments, and a predilection for intertwining upper voices--features of Roussel's music in general--are especially striking here.
Harry Halbreich writes of the "rhyth?mic bouncing" of the Serenade's outer movements, based on Greek poetic meters, as if the whole thing were "some celebration in honor of the god Pan." The opening Allegro, quaintly polytonal, is in classical form, but the movement's pastoral quality has an insistence that lifts it beyond the merely bucolic.
The three-part "Andante" embodies a sensuality that recalls Debussy's Prelude to the Afternoon of a Faun. The flute dominates the first section; the cello the second. The conversation between flute and cello (each playing their own theme) in the third part is, as one critic observed, like two old friends conversing on a summery afternoon. (A hint of Orientalism in the "Andante" may originate from Roussel's experiences in the Far East as a naval officer.)
The lively "Presto" gives way to a more
moderate tempo near the end, a passage of static calm. But the animated spirit of the opening theme returns at the conclusion: as Halbreich describes it, "The divine humor of Puck dancing in the moonlight through flowers and dreams."
Piano Trio in a minor, Op. 50
Piotr Ilyich Tchiakovsky
Born May 7, 1840 in Votkinsk, Viatka district,
Russia Died November 6, 1893 in St. Petersburg
Tchaikovsky came reluctantly to chamber music, preferring the richer orchestral gen?res of the symphony, concerto, opera, and ballet. Early in his career he even voiced a special aversion to the piano trio, refusing to compose one when prompted by his friend and confidante, Madame von Meek. But he was finally convinced to write the Piano Trio in a minor, Op. 50, to honor the memory of Nicolai Rubinstein, his former teacher and longtime friend. It was first performed on March 2, 1882, the first anniversary of Rubinstein's death.
Despite his aversion to chamber music, Tchaikovsky infused his Piano Trio with characteristic sobriety, melancholy, and sad?ness befitting a memorial work for a dear friend. The first movement is in a modified sonata form in which four richly melodious themes intertwine throughout. The melodies pass from one instrument to another, creating the kinds of instrumental dialogs and duets that are a common feature of Tchaikovsky's orchestral writing. The development section moves from agitation to reverie, and after the recapitulation, Tchaikovsky adds a second development section before the coda.
While the first movement features vir-tuosic piano writing, it is the second move?ment that showcases the piano's variety of effect and expansive technique. The simple,
folk-like theme--a reminder that Rubinstein was himself enamored with Russian folk music--is stated first in the piano, and then followed by eleven diverse and elaborate variations. Some early listeners claimed that the variations were meant to recall specific scenes from Rubinstein's life, a suggestion that the composer dismissed, though his inspiration may have come from a country?side picnic the two shared in 1873 when local peasants sang and danced for them. The diversity of style in the variations is remarkable, including a scherzando with pizzicato strings (No. 3), a "music box" vari?ation (No. 5), and a grandiose ballet treat?ment (No. 7). The inclusion of an academic-style fugue (No. 8) is a reminder that the dedicatee and the composer were both pro?fessors at the Moscow Conservatory. After a lively mazurka (No. 10), the last variation leads into an extended conclusion in which the main theme from the first movement is recalled, the strings ebb away, and the piano concludes by intoning a funeral march.
Program notes by Luke Howard.
Lynne Aspnes, DMA, maintains an active schedule as performer. With the Plymouth Music Series of Minnesota, she has recorded on the CRI, ProArte, RCA Red Seal and Virgin Classics labels. With organist John Walker and the choir of Riverside Church in New York City, Ms. Aspnes has recorded for the Pro Organo label. She has also made recordings for NPR and PBS. Active in the American Harp Society, she was a director of its Concert Artist Program, has served on its Executive Committee and Board of Directors, was National Conference Chairman three times, and is a frequent contributor to The American Harp Journal. She studied at the University of Minnesota, the San Francisco Conservatory of Music, and the Manhattan School of Music, and
currently serves as Associate Dean (for acad?emic affairs) at the University of Michigan School of Music.
This afternoon's concert marks Lynne Aspnes' third appearance under UMS auspices.
Erling Blondal-Bengtsson came to Michigan following a distinguished teaching and per?forming career in Europe. He began cello studies at age three with his father in Copenhagen and subsequently became a student of Gregor Piatigorsky at the Curtis Institute of Music, where he joined the fac?ulty immediately upon graduation. He later returned to his native Denmark as professor at the Royal Danish Conservatory of Music, serving for thirty-seven years. Mr. Bengtsson made his first concert appearance at age four and debuted as orchestral soloist at ten years of age. Since then he has enjoyed a busy schedule as recitalist and soloist with ensembles including the Royal Philharmonic, the BBC, English Chamber Orchestra, Detroit Symphony Orchestra, Gulbenkian Orchestra (Lisbon) and Czech Philharmonic, and the orchestras of Baden-Baden, Brussels, Cologne, and Copenhagen. He has made more than fifty recordings, including highly praised performances of the complete Bach Cello Suites, and the Beethoven and Brahms Sonatas. In 1998, his recording of the Kodaly solo Sonata was chosen by the Guinness Classical 1000 as among the top thousand recordings of all time. In 1993, in recognition of his universal contributions to the art and teaching of cello playing, he was awarded the title of Chevalier du Violoncelle by the Eva Janzer Memorial Cello Center of the School of Music of Indiana University.
This afternoon's concert marks Erling Blondal-Bengtsson's tenth appearance under UMS auspices.
Mezzo-soprano Freda Herseth has sung critically acclaimed leading roles in opera throughout Germany. She has performed with orchestras and chamber ensembles throughout Europe, Russia and Israel, including the La Scala Opera Orchestra, conducted by Riccardo Muti, in the world premiere of Richard Wernick's .. .And a Time for Peace with the Israel Sinfonietta; the Stuttgart State Theater Orchestra in the world premiere of William Bolcom's Songs of Innocence and Experience with the Frankfurt Radio Orchestra; New York New Music Ensemble; the Haifa Symphony Orchestra; and the Folger Consort of Washington, DC. Well known for her work in contemporary music, she has premiered many works written especially for her. Ms. Herseth has been the recipient of numerous awards, including a stipend from the Richard Wagner Society in Bayreuth. She graduated cum laude from the University of Puget Sound, and from the Eastman School of Music, where she studied with Jan DeGaetani. Ms. Herseth was recently hon?ored at the Voice Foundation Annual International Symposium in Philadelphia with the award of the Van Lawrence Fellowship for research and excellence in the field of vocal pedagogy.
This afternoon's concert marks Freda Herseth's third appearance under UMS auspices.
Andrew Jennings graduated from The Juilliard School. His principal teachers were Ivan Galamian, Alexander Schneider, and Raphael Druian. He was a founding mem?ber of the Concord String Quartet, a new ensemble that quickly gained international recognition by winning the Naumberg Chamber Music Award in 1972 and which performed more than 1,200 concerts throughout the US, Canada and Europe.
Specializing in the performance of new works (with an emphasis on American com?posers), this Quartet gave more than fifty premieres and commissions; it also per?formed the standard repertory and thirty-two cycles of the complete Beethoven quar?tets and made numerous recordings, three of which were nominated for Grammy Awards. Mr. Jennings maintained his associ?ation with this Quartet until it disbanded in 1987. The Concord Trio, which Mr. Jennings subsequently formed with Norman Fischer and Jeanne Kierman, debuted in 1993. Mr. Jennings' teaching career began at Dartmouth College, where members of the Concord Quartet were engaged as artists-in-residence from 1974 to 1987. Later he served on the faculties of the University of Akron and of Oberlin College. He currently devotes his summers to chamber music instruction at the Tanglewood Music Center in Massachusetts.
This afternoon's concert marks Andrew Jennings' thirteenth appearance under UMS auspices.
