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UMS Concert Program, Friday Feb. 02 To 14: University Musical Society: Winter 2001 - Friday Feb. 02 To 14 --

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Day
2
Month
February
Year
2001
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Rights Held By
University Musical Society
OCR Text

Season: Winter 2001
University Of Michigan, Ann Arbor

university musical society
University of Michigan, Ann Arbor
WINTER 2001 SEASON
university musical society
University of Michigan Ann Arbor
UMSleadership
U MS services
UMSannals
UMSexperience
UMSsupport 45 45
Letter from the President
Letter from the Chair
Corporate LeadersFoundations
UMS Board of Directors
UMS Senate
Advisory Committee
UMS Staff
UMS Teacher Advisory Committee
General Information Tickets
Group Tickets Gift Certificates The UMS Card www.ums.org i
UMS History UMS Choral Union AuditoriaBurton Memorial Tower
The Winter 2001 UMS Season Education & Audience Development Dining Experiences BRAVO! I
Restaurant & Lodging Packages ?_ UMS Preferred Restaurant Program UMS Delicious Experiences ,,
Advisory Committee Sponsorship & Advertising InternshipsCollege Work-Study Ushers -Membership UMS Advertisers
Ft.nt Cann Mait Mtnis Dance Gru (Hare Kiyce). Charles Hiitjus. Fi.nj Ml erlrms the ntn if Jaan f Arc and Queen Manjaret in the Myal Shatairt Cmany's Hlitny Plays.
I) MS leadership
RESIDENT
'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.
I 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 are pleased to welcome theater lovers from all over North America = who are taking advantage of this exclusive ..j US presentation in our community. HM 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 3
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 kenfisch@umich.edu.______
Sincerely,
Kenneth C. Fischer President
W "
n 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.
Sincerely,
@@@@Beverley Geltner ?n??i Chair, UMS Board of Directors
CORPORATE LEADERS FOUNDATIONS
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. Solis
Senior Vice President Bank One, Michigan "Bank One, Michigan is honored to share in the University Musical Society's proud tradi?tion of musical excellence and artistic diversity."
Habte Dadi Manager Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organi-
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 l' tradition of artistic talents."-
Clayton Wilhite
Managing Partner CFI Croup, Inc.
'Can you imagine a more power?ful demonstration of Ann Arbors 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___,.
KeyBank 'Music is Key to keeping our society vibrant, and Key is proud to support the cultural institution rated number one by Key Private Bank clients."
Richard A. Manoogian
Chairman and CEO Masco Corporation 'We at Masco applaud the University Musical Society's 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."
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Phillip R. Duryea f
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 supportinj 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-
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. Irwin
Chairman and CEO Wolverine Technical Staffing, Inc. "For more than sixteen years our support of the University Musical Society has been in grateful appreciation of these UMS concepts: world-class programs, extremely dedicated volunteer involvement, and thoroughly committed profes?sional staff. Congratulations to UMS as it continues to enrich our wonderful Ann Arbor community."
UMS gratefully acknowledges the support of the following foundations and government agencies.
Ann Arbor Area Community
Foundation Arts Midwest
Chamber Music America '?'
Community Foundation for
Southeastern Michigan Detroit Edison Foundation JazzNetDoris Duke Charitable
Foundation Erb Foundation 3. F. Ervin Foundation The Ford Foundation Harold and Jean Grossman
Family Foundation The Heartland Arts Fund I 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 Shiftman 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 j 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 i Clayton Wilhite Karen Wolff Elizabeth Yhouse
.S SENATE
(former members of the VMS 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
ADVISORY COMMITTEE
Robert Morris, Chair Sara Frank, Vice-Chair Louise Townley,
SecretaryTreasurer Raquel Agranoff Martha Ause Barbara Bach Lois Baru Kathleen Benton Mimi Bogdasarian Victoria Buckler Barbara Busch Laura Caplan Cheryl Cassidy Patrick Conlin
Elly Rose Cooper
Nita Cox
Mary Ann Daane
Norma Davis
Lori Director
Betty Edman
Michael Entires
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 Jeanne Merlanti Candice Mitchell Nancy Niehoff
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
UMS STAFF
Administration Finance
Kenneth C. Fischer,
President Deborah S. Herbert,
RSC Residency
Coordinator Elizabeth E. Jahn,
Assistant to
the President John B. Kennard, Jr.,
Director of
Administration Chandrika Patel, Senior
Accountant John Peckham,
Information Systems
Manager
Box Office
Michael L. Gowing,
Manager
Laura Birnbryer, Staff Sally A. Cushing, Staff Ronald J. Reid, Assistant
Manager and Group
Sales
Choral Union
Thomas Sheets, .--'' ?
Conductor '? Andrew Kuster,
Associate Conductor Jean Schneider-Claytor,
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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
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Limited street parking is also available. Please allow enough time to park
before the performance begins. Parking is complimentary for UMS members at the Principal level and above. Reserved parking is available for UMS members at the Leader level and above.
UMS offers valet parking service for all performances in the Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before each performance. There is a $10 fee for this service. UMS members at the Leader level and above are invited to use this service at no charge.