Louis Nagel, DMA, is a graduate of The Juilliard School, where his teachers were Rosina Lhevinne, Josef Raieff, and Joseph Bloch. He also worked with Vladimir Ashkenazy. He joined the Michigan faculty in 1969. He has served as an adjudicator in the National Federation of Music Clubs and the Canadian National Competitive Festival, and the Kingsville, Joanna Hodges, and the Texas Piano Teachers' Competitions. His performances have taken him to New York, Washington, DC, Dallas, and Detroit as well as solo and orchestral appearances in Berlin, Budapest, St. Petersburg, Tel Aviv, Jerusalem, Sydney and Taichung. Mr. Nagel presented a lecture recital on The Well-Tempered Clavier at the 1997 National Music Teachers Association Convention in Dallas. His
reviews and articles appear in Piano and Keyboard Magazine. As artistic director of the Lyric Chamber Ensemble of Michigan, he performs yearly in Detroit's Orchestra Hall and in chamber music programs throughout the metropolitan Detroit area. He has recorded J.S. Bach's Partitas for Educo, and a CD entitled Four Centuries of J.S. Bach. In the summer of 1998 he was artist-in-residence at the Adamant Music Center in Vermont and at the International Music Camp in Warsaw and Lublin, Poland.
This afternoon's concert marks Louis Nagel's seventh appearance under UMS auspices.
Amy Porter maintains a wide and varied career as concerto soloist, recitalist and chamber musician. She was appointed to the Michigan faculty in 1999 following eight years as associate principal flute in the Atlanta Symphony Orchestra. In 1993, Ms. Porter was the winner of the Kobe International Flute Competition in Japan, and was also awarded the special prize for the best performance of the commissioned work at the competition. Honors also include first prize at the 1990 National Flute Association Competition and at the Ima Hogg Competition, which led to an appear?ance as guest soloist with the Houston Symphony Orchestra. Ms. Porter has toured Japan and Southeast Asia as concerto soloist with the New York Symphonic Ensemble. She made her New York debut in 1987 in recital at Weill Hall at Carnegie Hall. She was highlighted on a PBS Live from Lincoln Center telecast entitled "Julliard at 80," at which school she studied with Samuel Baron and Jeanne Baxtresser. Ms. Porter can be heard on the CBS Masterworks recording Bach on Wood and the Atlanta Chamber Players' ACA Digital Recording Conversations and Soiree Sweets.
This afternoon's concert marks Amy Porter's third appearance under UMS auspices.
Violist Yizhak Schotten was brought to the US by the renowned violist William Primrose, with whom he studied at Indiana University and the University of Southern California. Other studies were with Lillian Fuchs at the Manhattan School of Music. His solo appearances with orchestras in this country and abroad have included perfor?mances with conductors Seiji Ozawa, Thomas Schippers, Sergiu Commissiona, Joseph Swensen, and Arthur Fiedle. He has concertized in Israel, Japan, Taiwan, Malaysia, Holland, Austria, Mexico, England, Canada and throughout the US. His solo recitals have included Town Hall, Carnegie Hall, and Merkin Hall in New York, Boston's Jordan Hall, the Phillips Collection in Washington, DC, the Dame Myra Hess Series in Chicago, and the Cleveland Museum of Art. Mr. Schotten has also had numerous broadcasts on National Public Radio. Formerly a member of the Boston Symphony Orchestra, he subse?quently became Principal Violist of the Cincinnati and Houston symphony orches?tras. In the summers he has also been on the faculties and performed at the Aspen Music Festival, Banff, Meadowmount, Interlochen, and appeared in the Tanglewood, Chamber Music Northwest, Montreal Skaneateles, and the Juneau Festivals. Abroad he has per?formed at the Taipei Philharmonic Festival in Taiwan, the Festival Internacional de Musica Clasica in Mexico, the Festival de Musique de Chambre de Montreal, and the Amsterdam Kamermuzik Festival in Holland. He is Music Director of the Maui Chamber Music Festival in Hawaii, Strings in the Mountains Festival in Steamboat Springs, Colorado, and SpringFest in Ann Arbor. His CRI recording of the Hindemith Sonata No. 4, Op. 25 (world-premiere
recording) was chosen as "Critics' Choice" for three months in High Fidelity Magazine. Pearl Records recently included his playing on its anthology, History of the Recording of the World's Finest Violists. He joined the Michigan faculty in 1985 after having taught at Rice University and the University of Washington.
This afternoon's concert marks Yizhak Schotten's sixteenth appearance under UMS auspices.
Stephen Shipps studied with Josef Gingold at Indiana University. He also studied with Ivan Galamian and Sally Thomas at the Meadowmount School and with Franco Gulli at the Academia Chigiana in Siena, Italy. He is a member of the Meadowmount Trio, a past member of the Fine Arts Quartet and the Amadeus Trio, and has appeared as soloist with the symphony orchestras of Indianapolis, Dallas, Omaha, Seattle and Ann Arbor, as well as with the Piedmont Chamber Orchestra and at the Madiera Bach Festival. He has been a mem?ber of the Cleveland Orchestra, Associate Concertmaster of the Dallas Symphony and Concertmaster of the Dallas Opera, concert?master and associate conductor of the Omaha Symphony and the Nebraska Sinfonia, and guest concertmaster for the Seattle and Toledo symphony orchestras. Mr. Shipps has recorded for American Gramophone, Bay Cities, NPR, RIAS Berlin, Hessiche Rundfunk of Frankfurt, MelodiyaRussian Disc and Moscow Radio. His work on the Mannheim Steamroller Christmas albums has yielded a dozen gold and two platinum records. He has adjudi?cated major national and international com?petitions for almost two decades and is director of the American String Teachers Association National Solo Competition. Prior to joining the Michigan faculty in
1989, he served on the faculties of Indiana University, the North Carolina School of the Arts, and the Banff Centre in Canada.
This afternoon's concert marks Stephen Shipps' eleventh appearance under UMS auspices.
All educational activities are free and open to the public unless otherwise noted ($). Many events with artists are yet to be planned--please call the UMS Education Office at 734.647.6712 or the UMS Box Office at 734.764. 2538 for more informa?tion. Activities are also posted on the UMS website at
Pilobolus with The Klezmatics
Saturday, January 6, 2 p.m. (One-Hour Fatuity Performance) Saturday, January 6, 8 p.m. Sunday, January 7, 4 p.m. Power Center PREP "Galloping Sofas, the Appendectomy, and Hairballs: The Method and Movement Vocabulary of Pilobolus" by Kate Remen-Wait, UMS Dance Education Specialist. Saturday, January 6, 7:00 p.m., Michigan League, Koessler Library (3rd Floor). Media sponsor WDET.
UMS Kennedy Center Workshop
"Responding to Visual Art Through
Movement" by Kimberli Boyd.
Wednesday, January 10,4:30 p.m., , Washtenaw Intermediate School
District, 1819 S. Wagner, Ann Arbor. I Contact the UMS Youth Education
Department at 734.615.0122 or e-mail for more infor?mation. In collaboration with Ann Arbor Public Schools.
Moses Hogan Singers
Moses Hogan, conductor Wednesday, January 10, 8 p.m. St. Francis of Assisi Catholic Church
Community Choir Workshop with Moses Hogan Featuring Ann Arbor's Our Own Thing Chorale and U-M vocal choirs. Tuesday, January 9, 7:30 p.m., Bethel A.M.E. Church, 900 John A. Woods Drive, Ann Arbor. Call 734.647.6712 for more information. Media sponsor WEMU.
Vermeer Quartet
Saturday, January 13, 8 p.m. Rackham Auditorium PREP by Inna Naroditskaya, Professor, Northwestern University. A discussion of the evening's repertoire. Saturday, January 13, 7:00 p.m., Rackham Auditorium, U-M Assembly Hall (4th Floor).
Mingus Big Band Blues and Politics
with Kevin Mahogany, vocals Monday, January 15, 8 p.m. Hill Auditorium
Pre-performance Interview with Sue Mingus "This Aint's No $ Ghost Band!" by Michael Jewett, Host of "Afternoon Jazz," WEMU 89.1 FM. Monday, January 15,6:00 p.m., Michigan League, Hussey Room (2nd Floor).
Sponsored by the Detroit Edison Foundation.
Presented with support from the Wallace-Reader's Digest Funds and lazzNet, 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, WDETand Metro Times.
Michigan Chamber Players
Sunday, January 21,4 p.m. Rackham Auditorium Complimentary Admission
UMS Kennedy Center Workshop "Songs of the Underground Railroad" by Kim and Reggie Harris. Monday, January 29,4:30-7:30 p.m., Washtenaw Intermediate School, 1819 S. Wagner, Ann Arbor. Contact the UMS Youth Education Department at 734.615.0122 or e-mail In collaboration with Ann Arbor Public Schools.
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 Revelations Open Rehearsal with the Rudy Hawkins Singers Featuring music from AJvin Ailey's Revelations and a discussion on preserving spiritu?als as a classic art form. Wednesday, January 24,7:00 p.m., Detroit Public Library, Friends Auditorium, 5201 Woodward, Detroit, MI. For more information contact the Detroit Public Library Marketing Department at 313.833.4042 or contact UMS at 734.647.6712.
Friday performance sponsored by MASCO Charitable Trust. 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 and the Wallace-Reader's Digest Funds. Media sponsors WDET and WB20.
Dresden Staatskapelle
Giuseppe Sinopoli, conductor Friday, February 2, 8 p.m. Hill Auditorium Media sponsor WGTE.
Brentano String Quartet
Sunday, February 4,4 p.m. Rackham Auditorium Presented in partnership with the Chamber Music Society of Detroit.
Hubbard Street Dance Chicago
James F. Vincent, artistic director Friday, February 9, 8 p.m. Saturday, February 10, 8 p.m. Power Center Friday performance sponsored by Personnel Systems, Inc.Arbor Technical StaffingArbor Temporaries, Inc. Saturday performance presented with the generous support of Susan B. Ullrich. Additional support provided by GKN Sinter Metals. Media sponsors WDET and Metro Times.
Dubravka Tomsic, 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 Uma
(Sea-Dappled Horse) Akaji Maro, artistic director Wednesday, February 14, 8 p.m. Power Center
PREP "Humor and the Grotesque: Inhabiting the Far Reaches of the Butoh Continuum" by Kate Remen-Wait, UMS Dance Education Specialist. Wednesday, February 14, 7:00 p.m., Michigan League, Hussey Room (2nd Floor). Media Sponsor Metro Times.
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. Additional support provided by Alcan Global Automotive Solutions. 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
PREP by Naomi Andre, Assistant
Professor, U-M School of Music.
Friday, February 16, 7:00 p.m.,
Michigan League, Henderson Room
(3rd Floor).
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
PREP "Angelin Preljocaj and the Legacy of Dance-Theater" by Kate Remen-Wait, UMS Dance Education Specialist.
Wednesday, February 21, 7:00 p.m., Michigan League, Vandenberg Room (2nd Floor). Media Sponsor Metro Times.
Texaco Sphinx Competition Concerts
Junior Division Honors Concert Friday, February 23, 12 noon 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. Additional support provided by Hclla North America. Media sponsor WGTE.
Royal Shakespeare Company Shakespeare's History Cycle Henry VI, Parts I, II and III Richard III
Directed by Michael Boyd Cycle 1: Saturday, March 10 & Sunday, March 11 Cycle 2: Saturday, March 17 & Sunday, March 18 Best Availability! Cycle 3: Tuesday, March 13-Thursday, March 15 Power Center
UMS Performing Arts Workshop "Drama for Literacy--Telling Tales from Shakespeare: A Practical Approach for Primary Teachers" by Mary Johnson, Education Department, Royal Shakespeare Company. Monday, January 22,4:30-7:30 p.m. Focus on grades K-6. $20. For location and reg?istration, contact the UMS Youth Education Department at 734.615.0122 or e-mail UMS Performing Arts Workshop "Teaching Richard III: A Theater-based Approach" by Mary Johnson, Education Department, Royal Shakespeare Company. Tuesday,
January 23,4:30-7:30 p.m., Washtenaw Intermediate School District, 1819 S. Wagner, Ann Arbor. Focus on grades 7-12. $20. For location and registration, contact the UMS Youth Education Department at 734.615.0122 or e-mail Family Workshop "Shakespeare is for Everyone" led by Clare Venables, Education Department, Royal Shakespeare Company. Wednesday, January 24, 7:00 p.m., Ann Arbor Hands on Museum, 220 East Huron, Ann Arbor. Children and parents wel?come--all ages. Call 734.615.0122 or 734.995.5437 for more information. RSC Ralph Williams Lecture Series: All lectures begin at 7 p.m. in Rackham Auditorium, given by U-M Professor of English, Ralph Williams. Lecture on Henry VI, Part I Monday, January 29, 7:00-9:00 p.m., Lecture on Henry VI, Part II Monday, February 5,7:00-9:00 p.m., Lecture on Henry VI, Part III Monday, February 12, 7:00-9:00 p.m., Lecture on Richard III Monday, February 19,7:00-9:00 p.m., Lecture "Dream of Kingship: Ghostly Terror in Shakespeare's Richard " by Dr. Stephen Greenblatt, Professor of Shakespeare, Harvard University. In collaboration with the U-M Early Modern Colloquium. Monday, February 19,4:00-6:00 p.m., Rackham Auditorium.
Presented with the generous support of the State of Michigan, Michigan Council for Arts and Cultural Affairs, and the National Endowment for the Arts. The Royal Shakespeare Company is a co-presentation of the University Musical Society and the University of Michigan. Media sponsor Michigan Radio.
Les Violons du Roy
Bernard Labadie, conductor David Daniels, countertenor Thursday, March 22, 8 p.m. St. Francis of Assisi Catholic Church
Presented with the generous support of Maurice and Linda Binkow. Media sponsor WGTE
Academy of
St Martin-in-the-Fields
Murray Perahia, conductor
and piano
Saturday, March 24, 8 p.m.
Hill Auditorium
Sponsored by Pfizer.
Media sponsor WGTE.
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 Support provided by 77 Group Automotive Systems. Media sponsor WGTE.
Brass Band of Battle Creek Paul W. Smith, emcee
Friday, March 30, 8 p.m. Hill Auditorium Sponsored by Ideation, Inc.
Ronald K. BrownEvidence
Ronald K. Brown, artistic director
Saturday, March 31,8 p.m.
Power Center
Meet the Artist post-performance
dialogue from the stage.
Funded in part by the National Dance
Project of the New England Foundation
for the Arts, with lead funding from the
National Endowment for the Arts and
the Doris Duke Charitable Foundation.
Additional funding provided by the
Andrew W. Mellon Foundation and the
Philip Morris Companies Inc.
Media sponsors WEMU and Metro Times.
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 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 PREP "John Relyea: An Introduction To His Art" by Richard LeSueur, Music Specialist, Ann Arbor District Library. Saturday, April 14, 7:00 p.m., Michigan League, Koessler Library (3rd Floor). Sponsored by Miller, Canfield, Paddock and Stone, P.LC. Media sponsor WGTE.
Mark Morris Dance Group
Mark Morris, artistic director with The Detroit Symphony Orchestra Neeme Jarvi, music director and The Ann Arbor Cantata Singers William Boggs, music director Friday, April 20, 8 p.m. Saturday, April 21,8 p.m. Power Center Friday performance sponsored by McKinley Associates, Inc. Saturday performance sponsored by The Shiffrnan Foundation, Sigrid Christiansen and Richard Levey. Funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from the National Endowment for the Arts and the Doris Duke Charitable Foundation. Additional funding provided by the Andrew W. Mellon Foundation and the Philip Morris Companies Inc. Media sponsors WDET and Metro Times.
Berlioz' Requiem
UMS Choral Union
Greater Lansing Symphony Orchestra
U-M Symphony Band
Thomas Sheets, conductor
Sunday, April 22, 4 p.m.
Hill Auditorium
Sponsored by Jim and Millie Irwin.
VMS Co-Commission & World Premiere Curse of the Gold: Myths from the Icelandic Edda
Conceived and directed by Benjamin Bagby and Ping Chong
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, with additional funding from the Wallace-Reader's Digest Funds and the National Endowment for the Arts. Presented in collaboration with the U-M Institute for the Humanities. Media sponsor Michigan Radio.
Peter Sparling Dance Company Orfeo Open Rehearsal Satuday, April 28, 1:00-3:00 p.m., Peter Sparling Dance Gallery Studio, 111 Third Street, Ann Arbor.
Work-in-Progress Preview of Orfeo with the U-M School of Music. Saturday, May 19,8:00 p.m., Michigan Theater, Ann Arbor. For more infor?mation call Peter SparlingDance Gallery Studio at 734.747.8885 or visit Peter Sparling Dance Company at www.comnet.orgdancegallery.
Liz Lerman Dance Exchange will be in residency for several weeks this spring in preparation for their Hallelujah! project premie-ring Fall 2001. If you would like more information about upcoming residency activities, please contact the UMS Education Department at 734.615.6739.
he Ford Honors Program is made possible by a generous grant from the Ford Motor Company Fund and benefits the UMS Education Program.