Refreshments
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
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University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
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UMS Box Office Burton Memorial Tower 881 North University Avenue Ann Arbor, MI 48109-1011
on the University of Michigan campus
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Due to the renovation of Burton Tower,
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If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the UMS Box Office. Refunds are not available; however, you will be given a receipt for an income tax deduc?tion. Please note that ticket returns do not count toward UMS membership.
any thanks to all of the groups who have joined UMS for an event in past seasons, and welcome to all of our new friends who will be with us in the coming years. The group sales program has grown incredibly in recent years, and our success is a direct result of the wonderful leaders who organize their friends, families, congregations, students, and co-workers and bring them to one of our events.
Last season over 10,000 people came to UMS events as part of a group, and they saved over $51,000 on some of the most popular events around! Many groups who booked their tickets early found themselves in the enviable position of having the only available tickets to sold out events including the Buena Vista Social Club, Yo-Yo Ma, the . Berlin Philharmonic, the Chieftains, and many other exciting performances.
This season UMS is offering a wide variety f of events to please even the most discriminat-l ing tastes, many at a fraction of the regular V price. Imagine yourself surrounded by ten or more of your closest friends as they thank you for getting great seats to the hottest shows in town. It's as easy as picking up the phone and calling the UMS Group Sales hotline at 734.763.3100.
ooking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than eighty
events throughout our season, wrapped and delivered with your personal mes?sage, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's DavSjOr even as a housewarmine
present when new friends move to town.
MS and the following businesses thank you for your generous support by pro?viding you with discounted products and services through the UMS Card, a privilege for subscribers and donors of at least $100. Patronize these businesses often and enjoy the quality products and services they provide.
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Regrets Only Ritz Camera One Hour
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SKR Downtown SKR Uptown
oin the thousands of savvy people who log onto www.ums.org each month!
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nities surrounding each UMS performance. Choral Union Audition information and per?formance schedules for the UMS Choral Union.
UMSannals
he 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 m UMS as one of the five most influential arts presenters in the United States in 1999.
youth programs, artist residencies and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction and innovation. UMS now hosts over eighty performances and more than 150 educational events each season. UMS has flourished with the support of a generous community that gathers in Hill and Rackham Auditoria, Power Center for the Performing Arts, Lydia Mendelssohn Theatre, Michigan Theater, St. Francis of Assisi Catholic Church, the Detroit Opera House, Music Hall and the Residential College Auditorium.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor cam?pus, and a regular collaborator with many University units, UMS is a separate not-for-profit organization that supports itself from ticket sales, corporate and individual contri?butions, foundation and government grants, and endowment income.
hroughout its 121-year history, the University Musical Society Choral Union has performed with many of the world's distinguished orchestras and conductors. Based in Ann Arbor under the aegis of the University Musical Society, the 150-voice Choral Union is known for its definitive per?formances of large-scale works for chorus and orchestra. Seven years ago, the Choral Union further enriched that tradition when began appearing regularly with the Detroit Symphony Orchestra. Among other works, the chorus has joined the DSO in Orchestra Hall and at Meadow Brook for subscription performances of Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe and Brahms' Ein deutsches Requiem, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd. In 1995, the Choral Union began accepting invitations to appear with other major regional orchestras, and soon added Britten's War Requiem, Elgar's The Dream ofGerontius, 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
M.
addition to choral masterworks, the Choral Union has recently given acclaimed concert ; presentations of Gershwin's Porgy and Bess j with the Birmingham-Bloomfield Symphony M Orchestra and musical-theatre favorites with pi Erich Kunzel and the DSO at Meadow Brook..i A 72-voice chorus drawn from the larger j choir has performed Durufle's Requiem, the 'j?j Langlais Messe Solenelle, the Mozart Requiem :M and other works. The Choral Union's 36-voice'p Chamber Chorale presented "Creativity in -il Later Life," a program of late works by nine ,.jj composers of all historical periods, at thell University of Michigan Museum of Art. 5]
During the 1999-2000 season, the Choral jj Union performed in three major subscription',!! series at Orchestra Hall with the Detroit .Jf-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. 33WWSf
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 kio@umich.edu or call 734.763.8997. ,.?,
Hill Auditorium i r n
tanding tall and proud in the heart of the University of Michigan campus, Hill Auditorium is associated with the best perform?ing artists the world has to offer. Inaugurated at the Twentieth Annual Ann Arbor May Festival in 1913, the 4,163-seat Hill Auditorium has served as a showplace for a variety of important debuts and long relationships throughout the past eighty-seven years. With acoustics that highlight everything from the softest notes of vocal recitalists to the grandeur of the finest orchestras, Hill Auditorium is known and loved throughout the world.
Former U-M regent Arthur Hill bequeathed $200,000 to the University for the construction of an auditorium for lectures, concerts and other university events. Then-UMS President Charles Sink raised an additional $150,000, and the concert hall opened in 1913 with the Chicago Symphony Orchestra performing 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. Jki
Rackham Auditorium hhsjH
ixty years ago, chamber music concerts in _ 'Ann Arbor were a relative rarity, present?ed in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, and Newberry Hall, the current home of the Kelsey j Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of human history and human thought, died in 1933, his will established the Horace H. Rackham and
Mary A. Rackham Fund, which subsequently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School, which houses the 1,129-seat Rackham Auditorium, but also to establish a $4-million endowment to further the development of graduate studies. Even more remarkable than the size of the gift, which is still considered one of the most ambitious ever given to higher-level educa?tion, is the fact that neither of the Rackhams ever attended the University of Michigan.