Each year, UMS honors a world-renowned artist or ensemble with whom we have maintained a long-standing and signifi?cant 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.
This season's Ford Honors Program will be held on Saturday, May 12, 2001. The recipient of the 2001 UMS Distinguished Artist Award will be announced in February 2001.
Ford Honors Program Honorees
19 96
Van Cliburn
Isaac Stern
In the past several seasons, UMS' Education and Audience Development program has grown significantly. With a goal of deepening the understanding of the importance of the live performing arts and the major impact the arts can have in the community, UMS now seeks out active and dynamic collabora?tions and partnerships to reach into the many diverse communities it serves.
Family Performances
For many years, UMS has been committed to providing the opportunity for families to enjoy the arts together.
The 2001 Winter Season's Family Performances include:
? Pilobolus
? 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. Contact the UMS Box Office at 734.764.2538 for tickets and more information.
Master of Arts Interview Series
Now in its fifth year, this series is an opportunity to showcase and engage the choreographers in academic, yet informal, dialogues about their art form, their body of work and their upcoming performances.
PREPs (Performance-Related Educational Presentations)
This series of pre-performance presentations features talks, demonstrations and workshops designed to provide context and insight into the performance. All PREPs are free and open to the public and usually begin one hour before curtain time.
Meet the Artists: Post-Performance Dialogues
The Meet the Artist Series provides a special opportunity for patrons who attend perform?ances to gain additional understanding about the artist, the performance they've just seen and the artistic process. Each Meet the Artist event occurs immediately after the perform?ance, and the question-and-answer session takes place from the stage.
Artist Residency Activities
UMS residencies cover a diverse spectrum of artistic interaction, providing more insight and greater contact with the artists. Residency activities include interviews, open rehearsals, lecturedemonstrations, in-class visits, master classes, participatory workshops, clinics, visiting scholars, seminars, communi?ty projects, symposia, panel discussions, art installations and exhibits. Most activities are free and open to the public and occur around the date of the artist's performance.
Major residencies for the 2001 Winter Season are with:
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 2001 Youth Performance Series includes:
Mingus Big Band: Blues and Politics
? Alvin Ailey American Dance Theater
? Hubbard Street Dance Chicago
Royal Shakespeare Company: Richard III
Ronald K. BrownEvidence
Teachers who wish to be added to the youth performance mailing list should call 734.615.0122 or e-mail
The Youth Education Program is sponsored by
Teacher Workshop Series
This series of workshops for all K-12 teachers is a part of UMS' efforts to provide school?teachers with professional development oppor?tunities and to encourage ongoing efforts to incorporate the arts in the curriculum.
This year's Kennedy Center Workshops are:
Responding to Visual Art Through Movement
Songs of the Underground Railroad
Workshops focusing on the UMS youth per?formances are:
Drama for Literacy--Telling Tales from Shakespeare: A Practical Approach for Primary Teachers
Teaching Richard III: A Theater-based Approach
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 in 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 listed below. All upcoming dinners will be held in the Alumni Center. 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 j reservation priority. Please reserve in advance by calling 734.647.8009.
i We are grateful to Sesi Lincoln Mercury for their support of these special dinners. 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
Celebrate in style with dinner and a show or stay overnight and relax in luxurious comfort! A delectable meal followed by priority, reserved seating at a performance by world-class artists sets the stage for a truly elegant evening--add luxury accommodations to the package and make it a perfect get-a-way.
UMS is pleased to announce its cooperative ventures with the following local establish?ments:
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.
Package price is $228 per couple.
Gratzi Restaurant
326 South Main Street
888.456.DINE for reservations
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.
Vitosha Guest Haus
1917 Washtenaw Avenue Call 734.741.4969 for reservations Join proprietors Christian and Kei Constantinov for afternoon tea, feather duvets and owls in the rafters in their expan?sive stone chalet home. Catering to "scholars, artists and the world-weary," this historic complex features old English style decor, ten guest rooms, each with their own private bath and many with a gas fireplace, a neo-Gothic parsonage, coach house tearoom, and a Frank Lloyd Wright-inspired church. The Vitosha Guest Haus also offers group dis?count rates and can accommodate confer?ences, musical and performing arts events, weddings and family celebrations. Call 734.741.4969 for reservations or to inquire about special package prices.
Visit 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.
Blue Nile
221 East Washington Street 734.998.4746 Join us for an authentic dining adventure to be shared and long remembered. Specializing in poultry, beef, lamb and vegetarian special?ties. Outstanding wine and beer list. http:annarbor.orgpagesbluenile.html

Cafe 303
303 Detroit Street 734.665.0700 Modern American cooking, daily eclectic specials, 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.
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 catering 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 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.
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 encouraged.
Back 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.
UMS 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.
Now fifty-nine 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.
Advertising 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.
Students 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.
Without the dedicated service of UMS' Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing program books and pro?viding that personal touch which sets UMS events above others.
The UMS Usher Corps comprises 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, mem?bers of the Society, fcThe list below represents names of current donors as of November 13, 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 Charlotte McGeoch Randall and Mary Pittman Herbert Sloan
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 Ford Foundation JazzNetDoris Duke Charitable
Foundation Michigan Council for Arts
and Cultural Affairs National Endowment
for the Arts State of Michigan Arts and
Quality of Life Grant Program Wallace-Reader's Digest Funds
Herb and Carol Amster
Peter and Jill Corr
Ronnie and Sheila Cresswell
Comerica Incorporated Dow Automotive KeyBank
MASCO Charitable Trust McKinley Associates National City Bank Sesi Lincoln Mercury Thomas B. McMullen
Company Wolverine Technical Staffing,
Detroit Edison Foundation Elizabeth E. Kennedy Fund Mid-America Arts Alliance
Heartland Arts Fund New England Foundation
for the Arts, Inc. Shiffman Foundation Trust
(Richard Levey and Sigrid
Christiansen) The Texaco Foundation
VIRTUOSI Individuals
David Eklund and Jeff Green Prudence and Amnon Rosenthal
Bank of Ann Arbor CFI Group
Maurice and Linda Binkow Barbara Everitt Bryant Douglas D. Crary Ken and Penny Fischer Beverley and Gerson Geltner David and Phyllis Herzig Lawrence and Rebecca Lohr Robert and Pearson Macek Robert and Ann Meredith Joe and Karen Koykka O'Neal Loretta M. Skewes Dr. Isaac Thomas III and
Dr. Toni Hoover Don and Carol Van Curler Marina and Robert Whitman Ann and Clayton Wilhite Roy Ziegler
Alcan Global Automotive
Solutions Ann Arbor Acura AutoCom Associates Personnel Systems, Inc.
Arbor Technical Staffing
Arbor Temporaries, Inc. Butzel Long Attorneys Cafe Marie Consumers Energy Edward Surovell Realtors Elastizell Corporation of
GKN Sinter Metals Hella North America, Inc. Miller, Canfield, Paddock
and Stone P.L.C. O'Neal Construction Pepper Hamilton LLP TI Group Automotive Systems 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
Joan Akers Binkow
Mr. and Mrs. William Brannan
Amy and Jim Byrne
Edward and Mary Cady
Edwin and Judith Carlson
Maurice and Margo Cohen
Tom Cohn
Mr. Ralph Conger
Katharine and Jon Cosovich
Molly and Bill Dobson
Jim and Patsy Donahey
Mr. and Mrs. Thomas C. Evans
John and Esther Floyd
James and Anne Ford
Otto and Lourdes E. Gago
Betty-Ann and Daniel Gilliland
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
Shirley Neuman
Gilbert Omenn and
Martha Darling John and Dot Reed Barbara A. Anderson and
John H. Romani Don and Judy Dow Rumelhart Carol and Irving Smokier Lois A. Theis
Richard E. and Laura A. Van House Mrs. Francis V. Viola HI Marion Wirick and James Morgan
Alf Studios AAA Michigan Blue Nile Restaurant Dennis A. Dahlmann Inc. Ideation, Inc. Joseph Curtin Studios Masco Corporation
Ann Arbor Area Community
Foundation The Lebensfeld Foundation
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
Philip C. Berry
Suzanne A. and Frederick J. Beutler
Elizabeth and Giles G. Bole
Susan Steiner Bolhouse
Lee C. Bollinger and
Jean Magnano Bollinger Howard and Margaret Bond Laurence and Grace Boxer Dale and Nancy Briggs Helen L. Brokavv 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
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 Elaine Buxbaum Cousins Peter and Susan Darrow Beatrice C. DeRocco Lorenzo DiCarlo and
Sally Stegeman DiCarlo Jack and Alice Dobson Elizabeth A. Doman Mr. and Mrs. John R. Edman Rosalie Edwards 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
Principals, continued
Victoria Green and
Matthew Toschlog Linda and Richard Greene Frances Greer John and Helen Griffith 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 Johansson Elizabeth Judson Johnson Robert L. and
Beatrice H. Kahn Robert and Gloria Kerry Amy Sheon and
Marvin Krislov Bud and Justine Kulka Barbara and Michael Kusisto Lenore Lamont Jill I aii.i and David S. Bach Leo and Kathy Legatski Evie and Allen Lichter 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 Andy and Candice Mitchell Lester and Jeanne Monts Grant W. Moore Julia S. Morris Eva L. Mueller M. Haskell and
Jan Barney Newman William and
Deanna Newman Dr. and Mrs.