Power Center for the Performing Arts
'he Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of 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 gaf 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
" " otwithstanding an isolated effort to estab?lish a chamber music series by faculty and students in 1938, UMS recently began presenting artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theatre for the 100th May Festival's Cabaret Ball. Now, with UMS' programmatic initiative to present song in recital, the superlative Mendelssohn Theatre has become a recent venue addition to UMS' roster and the home of the Song Recital series as well as the venue for the world premiere of Curse of the Gold: Myths from the Icelandic Edda, part of UMS' new International Theater Festival.
Detroit Opera House
'he Detroit Opera House opened in April . of 1996 following an extensive renovation by Michigan Opera Theatre. Boasting a 75,000 square foot stage house (the largest stage between New York and Chicago), an orchestra pit large enough to accommodate 100 musicians and an acoustical virtue to rival the world's
great opera houses, the 2,800-seat facility has rapidly become one of the most viable and coveted 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
een 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
A Full House
Rackham Auditorium , 1,129 ,
Power Cente 1,390
Mendelssohn
Theatre ;
658
St. Francis , 950
Detroit Oper House 2,735 .
University Musical Society
of the University of Michigan 2001 Winter Season
Event Program Book
General Information
Children of alt 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.
Friday, February 2 through Wednesday, February 14,2001
Dresden Staatskapelle
Friday, February 2, 8:00pm Hill Auditorium
Brentano String Quartet 1
Sunday, February 4, 4:00pm Rackham Auditorium
Hubbard Street Dance Chicago
Friday, February 9, 8:00pm Saturday, February 10, 8:00pm Power Center .?
Dubravka Tomsic
Sunday, February 11, 4:00pm Hill Auditorium
Dairakudakan
The Sea-Dappled Horse (Kaiin No Uma)
Wednesday, February 14, 8:00pm Power Center
mm
presents
Dresden Staatskapell
Giuseppe Sinopoli Music Director and Conductor
Friday Evening, February 2, 2001 at 8:00 Hill Auditorium, Ann Arbor, Michigan
rauss Tonepoems
Don Juan, Op. 20
Tod und Verklarung, Op. 24 (Death and Transfiguration)
INTERMISSION
Ein Heldenleben, Op. 40 (A Hero's Life)
Der Held (The Hero)-'iSfe""
Des Helden Widersacher (The Hero's Adversaries) Des Helden Gefahrtin (The Hero's Companion)-Des Helden Walstatt (The Hero's Deeds of War)-Des Helden Friedenswerke (The Hero's Works
of Peace)--
Des Helden Weltflucht und Vollendung (The Hero's -Retirement from the World and the Fulfillment
'?' ,., .of His Life) ...
Forty-sixth Performance of the 122nd Season
122nd Annual Choral Union Series
The photographing or sound":, recording of this concert or ; possession of any device for '? such photographing or sound recording is prohibited. . ..
Support for this performance is provided by media sponsor, WGTE.
The Dresden Staatskapelle gratefully acknowledges the support of the 1 Dresdner Bank for its 2001 US tour.
The Dresden Staatskapelle appears by arrangement with Columbia Artists Management, Inc.
Large print programs are available upon request.
Three Symphonic Poems
Program notes by Peter Laki
othing could have been more modern iri the music of the 1880s and '90s than the symphonic poem, that bold attempt to create drama without words and to test music's expressive powers to the fullest.
Pioneered by Franz Liszt from the 1850s ( the new genre found a practitioner of geniuF" in the young Richard Strauss. In a series of orchestral works that established him as one of the leading avant-gardists of the day, Strauss did not hesitate to tackle the most complex literary and philosophical topics possible. Despite the arguments of those who have continued to maintain that music is incapable of expressing such topics, even the intent to do so has an indelible impact on the music; for how could a composer write music that sounds like Don Juan, Death and Transfiguration or A Hero's Life without programmatic thinking There may be traces of sonata form in each of these works, but "Symphonies in C Major" (or any other key) they are clearly not.
That being said, we can't deny the influence of one great Symphony in E-flat Major on Strauss's symphonic poems, espe?cially Ein Heldenleben. Beethoven's Symphony
No. 3, the Eroica, is the undisputed proto-1 type of all portrayals of heroism in music, which is central to all three Strauss works heard tonight. Struggle, mourning and tri?umph--as found in the Eroica--are also the ingredients of all these heroic stories. The youthful, reckless, yet at the same time pro?foundly world-weary Don Juan of Lenau, the unnamed but certainly exceptional dying artist in Death and Transfiguration, and the equally unnamed and exceptional! universal hero in Ein Heldenleben (or Till i8 Eulenspiegel, who pays for his mischiefmaking with his life, or Don Quixote, who loses his battle against the windmills), all 1 have one thing in common. Each time, a great individual genius takes on the entirej world, but only in Ein Heldenleben is a happy ending achieved--not in the sense , of a Beethovenian triumph, but rather by .1 finding peace in the memories of a life welf lived. ?
Don Juan, Op. 20
Richard Strauss
Born June 11, 1864 in Munich, Germany
Died September 8, 1949 in Garmisch-
Partenkirchen, Bavaria ?
Many Romantic writers grappled with the . figure of Don Juan Tenorio, the legendary : skirt-chaser first immortalized by the Spanish playwright Tirso de Molina in the seventeenth century. The Don Juan legend has been called "the greatest erotic subject of all time," but it is obviously much more than that. Don Juan is not your typical sex addict; for him, the possession of women becomes a cosmic matter, and he doesn't hesitate to confront the powers of the underworld to defend his life philosophy. In the Romantic version of Austrian poet Nikolaus Lenau (1802-1850), left incomplete at the time of his death, Don Juan doesn't need a stone guest to send him to Hell. He willingly lets the brother of one of his lovers defeat him in a duel, for victory "is as boring as the whole of life." Strauss placed three lengthy excerpts from the poem at the front of his score. These excerpts reveal nothing of the plot, but they summarize the life philosophy Lenau had given his hero:
"" Fain would I run the magic circle,
immeasurably wide, of beautiful women's . manifold charms, in full tempest of
enjoyment, to die of a kiss at the mouth ? oi the last one. O my friend, would that I could fly through every place where beau?ty blossoms, fall on my knees before each one, and, were it but for a moment, con?quer...
I shun anxiety and the exhaustion of pleasure; I keep myself fresh in the service ' of beauty; and in offending the individual 11 rave for my devotion to her kind. The [? breath of a woman that is as the odor of I spring today, may perhaps tomorrow : oppress me like the air of a dungeon. ; When, in my changes, I travel with my : love in the wide circle of beautiful women,
my love is a different thing for each one;Vv, I build no temple out of ruins. Indeed, flv passion is always and only the new passion; it cannot be carried from this one to that; it must die here and spring anew there; and when it knows itself, then it knows ? nothing of repentance. As each beauty stands alone in the world, so stands the love which it prefers. Forth and away, then, to triumphs ever new, so long as youth's fiery pulses race!
It was a beautiful storm that urged me on; it has spent its rage, and silence now remains. A trance is upon every wish, ? every hope. Perhaps a thunderbolt from" the heights which I despised, struck fatally at my power of love, and suddenly my world became a desert and darkened. And perhaps not; the fuel is all consumed and the hearth is cold and dark.'
The quest for ideal love, which pushes Don Juan from one woman to the next, is really a quest for the meaning of life. In gj Lenau's treatment, the Don came close to ' ( being a cousin of Dr. Faust (about whom " he also wrote a drama). The force that moves Don Juan is, of course, not learning but passion; yet they are similar in that fulfillment is denied to both.
Don Juan's passion is evident from the ? first bars of Strauss' score, which is one of the great symphonic openings of all time. From hints dropped by his biographers we may infer that the twenty-four-year-old composer knew a thing or two about passion himself, but the energy of the music, begin?ning on an emotional high point, speaks more clearly than a thousand words. With US admirable ingenuity, Strauss adapts classical sonata form (with its contrasting themes and dynamic key changes) to the expressive needs of the symphonic poem. One of the secondary themes, a sensual motif played by a solo violin, becomes imbued with special meaning as a representation of the "Eternal
Translations from Norman Del Mar, Richard Strauss: A Critical Commentary on his Life and Works, New York, 1962.
Feminine" that so attracts the Don (and not coincidentally, the phrase in quotation marks comes from the Faust drama of Johann Wolfgang Goethe). As this theme is expanded, we can literally feel the power of an all-embracing love. The development section serves as an opportunity to revisit Don Juan's heroic-passionate side, as well as to introduce a new theme. An insistent string theme alternating with some hesitant melodic fragments in the flute: the Don is seducing a timid young girl before our very ears. This extended romantic episode ends abruptly with the appearance of a brand-new theme on the horns: Don Juan, the hero, sallies forth in search of new adventures. The next section, possibly inspired by a masked-ball episode in Lenau's poem and sometimes referred to as the "carnival scene," reaches another emotional "high," but then Don jjJJ Juan suddenly falls into a deep depression. He does gather enough strength for another show of heroism (in musical terms, this is I the recapitulation), but the tragic end can?not be avoided. The Don surrenders to his opponent; the work, so exuberant for most of its length, ends on a bleak note, in the minor mode and pianissimo, with a few short 'E's played by plucked strings, low JB winds and timpani. .-s
Tod und Verklarung, Op. 24
(Death and Transfiguration) R. Strauss . . . .-.,'
In his next symphonic poem after Don Juan,. Strauss dispensed with any literary source; instead, he created an original conception that only received its literary formulation, ; from Strauss' friend and erstwhile mentor, Alexander Ritter, after the music had already: been written. :
The original idea is explained in a letter : written by Strauss in 1894: ;
It was six years ago that it occurred to me i to present in the form of a tone poem the
" '?? dying hours of a man who had striven towards the highest idealistic aims, maybe indeed those of an artist. The sick man m lies in bed, asleep, with heavy irregular breathing; friendly dreams conjure a :
smile on the features of the deeply suffer?ing man; he wakes up; he is once more racked with horrible agonies; his limbs shake with fever--as the attack passes and the pains leave off, his thoughts wander through his past life; his childhood passes before him, the time of his youth with its strivings and passions and then, as the 1--i" pains already begin to return, there appears to him the fruit of his life's path,
the conception, the ideal which he has sought to realize, to present artistically,
: but which he has not been able to com: plete, since it is not for man to be able to accomplish such things. The hour of death approaches, the soul leaves the body in order to find gloriously achieved
' in ever-lasting space those things which could not be fulfilled here below.