William J. Oliver Mark and Susan Orringer Elizabeth C. Overberger Mr. and Mrs.
William B. Palmer William C. Parkinson Dory and John D. Paul John M. Paulson Maxine Pierpont 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 J. 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 Victor and
Marlene Stoeffler Bengt L. and
Elaine M. Swenson James L. and Ann S. Telfer Susan B. Ullrich Bryan and Suzette Ungard Jerrold G. Utsler Charlotte Van Curler Mary Vanden Belt Elly Wagner John Wagner Gregory and
Annette Walker Barry and Sybil Wayburn Willes and Kathleen Weber Elise and Jerry Weisbach Robert O. and
Darragh H. Weisman 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 Nancy and Martin
Charles Reinhart
Company Realtors Shar Products Company
Harold and Jean Grossman Family Foundation Hudson's Community
Montague Foundation The Power Foundation Vibrant of Ann Arbor
Robert Ainsworth Dr. and Mrs. Robert G. Aldrich Michael and Suzan Alexander Carlene and Peter Aliferis Michael Allemang and
Denise Boulange Dr. and Mrs. Rudi Ansbacher anet 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 Tom and Cathie Bloem )ane M. Bloom Ron and Mimi Bogdasarian Charles and Linda Borgsdorf David and Sharon Brooks June and Donald R. Brown Virginia Sory Brown Douglas and
Marilyn Campbell Jean W. Campbell Michael and Patricia Campbell Bruce and Jean Carlson Jack and Wendy Carman James S. Chen Janice A. Clark John and Nancy Clark Edward J. and Anne M. Comeau Carolyn and L Thomas Conlin Jim and Connie Cook Susan and Arnold Coran 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 Pauline and Jay J. De Lay Katy and Anthony Derezinski Lloyd and Genie Dethloff Marnee and John DeVine Delia DiPietro and
Jack Wagoner, M.D. Steve and Lori Director Al Dodds
Charles and Julia Eisendrath Dr. Alan S. Eiser Kathryn A. Eklund Stefan S. and Ruth S. Fajans Dr. and Mrs. S.M. Farhat
Claudine Farrand and
Daniel Moerman Sidney and Jean Fine Clare M. Fingerle Phyllis W. Foster Deborah and
Ronald Freedman Gwyn and Jay Gardner Drs. Steve Geiringer and
Karen Bantel Thomas and
Barbara Gelehrter Beverly Gershowitz Elmer G. Gilbert and
Lois M. Verbrugge Joyce and Fred Ginsberg Paul and Anne Glendon Susie and Gene Goodson Cozette Grabb
Dr. and Mrs. William A. Gracie William and Deborah Gray Leslie and Mary Ellen Guinn Carl E. and Julia H. Guldberg Don P. Haefner and
Cynthia J. Stewart Helen C. Hall
Mr. and Mrs. Elmer F. Hamel Susan Harris Paul Hysen and
Jeanne Harrison Anne Vance Hatcher Karl and Eleanor Hauser Nina E. Hauser Jeannine and Gary Hayden Margaret and
Walter Helmreich J. Lawrence and Jacqueline
Stearns Henkel Carl and Charlene Herstein Mrs. W.A. Hiltner Mr. and Mrs.
William B. Holmes 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 Tim and Jo Wiese Johnson Steven R. Kalt and
Robert D. Heeren Mercy and Stephen Kasle Herbert Katz
Richard and Sylvia Kaufman John B. and Joanne Kennard 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 Ann M. Leidy Leslie and Susan Loomans
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 Melinda and Bob Morris Brian and Jacqueline Morton Cyril and Rona Moscow Hillary Murt and
Bruce A. Friedman Martin Neuliep and
Patricia Pancioli Mrs. Marvin Niehuss Gene Nissen
Marylen and Harold Oberman Dr. and Mrs.
Frederick C. O'Dell Constance L. and
David W. Osier Mitchel Osman, M.D. Shirley and Ara Paul Lorraine B. Phillips 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
Ion.nluii Allen Cohn Jim and leva Rasmussen Jim and Bonnie Reece Rudolph and Sue Reichert Ray and Ginny Reilly Maria and Rusty Restuccia Dr. Susan M. Rose Mrs. Doris E. Rowan James and Adrienne Rudolph Ina and Terry Sandalow Sheldon Sandweiss Ronald and Donna Santo Drs. Edward and
Virginia Sayles Peter C. Schaberg and
Norma J. Amrhein Meeyung and
Charles Schmitter Sue Schroeder Howard and AJiza Shevrin Dr. and Mrs.
Martin Shinedling Frances U. and
Scott K. Simonds Dr. Elaine R. Soller Kate and Philip Soper 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 Thicme Christina and
Thomas Thoburn 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 Jack and
Marilyn van der Velde Kate and Chris Vaughan Florence S. Wagner Bruce and Raven Wallace Charles R. and
Barbara H. Wallgren Dana M. Warnez Joyce L. Watson Robin and Harvey Wax Karl and Karen Weick Raoul Weisman and
Ann Friedman Dr. Steven W. Werns Harry C. White and
Esther R. Redmount Clara G. Whiting Brymer Williams J. D. and Joyce Woods Mr. and Mrs. A. C. Wooll David and April Wright Don and Charlotte Wyche
The Barfield Company
Bellanina Day Spa Dupuis & Ryden P.C.CPAs
and Business Advisors Guardian Industries
Corporation Lewis Jewelers Public Sector Consultants, Inc.
The Sneed Foundation, Inc.