An ambitious program, and it is certainly' remarkable that a young man not quite twenty-five-years old should have had such . a highly developed image of death and 'F dying. What is even more astonishing is the unerring instinct with which Strauss real?ized his concept. Melodic material, orches?tration and musical form are all uniquely suited to express that concept; for no matter what the "anti-expressivists" say, Strauss undoubtedly did full justice to his subjects" here.
The stages of the hero's last hours, as'.y Strauss described them in his letter, are '?S? somewhat analogous to the phases of anger, ' denial and acceptance found in Elisabeth Kubler-Ross' famous (and, of course, much later) book on dying. After some introduc?tory measures ("Largo") in which the '', strings' rhythmic figure seems to imitate an irregular heartbeat, the woodwinds, accom?panied by the harp, intone a melody of
unspeakable sadness, followed by the main lyrical idea of the work, based on a descend?ing scale and played by a solo violin. Violent suffering erupts in the ensuing "Allegro molto agitato;" as Norman Del Mar writes in his great Strauss monograph: "the ill man can be heard writhing in agony." The lyrical scale melody returns, this time played by the flute, evoking peaceful memories. But the theme soon becomes agitated again, in evo?cation of both past and present turmoil; as in Don Juan, Strauss endows the traditional formal device of recapitulation with intense dramatic meaning. A sweeping new idea, the "transfiguration" theme, appears in this sec-1 tion, and--after all the other themes, those associated with turmoil, memories and jp" irregular heartbeat, have been revisited and ' left behind--finally takes over completely, to give the piece its radiant and justly celebrat-' ed ending. According to the often-repeated ; story, when Richard Strauss lay dying in 1949 (exactly sixty years after writing this work), he told his daughter-in-law Alice who was with him: "Funny thing, Alice, dying is just the way I composed it in Death and Transfiguration'' Strauss had in fact set to music that "white light" that many people' have mentioned when speaking of near-death experiences--if he had done nothing else in his life, this would in itself be enough to make him immortal. I
Ein Heldenleben, Op. 40 (A Hero's Life)
R. Strauss JS.
Richard Strauss used to insist that he himself was the hero in Ein Heldenleben--though 1., commentators have found it hard to recon?cile this belligerent self-portrait with Strauss' distinctly un-heroic personality, or with later, mellower self-representations in Sinfonia domestka and the opera Intermezzo. On the ! other hand, those who knew Strauss' wife, ' the former Pauline de Ahna, say the section ;
marked "The Hero's Companion" fits her like a glove. Strauss and de Ahna, a soprano, were married in 1894; their marriage lasted until Strauss' death fifty-five years later. The series of magnificent, supremely capricious, and concerto-sized violin solos of the "com?panion" episode is peppered with directions to the soloist such as "loving," "angry," "sen?timental," "nagging," "flippant" or "hypocrit?ically languishing"--adjectives more often used to describe a person than a musical per?formance. In a letter to French novelist and music critic Romain Rolland, Strauss admitted having portrayed his wife in Ein Heldenleben.
Yet the essence of art always lies in the way it transcends the subject matter that provided the initial impulse. The question we must ask is how Strauss used autobiojjj graphic material to create his tone poem. M
Unlike the majority of Strauss' tone :fi poems, Ein Heldenleben was not based onl any particular literary work. Rather, it sought to express, in the composer's words, "a more general and free ideal of great and manly heroism." This followed logically _ from Strauss' previous tone poem, Don 3B Quixote, which, based on Cervantes, was a specific case of misguided heroism, "a crazy striving for false ideals." As Strauss pointed out, "Don Quixote is only fully and com?pletely comprehensible when put side by side with Ein Heldenleben."
The subject of Ein Heldenleben is, then, heroism in general (and not just a portrait-of Mr. and Mrs. Strauss). What exactly is ? meant by "heroism" here In the world of Romantic ideals which Strauss inherited, a hero is someone who confronts the whole world all by himself. The prototype of the ? Romantic hero, on whom Strauss modeled! his protagonist, is Goethe's Faust. Like Faust, the hero of Ein Heldenleben fights for his ideals; meets a woman; and works for the good of society. Unlike Faust, however, Strauss' hero ultimately withdraws from the world and finds fulfillment in an idyllic state
Formal Outline of Ein Heldenleben
(after Norman Del Mar, Richard Strauss, London: Barrie & Rockliff, 1962)
I The Hero
1st subject
II The Hero's Adversaries (or Critics)
Transition
III The Hero's Companion
2nd subject
IV The Hero's Deeds of War
Development
V The Hero's Works of Peace
Recapitulation (with added episode) (and struggles in the face of continued criticism)
VI The Hero's Retirement from the World and the Fulfillment of his Life
Coda
that has more to do with Rousseau than with Goethe.
Besides the literary and philosophical motifs reflected in the tone poem, there are '? some clear musical echoes as well. The most obvious ancestor of Ein Heldenleben is :
Beethoven's Eroica, which shares with Strauss'' work the key of E-flat Major. In addition, .] the portrayal of the adversaries (critics) owes-a great deal to Wagner's Die Meistersinger .' von Niirnberg, in which the real-life music i critic Hanslick was transformed into the vil-! lain Beckmesser. The parodistic episode in '] the Meistersinger Overture (the episode is in j E-flat Major, the key of Ein Heldenleben), with the sarcastic staccatos (short, separated j notes) in its woodwind parts, was probably : not far from Strauss' mind when he wrote the section of the adversaries. "j
Strauss was only thirty-four-years old i when he completed Ein Heldenleben. It was to remain the last work he called a "tone -
poem:" the two large-scale symphonic works he was to write later, Sinfonia domes? tica and Alpine Symphony, have the word "symphony" in their titles. Ein Heldenleben closes the great cycle of tone poems that had occupied Strauss for a whole decade; in this j work, he took stock of his achievements, looked back and summarized. Had Strauss died the following year (at thirty-five, like Mozart), we would see this work as the high point of his oeuvre, and the extensive self-quotations near the end (about which more later) would take on an even greater sym?bolic significance. :j
But Strauss lived on for another half-century, during which time he concentrated most of his energies on an impressive series of fourteen operas, including Salome, Elektra, and Der Rosenkavalier. Therefore,... Ein Heldenleben only closes one chapter in Strauss' life, though, no doubt, a very important one. '
Throughout the work, straightforward E-flat Major tonality alternates with tradi-z -tional tonality with a few unorthodox i, touches, and passages of rapidly changing, j sometimes completely disappearing, key gcenters. The first theme, firmly in E-flat Major, has the irregularity of emphasizing minor and major sevenths in a way no clas: sical composer would have done. The music,j of the adversaries, on the other hand, congUSi tains eleven of the twelve tones in a theme i whose tonality is anybody's guess.1 The vio?lin solo, representing Pauline or the "eternal feminine," again drifts in and out of tonal stability. One of the most stable areas is the tender love scene that follows the great vio?lin solo; another is the peaceful song of the hero retired from the world. In stark con?trast to these, the battle scene--which Romain Rolland called the best battle music in the entire literature--is full of abrupt key, -s
Strauss had written a similarly pre-twclve-tone melody in the fugue of Also sprach Zarathustm.
.changes. The violent orchestral sounds of this section show how the extent to which Strauss expanded the vocabulary of nine?teenth-century orchestral music in his desire to offer the most complete panorama of human emotions and characters.
MMP11 a true compositional tour de force, Strauss managed to combine the program of his tone poem with traditional sonata form (see chart). According to this scheme, the section about the hero's peaceful deeds comes as the recapitulation after the battle scene, which represents the development. The recapitulation, however, is enlarged by an extensive new episode with a series of self-quotations, beginning with the great theme from Don Juan, followed by themes from A50 sprach Zarathustra, Death and Transfiguration, Don Quixote, and Macbeth, as well as the opera Guntram and the songs Befreit (Liberated) and Traum durch die Ddmmerung (Dreaming at Twilight). These references, sometimes simultaneous and sometimes successive, amount to a survey of the hero's (in this case, Strauss') past life, followed by a final outburst, after which the music settles into the peaceful pastoral mood of the coda.
It should come as no surprise that a work as innovative as Ein Heldenleben should sharply divide critical reaction. Strauss' music came in for more than its share of invectives ranging from "outra?geously hideous noise" to Hundeleben (A Dog's Life). Some of the best musicians of the time, however, immediately recognized the importance of the work. After the Paris premiere, Claude Debussy wrote a review in which he referred to Strauss as "close to being a genius." And there was a twenty-year-old conservatory student in Budapest named Bela Bartok, whose life received new meaning from the revelations of Also sprach Zarathustra and Ein Heldenleben. Bartok made Ein Heldenleben into something of a signature piece, performing it in his own
piano arrangement (which he, to our great loss, never wrote down) to great acclaim in Budapest and Vienna. In 1904, he wrote his first major orchestral work, Kossuth, about a Hungarian hero. This piece brings in j Kossuth's wife and contains a major battle scene, but has a tragic, rather than idyllic ending. Bartok's Straussian fever eventually cooled off, but he, and other composers of his generation, proceeded further--in their many different ways--along the path of musical innovation that Strauss himself eventually abandoned.
iuseppe Sinopoli was born in Venice in 1946. After receiving a doctorate in medicine and arche?ology, he began his musical career . as a composer. He studied with Hans Swarowsky in Vienna and premiered as a conductor in 1976 with the opera Aida, also in Vienna. His opera, Lou Salome, pre?miered at the Bavarian State Opera in Munich, 1981.