ASSOCIATES Individuals
Dr. Diane M. Agresta
Anastasios Alcxiou
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
Dwight Ashley
Dan and Monica Atkins
Jonathan and Marlene Aycrs
Robert L. Baird
John R. Bareham
Cy and Anne Barnes
Associates, continued
Victoria and Robin Baron Lois and David Baru Gary Beckman and Karla Taylor Srirammohan S. and
Shamal Beltangady Erling and
Mcrete Blondal Bengtsson Linda and Ronald Benson Robert Hunt Berry Sheldon and Barbara Berry Dan and Irene Biber Roger and Polly Bookwalter lames and Janice Stevens Botsford Mr. Joel Bregman and
Ms. Elaine Pomeranz Allen and Veronica Britton Mrs. A. Joseph Brough Morton B. and Raya Brown Sue and Noel Buckner Trudy and Jonathan Bulkley Arthur W. and Alice R. Burks Bob Caldwell and
Terry Hirth Caldwell Susan and Oliver Cameron Margot Campos Charles F. Cannell Nancy Cantor
Marshall F. and Janice L. Carr Jeannette and Robert Carr Carolyn M. Carty and
Thomas H. Haug Dr. and Mrs. Joseph C. Cerny Tsun and Siu Ying Chang Dr. Kyung and Young Cho Kwang and Soon Cho Soon K. Cho Nancy Cilley
Donald and Astrid Cleveland Hubert and Ellen Cohen John and Penelope Collins Wayne and Melinda Colquitt Nan and Bill Conlin Elly Rose Cooper and
Hugh Cooper Paul N. Courant and
Marta A. Manildi Malcolm and Juanita Cox 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 Elena and Nicholas Delbanco Ellwood and Michcle Derr Elizabeth Dexter Martha and Ron DiCecco Bill and Peggy Dixon Jean Dolega
Heather and Stuart Dombey Dr. and Mrs. Edward F. Domino Thomas and Esther Donahue Eugene and Elizabeth Douvan Mr. and Mrs. Daniel G. Dow Phillip Duryea Jane E. Dutton Martin and Rosalie Edwards Judge and Mrs. S. J. Elden F.thel and Sheldon Ellis Mackenzie and Marcia Endo loan and Emil Engel Patricia Enns
Dr. and Mrs. James Ferrara Yi-tsi M. and
Albert Feuerwerker Karl and Sara Fiegenschuh
Dr. lames F. Filgas Carol Finerman Herschel and Annette Fink Beth B. Fischer (Mrs. G. J.) Dr. C. Peter and
Beverly A. Fischer Susan R. Fisher and
John W. Waidley Jennifer and Guillermo Flores Mr. and Mrs. George W. Ford Doris E. Foss Paula L. Bockenstedt and
David A. Fox
Howard and Margaret Fox Betsy Foxman and
Michael Boehnke Andrew and Deirdre Freiberg Lela J. Fuester
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld Bernard and Enid Galler Eugene and Mary Anne Gargaro David and Marian Gates Wood and Rosemary Geist 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 Gribble Carleton and Mary Lou Griffin Mark and Susan Griffin Werner H. Grilk David and Kay Gugala Ken and Margaret Guire Arthur W. Gulick, M.D. John and Susan Halloran Yoshiko 11. mi. inn Mr. and Mrs. Michael Hanna Martin D. and Connie D. Harris Robert and Sonia Harris Robert and Jean Harris Naomi Gottlieb Harrison and
Theodore Harrison DDS Clifford and Alice Hart Thomas and Connie Heffncr Bob and Lucia Heinold Fred and Joyce Hershenson Peter G. Hinman and
Elizabeth A. Young Frances C. Hoffman Matthew C. Hoffmann and
Kerry McNulty Carol and Dieter Hohnke Ronald and Ann Holz Drs. Linda Samuelson and
Joel Howell Jane H.Hughes Ann D. Hungerman Thomas and Kathryn Huntzicker Susan and Martin Hurwitz Robert B. Ingling Margaret and Eugene Ingram Harold and Jean Jacobson Kent and Mary Johnson Elizabeth and Lawrence Jordan Douglas and Marv Kahn Dr. and Mrs. Mark S. Kaminski George Kaplan and Mary Haan David and Sally Kennedy
Frank and Patricia Kennedy Don and Mary Kiel Tom and Connie Kinnear RIkm and Leslie Kish fames and Jane Kister Beverly Kleiber Shira and Steve Klein Laura Klem
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 Neal and Anne Laurance 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 Donald J. and
Carolyn Dana Lewis Jacqueline H. Lewis Earl Lewis
Leons and Vija Liepa Alene and Jeff Lipshaw Rod and Robin Little Naomi E. Lohr E. Daniel and Kay Long Armando Lopez Rosas Helen B. Love
Mr. and Mrs. Carl J. Lutkehaus Edward and Barbara Lynn Donald and Doni Lystra Jeffrey Mackie-Mason Pamela J. MacKintosh Steve and Ginger Maggio Virginia Mahle Melvin and lean 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 Mertc Henry D. Messer Carl A. House Helen Metzner Deanna Relyea and
Piotr Michalowski Jeanette and Jack Miller John Mills
Thomas and Doris Miree Kathleen and James Mitchiner Dr. and Mrs.
William G. Moller, Jr. Jane and Kenneth Moriarty Frederick C. Neidhardt and
Germaine Chipault Laura Nitzbcrg and
Thomas Carli Donna Parmelee and
William Nolting Marysia Ostafin and
George Smillie Julie and Dave Owens David and Andrea Page Drs. Sujit and Uma Pandit William and Hedda Panzer Rene and Hino Papo Elizabeth M. Payne Zoe and Joe Pearson Margaret and Jack Pctersen Joyce H. and Daniel M. Phillips
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Elizabeth Quackenbush Patricia Randle and James Eng Anthony L. Reffells and
Elaine A. Bennett Glenda Renwick Janet L. Repp
Molly Resnik and John Martin Carol P. Richardson Betty Richart
Jack and Margaret Ricketts Constance O. Rinehart fay and Machree Robinson Mr. and Mrs. Stephen J. Rogers Mary R. Romig-deYoung W. Robin Rose Robert and Joan Rosenblum Gay and George Rosenwald Craig and I.m Ruff Bryant and Anne Russell Robert E. Sanecki Mike Savitski and
Christi Balas Savitski Albert I. and Jane L. Sayed Christine J. Schesky-Black David and Marcia Schmidt Monica and David E. Schteingart Suzanne Selig Harriet Selin Erik and Carol Serr Ruth and Jay Shanberge Hollis and Martha A. Showalter Ned Shure and Jan Onder Sandy and Dick Simon Robert and Elaine Sims Scott and Joan Singer John and Anne Griffin Sloan Tim and Marie Slottow Alene M. Smith Carl and Jari Smith Mrs. Robert W. Smith Susan M. Smith Jorge and Nancy Solis Yoram and Eliana Sorokin Tom Sparks Jeffrey D. Spindler Allen and Mary Spivey Curt and Gus Stager Barbara Slark-Nemon and
Barry Nemon
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Wendy L. Wahl and
William R. Lee Mrs. Norman Wait Robert D. and Lima M. Wallin Dr. and Mrs. Jon M. Wardner Mr. and Mrs. Robert M. Warner Deborah Webster and
George Miller John and Joanne Werner Susan and Peter Westerman B. Joseph and Mary White Iris and Fred Whitehouse Reverend Francis E. Williams Christine and Park Willis Thomas and Iva Wilson Charles Witke and
Aileen Gatten Charlotte A. Wolfe Kathy and Alan Wright MaryGrace and Tom York Ann and Ralph Youngren Gail and David Zuk
A. F. Smith Electric, Inc.
Atlas Tool, Inc.
Bodywise Therapeutic Massage
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Coffee Express Co.