Maestro Sinopoli is internationally rec?ognized for his work in new productions
and performances at opera houses in Vienna, London, New York, Milan, Florence, Dresden, Bayreuth, Berlin, Hamburg, and Munich, and concerts, recordings, and inter?national tours with orchestras such as the Dresden Staatskapelle,
Vienna, Berlin, and New York Philharmonics,: Chicago and Boston Symphony Orchestras, j the Israel Philharmonic Orchestra, and the j Philharmonia Orchestra London. jk '
Maestro Sinopoli acted as the Chief Conductor of the Orchestra dell'Accademia ; Nazionale di Santa Cecilia, Roma. In 1984, he began his work with the Philharmonia
Orchestra London as the Principal Conductor, and became the orchestra's ; Music Director in 1987. In 1992 he was appointed Chief Conductor of the Dresden Staatskapelle. Since 1985, Giuseppe Sinopoli has been a frequent guest of the Bayreuth Festival where he returned to conduct the new "Ring" during the 2000 summer seasonJ Recent projects include the new production of Die Frau ohne Schatten at the Vienna -' State Opera in December of 1999, Ariadne aufNaxos at La Scala in April 2000, and a i tour through Japan with the Vienna State : Opera in October 2000. Next season's pro.' jects will include new productions of '
Turandot, Der Rosenkavalier and Tristan und Isolde at La Scala, Milan.
Giuseppe Sinopoli has been recording for Deutsche Grammophon since 1981 and has received numerous awards, including the recent Cannes Classical Award for his Elektra (DGG) recording with the Vienna Philharmonic Orchestra. He was exclusively contracted to Deutsche Grammophon from 1983 to 1994 and is now sharing his record?ing activities between DGG and Teldec. His latest recordings with the Dresden d
Staatskapelle include a complete Bruckner " cycle for DGG and a series of works from the New Viennese School (Berg, Schoenberg, Webern) as well as Strauss' Die Frau ohne Schatten for Teldec, and Strauss' Friedenstag for DGG in 1999. Apart from numerous " symphonic works, his next opera recordings ' include Ariadne aufNaxos for DGG during the 20002001 season and Der Rosenkavalier in September of 2001 for Teldec.
Tonight's performance marks Maestro ?! Sinopoli's third appearance under VMS auspices.. .. ._
I
ne of the oldest and most highly regarded orchestras in the world, the Dresden Staatskapelle, under the leadership of Music Director Giuseppe Sinopoli, carries a tra?dition as proud as that of Dresden itself, one of the great cultural centers of Europe. In 1998, the orchestra celebrated its 450th anniversary with tours in Europe and Japan as well as North and South America. This ? .. distinguished ensemble is currently in the 1 midst of a coast-to-coast tour of the US including performances in San Francisco, Washington, DC, Ann Arbor, and New York City.
In addition to the orchestra's legacy, j internationally renowned music directors' and soloists have helped characterize the distinctive sound and spirit of today's ?-? Dresden Staatskapelle. Among its great ?' leaders have been Johann Walter, Heinrich Schiitz, Johann Adolf Hasse, Carl Maria von Weber, Richard Wagner and Ernst von Schuch. In the twentieth century, the list included such distinguished names as Fritz Reiner, Fritz Busch, Karl Bohm, Joseph Keilberth, Rudolf Kempe, Franz Konwitschny, Otmar Suitner, Kurt Sanderling and Herbert Blomstedt. Giuseppe Sinopoli has been Chief Conductor since 1992; Sir Colin Davis is Conductor Laureate.
Composers who have had works pre?miered by the Dresden Staatskapelle, or dedicated works to it, include such preemia nent names as Vivaldi, Wagner, Schumann,-Liszt, Strauss, Hindemith, Weill, Blacher, and, more recently, Zimmermann, Matthus, Rihm and Kancheli. Additionally, many composers have appeared with the orches?tra, namely Mozart, Paganini, Mendelssohn, Berlioz, Brahms, Stravinsky, Lutoslawski and Henze. Guest conductors include such notable figures as Herbert von Karajan, Carlos Kleiber, Wolfgang Sawallisch, Eugene Jocum, Seiji Ozawa, James Levine, Zubin Mehta, Lorin Maazel, Bernard Haitink
and Andre Previn.