Complete Design & Automation
Systems Inc. Garris, Garris, Garris & Garris
Law Office
Edwards Brothers, Inc. Malloy Lithographing, Inc. Quinn EvansArchitects
ADVOCATES Individuals
John R. Adams Tim and Leah Adams Dr. Dorit Adler Thomas Aigler Michael and Hiroko Akiyama Gordon and Carol Allarayce James and Catherine Allen Barbara and Dean AJseth Nick and Marcia Alter Pamela and Gordon Amidon Mayank M. Amin 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 Mary C. Arbour Catherine S. Arcure H. C. and Doris Arms Bert and Pat Armstrong Eric M. and Nancy Aupperle John and Rosemary Auslgen Shirley and Donald Axon Virginia and Icrald Bachman Drs. John and Lillian Back Prof, and Mrs. J. Albert Bailey Richard W. Bailey and Julia Huttar Bailey Laurence R. and Barbara K. Baker Barbara and Daniel Balbach Helena and Richard Baton Peter and Paulett Banks David and Monika Barera Maria Kardas Barna Joan W. Barth Robert and Carolyn Bartle Leslie and Anita Ba&sctt Mrs. Jere Bauer James and Margaret Bean Mr. and Mrs. John C. Beatty
Mr. and Mrs. Steven R. Beckcrt Robert Becklcy and Judy Dinesen Mr. and Mrs. Bruce Beier Steve and Judy Bemis Walter and Antje Benenson Bruce Bcnncr and
Hely Merle-Benner Linda Bennett and Bob Bagramian Mr. and Mrs. Ib Bcntzen-Bilkvist Dr. Rosemary R. Bcrardi Mr. and Mrs. Joel S. Berger Barbara Levin Bergman Jim Bergman and Penny Hommel Marie and Gerald Berlin Abraham and Thelma Berman Susan A. Bernard Pearl Bernstein Steven Bernstein Michel and Dominique Berny Gene and Kay Berrodin Andrew H. Berry, D.O. Mark Bertz
R. Bezak and R. Halslead Naren and Nishta Bhatia John and Marge Biancke Eric and Doris Billes John E. Billie and Sheryl Hirsch Sara Billmann and Jeffrey Kuras William and llene Birge Elizabeth S. Bishop Martin and Mary Black Barbara O. Black 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 Bornstein Jeanne and David Bostian Victoria C. Botek and
William M. Edwards 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 Razdle Brooks Olin L. and Aleeta Browder Linda Brown and Joel Goldberg Cindy Browne Molly and John Brueger Mrs. Webster Brumbaugh Phil Bucksbaum and
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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 ). Hertz Stuart and Barbara Hilbert Herb and Dee Hildebrandt Lorna and Mark Hildebrandt Carolyn Hiss
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Professor and Mrs. Jerome )elinek Ken and Marcia Jenkinson James and Elaine Jensen Keith and Kay Jensen Mark and Linda Johnson Paul and Otga Johnson Dr. MarilynS. Jones Andree Joyaux and Fred Blanck Mary Kalmes and Larry Friedman Paul Kantor and
Virginia Weckstrom Kantor Helen and Irving Kao Mr. and Mrs. Wilfred Kaplan Hans Peter and Carol Kappus Diana S. Karam Rosalie Brum Karunas Alex and Phyllis Kato Ann F. Katz Deborah and Ralph Katz
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Lucy A. Waskell Paul and Leah Kileny Jeanne M. Kin
Robert and Vicki Kiningham John and Carolyn Kirkendall Lcilani and Steven Killer Rosalie and Ron Kocnig Michael J. Kondziolka Charles and Linda Koopmann Alan and Sandra Kortesoja Pimm i and Suzanne Kosacheff Kring William G. Kring Alan and Jean Krisch Syma and Phil Kroll Bert and Geraldine Kruse Helen and Arnold Kuethe Danielle and George Kuper Alvin and Lia Kushner Dr. and Mrs. R. A. Kuicipal Tim and Kathy Uing Alvin and Susan Lake Magdalene Lampert Mr. and Mrs. Seymour Lampert Henry and Alice Landau Janet Landsberg Patricia M. Lang Mrs. David A. Lanius Lois H. Largo
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Becky and Reno Maccardini Walter Allen Maddox Mark Mahlberg Suzanne and Jay Mahler Deborah Malamud and
Neal Plotkin
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Bob and Doris Melling Allen and Marilyn Menlo Warren and Hilda Merchant Hely Merle-Benner George R. and Brigetle Mere Julie and Scott Merz Helen Mctzner Don and Lee Meyer Shirley and Bill Meyers Helen M.Michaels William and Joan Mikkelsen JohnW.Milford Prof, and Mrs. Douglas Miller Carmen and Jack Miller lames A. and Kathryn Miller Sonya R. Miller Bob and Carol Milstein Dr. and Mrs. James B. Miner Olga Ann Moir Mary Jane Molesky Bruce and Ann Moln Jim and Jeanne Montic Mr. Erivan R. Morales and
Dr. Seigo Nakao Arnold and Gail Morawa Robert and Sophie Mordis Dr. and Mrs. George W. Morley A. A. Moroun Robert C. Morrow Muriel Moskowitz James and Salty Mueller J. Thomas and Carol Mullen Marci Mulligan and Katie Mulligan Gavin Eadie and Barbara Murphy Lora G. Myers
Dr. and Mrs. Gunder A. Myran Drs. Louis and Julie Nagel Rosemarie Nagel Eugene and [Catherine Napolitan Joan Nassauer Arthur and Dorothv Nesse Sharon and Chuck Newman John and Ann Nicklas Susan and Richard Nisbett Christer E. Nordman Caroline Norman Richard S. Nottingham Dr. Nicole Obregon John and Lexa Oorien Patricia O'Connor Henry and Patricia O'Kray Peter M. and Alicia C. Olin William and Joan Olsen Elizabeth Olson and Micheic Davis Nels R. and Mary H, Olson Paul L. and Shirley M. Olson J. L. Oncley Karen Koykka O'Neal and
Joe O'Neal
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Tibor Nagy Nancy K. Paul Robert and Arlene Paup Wade D. and Carol Peacock William and Susan Penner Steven and Janet Pepe Don and Giannine Perigo Bradford Perkins Susan A. Perry Neal W. Persky, M.D. Jeff Javowiaz and
Ann Marie Petach Roger and Takako Peterson Robert G. and Diane L. Petit Frank and Nelly Petrock Bryan and Ruth Pfingst Douglas Phelps and
Gwendolyn Jessie-Phelp.s Jim and Julie Phelps Mr. and Mrs. Frederick R. Pickard
Robert and Mary Ann Pierce
Roy and Winnifrcd Pierce
Daniel Piesko
Wayne and Sucllcn Pinch
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Jeffrey Michael Powers Robert and Mary Pratt Jacob M. Price John and Nancy Prince Yopie Prins and
Michael Daugherty Bradley and Susan Pruts Lisa M. Profera Ernst Pulgram Morton and Diane Raban Dr. and Mrs. Tushar N. Raiji Nancy L. Rajala
Alfred and Jacqueline Raphclson Dr. and Mrs. Robert Rapp Mr. and Mrs. Robert U. Rasmusscn Ruth Rattner
Dr. and Mrs. Mark Rayport Maxwell and Marjorie Reade Sandra Reagan
Mr. and Mrs, Richard W. Redman Dr. and Mrs. James W. Reese Mr. and Mrs. Stanislav Rehak Georgia Reid
Mr. and Mrs. Bernard E. Rcisman James and Judith Reiter Anne and Fred Remley Duane and Katie Renken John and Nancy Reynolds Alice Rhodes Lou and Sheila Rice Mr. and Mrs.
Thomas p. Richardson Kurt and Lori Riegger Thomas and Ellen Riggs Lita Ristine
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Richard Montmorency Dr. Glenn R. Ruihley Samuel and Irene Rupert Mitchell and Carole Rycus Ellen and Jim Saalberg Theodore and Joan Sachs Mr. and Mrs. William Sachs Miriam S. Joffe Samson John and Reda Santinga Ed Sarath and Joan Harris Harry and Elaine Sargous Helga and lochen Schacht Chuck and Gail Scharte Mary A. Schieve Courtland and Inga Schmidt Gary and Claudia Schnitkcr Susan G. Schooner Thomas H. Schopnwyer Yizhak Schottcn and
Katherine Collier
Carol H. Schreck and Ada Herbert Aileen Schulze Art and Mary Schuman Ed and Sheila Schwartz David and Darlenc Scovcll Richard A. Seid Louis and Sherry L. Senunas George H. and Mary M. Sexton Matthew Shapiro and Susan Garetz David and Elvera Shappirio Ingrid and Cliff Sheldon Lorraine Sheppard Dr. and Mrs. Ivan Sherick
Mr. and Mrs. Patrick M. Sherry
Rev. William J. Sherzer
Mary Alice Shulman
Dr. Douglas and Barbara Sidcrs
Dr. Bruce M. Siegan
Milton and Gloria Siegel
Alida and Gene Silyerman
Geoffrey and Morrine Silvcrman
Carl Simon and Bobbi Low
Michael and Maria Simontc
Alice Simsar
Donald and Susan Sinta
li in.i J. Sklcnar
Beverly N. Slater
Kirsten Marie Carr and
Theodore A. D. Slawecki William and Sandra Slowey Dr. and Mrs. Michael W. Smith Susan E Smith
John L. and Suzanne Smucker Robert and Susan Soderstrom Nathan and Patrick Sohnly Hugh and Anne Solomon James A. Somers Dora Maria Sonderhoff Dr. Sheldon and Sydelle Sonkin Errol and Pat Soskolne Becki Spangler and Peyton Bland Elizabeth Spencer Mrs. Herbert W. Spendlove (Anne) Jim Spevak Nancy Spezia Edmund Sprunger Irving M. Stahl and
Pamela M. Rider Gary and Diane Stahle Constance D. Stankrauff Mr. and Mrs. William C. Stebbins Bert and Vickie Steck Virginia and Eric Stein Frank D. Stella
William and Gcorgine Steude Jim and Gayle Stevens Mary Stevens Rick and Lia Stevens John and Beryl Stimson James L. Stoddard Mr, and Mrs. James Bower Stokoe Robert and Shelly Stoler Ellen M. Strand and
Dennis C. Regan Clinton and Aileen Stroebcl Dr. and Mrs. leoffrey K. Stross Joe Stroud and Kathleen Fojtik Mary Stubbins Judy and Sam Stulberg Donald and Barbara Sugerman Mike and Peg SupernauTt Valeric Y. Suslow Earl and Phyllis Swain Rebecca Sweet and Roland Loup Rebecca Szabo Michael W. Tart and
Catherine N. Herrington Margaret Talburtt and James Peggs Jim and Sally Tamm John Tamminen Denise Tanguay Larry and Roberta Tankanow Jerry and Susan Tarpley Frank and Carolyn Tarzta Robert and Carolyn Tate Stephan Taylor and
Elizabeth Stumbo Margie and Graham Teall Scott Terrill and Maggie Long Carol and Jim Thiry William Jerry Thornton Peggy Tie man
Bruce Tobis and Alice Hamele Peter and Linda Tolias Ronald and Jacqueline Tonks Jim Toy
Angie and Bob Trinka Sara Trinkaus Ken and Sandy Trosien Luke and Merling Tsai Jeff and Lisa Tulin-Silver Claire and Jerry Turcotte Jan and Nub Turner Mr. Victor and Dr. Hazel M. Turner Alvan and Katharine Uhle Mary L Unterburger
Toru and Tamiko Urala Morella Urbina Paul and Marcia Valenslein Madeleine Vallier Carl and Sue Van Appledorn Rebecca Van Dyke Bram and Lia van Leer Eldon and Beth Van Liere Fred and Carole van Reesema Leo and Peggy Van Sickle Phyllis Vegter Sy and Florence Veniar Kathcrine Verdery Ryan and Ann Verhey-Henke Elizabeth Vetter Alice and Joseph Vining Mr. and Mrs. Theodore R. Vogt Harue and Tsuguyasu Wada Jill Wagner Jerry Walden and Jli TildW
y d
Julia Tiplady-Walden orge and Lorraine Wales David C. and Elizabeth A. Walker h
Dai C. and Eli Timothy Wang Jill A. Warren Lorraine Nadclman and
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Tom Easthope
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Ann Arbor Center for Financial Services
Diametron, Inc.
Dobbs Opticians Inc. of Ann Arbor
Palladium Associates
John Shultz Photography
Thalner Electronic Labs
Thing-a-majigs for Kids
Molloy Foundation World Heritage Foundation "The Prechter Fund"
The Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important support to continue the great tra?ditions of the Society in the future.
Carol and Herb Amster
Mr. Neil P. Anderson
Catherine S. Arcure
Mr. and Mrs. Pal E. Barondy
Mr. Hilbert Beyer
Elizabeth Bishop
Barbara Everitt Bryant
Pat and George Chatas
Mr. and Mrs. John Alden Clark
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H. Harlan Bloomer Tom Bob Boothby George W. Brooks William G. Dow David Eklund Kathleen Fischer Edwin Goldring George R. Hunsche Thomas Michael Karun Frederick C. Matthaei, Sr. Robert Meredith Valerie Meyer Steffi Reiss Fred C. Shurc Clarence Stoddard Charles R. Ticman Mrs. Durwcll Vetler Francis Viola III Alice Warshaw CarlH.Wilmot Peter Holderness Woods
Amadeus Gift
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Back Alley Gourmet
Bella Ciao Trattoria
Bivouac Outdoor Clothing and
Equipment Bodywisc Therapeutic Massage
Catherine Arcure Kathleen Bcnton and
Robert Brown Chelsea Flower Shop Peter and Jill Corr The Original Cottage Inn Paul and Pat Cousins, Cousins
Heritage Inn
Dr. and Mrs. Ronald Cresswcll D'Amato's Neighborhood
David Smith Photography Peter and Norma Davis Katy and Tony Derezinski Dough Boys Bakery Bob and Chris Euntt Kathcrine and Damian Farrell Fine Flowers Ken and Penny Fischer The Gandy Dancer Beverley and Gerson Geltner Great Harvest Bread Company John Leidv Shop John's Pack & Ship Mercy and Stephen Kasle Kerrytown Bistro Kings Keyboard House
Stephanie Lord Mainstreet Ventures Jeanne and Ernest Merlanti Michigan Car Services, Inc. and
Airport Sedan, LTD Ron Miller The Moveable Feast Nicola's Books, Little Professor
Book Co.
Paesano's Restaurant Randall and Mary Pittman Randy Parrish Fine Framing Red Hawk Bar & Grill Regrets Only
Ritz Camera One Hour Photo Maya Savarino Peter Sayarino Stephanie Savarino Ann and Tom Schriber Seva
Shaman Drum Bookshop Howard and Aliza Shevnn SKR Downtown SKR Uptown Herbert Sloan Irving and Carol Smokier Ann and Jim Telfer Weber's Restaurant Elizabeth and Paul Yhouse Zanzibar
Soloists $25,000 or more
Maestro $10,000-24,999
Virtuosi $7,500 9,999
Conccrtmaster $5,000 7,499
Leader $2,500 4,999
Principal $1,000-2,499
Benefactor $500 999
Associate $250 499
Advocate $100 249
Friend $50 99

A. F. Smith Electric, Inc. AAA Michigan Aetna Corporation Alcan Global Automotive
Solutions Alf Studios Ann Arbor Acura Ann Arbor Center for Financial
Services Atlas Tool, Inc. AutoCom Associates Bank of Ann Arbor Hank One, Michigan The Barfield CompanyBartcch Bellanina Day Spa Blue Nile Restaurant Bodywise Therapeutic Massage Brauer Investments Butzel Long Attorneys Cafe Marie CFI Group
Clark Professional Pharmacy Charles Reinhart Company
Coffee Express Co. I'omerica Incorporated Complete Design &
Automation Systems Inc. Consumers Energy Dennis A. Dahlmann Inc. niametron. Inc.
Dobbs Opticians Inc. of Ann Arbor Dow Automotive Dupuis & Ryden P.CCPAs
and Business Advisors Edward Surovell Realtors Edwards Brothers, Inc. ElastizeU Corp of America Ford Motor Company Fund Forest Health Services Corporation Garris, Garris, Garris & Garris
Law Office
Guardian Industries Corporation Hudson's Project Imagine Ideation, Inc. )ohn Leidy Shop, Inc. John Shultz Photography loseph Curtin Studios KeyBank Lewis Jewders MaBoy Lithographing, Inc. MASCO Charitable Trust Masco Corporation McKinley Associates Miller, Canfield, Paddock and
Stone P.LC National City Bank Office of the Provost,
University of Michigan O'Neal Construction Palladium Associates Pepper Hamilton LLP Personnel Systems, Inc.
Arbor Technical Staffing
Arbor Temporaries, Inc. Pfizer Global Research and
Development; Ann Arbor
Pollack Design Associates Public Sector Consultants, Inc. Quinn EvansArchitects Sesi Lincoln Mercury Shar Products Company SWEA Inc.
Thalner Electronic Labs Thing-a-majigs for Kids Thomas B. McMullcn Company Vibrant of Ann Arbor Vtsteon Wolverine Technical Staffing., Inc.
20 Advanced Laser Center
10 Andrews Restoration
38 Ann Arbor Art Center
38 Ann Arbor Symphony
32 Ann Arbor Wireless
10 Azure Mediterranean Grille
12 Bank of Ann Arbor 44 Bellanina Day Spa
2 Blue Hill Development
38 Bodman, Longlcy and
26 Butcl Long Attorneys
26 Carty's Music
56 Charles Reinhart Company
42 Chelsea Community Hospital
20 Chris Triola Gallery
42 Cleveland's Gill & Grill
32 Comerica Bank
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20 Edward Surovcll Realtors
BC Ford Motor Company
34 Fotol
24 Fraleigh's Nursery
24 Garris, Garris, Garris, &
16 Glacier Hills
50 Harmony House
34 Hillcr's Market
40 Howard Cooper Imports
26 )ohn Schultz Photography
38 Kana Korean Restaurant
44 Kerrytown Bistro
8 KeyBank
40 King's Keyboard
50 Land Architects, Inc.
13 Lewis Jewelers
24 Littlefield and Sons Furniture
22 Miller. Canficld, Paddock
& Stone
24 Mundus & Mundus
26 National City
42 Performance Network 40 Prudential Securities
43 Renaissance Clothing
44 Rudolf Steiner School FC St Joseph Mercy Health
10 Sweetwaters Cafe
50 Swing City Dance Studio
34 Three Chairs
10 Toledo Open
33 Ufer & Co. Insurance 33 University living
24 Washington Street Gallery
18 Whole Foods

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