Each season, the Dresden Staatskapelle plays about fifty symphonic and chamber music concerts at its famed hall, the Semperoper. In addition to the orchestra's North American tour in the 20002001 sea?son, they will travel to China, Japan, South Korea, Taiwan, Austria, Belgium, France, Great Britain, Greece, Italy, the Netherlands and Spain, and will participate in the Vienna and Berlin "Festwochen" as well as the If---Beethoven Festival in Bonn. ' ? -
Founded in 1548 as an ensemble of : court choristers, the Dresden Staatskapelle originally provided music for such functions as banquets, church services, court festivals, masked balls, weddings and funeral proces?sions. Its first authenticated concert tour occurred in 1575 with a visit to the Reichstag in Regensburg. In the seventeenth; century, the orchestra's performances and touring activities under the leadership of ? Heinrich Schiitz, one of the leading com; posers of his time, brought the ensemble ? fame throughout Europe. Under Schiitz's . baton, the orchestra introduced the first German opera, his own Dafne, beginning a long tradition of operatic premieres that includes more Wagner and Strauss operas than any other ensemble. It was during this century that the city of Dresden was also . ; developing into an increasingly important f literary, musical and visual arts center. ,
By the early eighteenth century, the! ... Dresden Staatskapelle was clearly the conti?nent's foremost ensemble. Beethoven noted, "It is generally said that the orchestra in Dresden is the best in Europe," while Jean ? Jacques Rousseau considered the group to ' be "the most complete and best ordered : ensemble" of the day. During the end of that jp;. century, the orchestra began presenting public concerts in Dresden, in addition to
those at court. Regular subscription concerts ;pvere introduced in 1856, alongside charity r ]M performances and occasional performances'
by virtuoso instrumentalists. The nineteenth century was also noted for the orchestra's presentation of new operas by Richard Wagner, who was Music Director from 1843-1849, and led the premieres of K;eizi Der Fliegende Hollander and Tatwhauser. Later, under the baton of Ernst von Schuch, the orchestra enjoyed a close association with Richard Strauss and gave the first per-, formances of nine of his operas: Salome, S Elektra, Der Rosenkavalier, Feuersnot, M Arabella, Die schweigsame Fran, Intermezzo Die dgyptische Helena and Daphne. As a ?" result of this close relationship, the orches?tra is known to this day as the "Strauss" , orchestra. Ja
The Dresden Staatskapelle's extensive jj discography reflects the orchestra's varied ' repertoire of traditional and contemporary composers, and features performances with leading conductors of the twentieth century. Under Giuseppe Sinopoli, the orchestra has recently recorded a cycle of nearly twenty-j five works of the "Vienna School" as well as works by Haydn, Beethoven, Bruckner, Liszt, Mahler, Wagner, Weber, Dvorak and Strauss, including Die Frau ohm Schatten, Joseph Legende, Friedenstag and Ariadne aufNaxos. In future seasons, Maestro Sinopoli will continue his Strauss recordings with Der 'j-'?-' Rosenkavalier and Die Liebe der Danae.
The Dresdner Bank has sponsored the orchestra's major artistic projects under the leadership of Giuseppe Sinopoli since 1994V
Tonight's performance marks the Dresden ?? Staatskapelle's fifth appearance under LjMS auspices.
Dresden Staatskapelle
Giuseppe Sinopoli
Music Director and Conductor
First Violin
Kai Vogler, Concertmaster
Michael Eckoldt
Jorg Fassmann
Michael Frenzel ...
Christian Uhlig
Birgit Jahn
Wieland Heinze
HenrikWoIl
Anja KrauS
Janos Ecseghy --
Annett Baumann
Sven Hartung -i
KeaHohbach
Albert Boesen ?}
Jurgen Dase
Ralf Heise
Second Violin Reinhard KrauB Frank Other Anette Thiem Christian Goldammer Wolfgang Roth Stephan Drechsel Jens Metzner Ulrike Scobel Olaf-Torsten Spies Mechthild von Ryssel Alexander Ernst Franz Schubert -T" Anselm Telle ,1
Emanuel Held 3
Viola
Sebastian Herberg Stephan Patzold Matthias Neubert Jiirgen Knauer Winfried Berger Michael Schone Uwe Jahn Ulrich Milatz Ralf Dietze Wolfgang Grabner Michael Horwath Thomas Duven
Cello ; Bruno Weinrhefsfer Friedwart-Christian Dittmann . Tom Hohnerbach Uwe Kroggel Friedrich Milatz Linhardt Schneider Andreas Priebst Christoph Schulze Jacob Andert Matthias Wagner
Double Bass Reiner Barchmann Andreas Wylezol Bernd Haubold Jiirgen Schmidt ... Helmut Branny Christoph Bechstein Fred Weiche Torsten Hoppe
Flute
Johannes Walter L"1" Eckart Haupt Bernhard Kury i-iL Cordula Brauer -,' Ulrich Philipp . Jens Jorg Becker j
Oboe
Andreas Lorenz Bernd Schober Bernhard Miihlbach Wolfgang Klier Peter Thieme Volker Hanemann
Clarinet Manfred Weise Wolfram GroGe Egbert Esterl RolfSchindler Dittmar Trebeljahr Jan Seifert
Bassoon
Gunter Klier Joachim Hans Wolfgang Liebscher Thomas Berndt Bernhard Rose Andreas Bortitz
Horn
Erich Markwart Jochen Ubbelohde Istvan Vincze Andreas Langosch Hartmut Schergaut Manfred Riedl Julius Ronnebeck Eberhard Kaiser Harald Heim
Trumpet Peter Lohse Matthias Schmutzler Siegfried Schneider Volker Stegmann Bernd Hengst Gerd Graner
Trombone
Gerhard EGbach Uwe Voigt Jiirgen Umbreit Lars Zobel Jorg Lehmann
Tuba
Hans Werner Liemen
Jen-Peter Erbe
TimpaniPercussion Bernhard Schmidt Thomas Kappler Christian Langer Frank Behsing Jiirgen May Stefan Seidl Dirk Reinhold Ulrich Grafe Annegret Meinke
Harp
Vicky Miiller Christiane Milatz
Celeste
Tom Christoph
Orchestra Managers
Jan Nast, Ebcrhard Stcindorf, Ria Sonntag ';,
Stage Technicians
Hansjochen Gbpel, Peter Prochnow, Steffen Tietz
Brentano String Quartet
Mark Steinberg, Violin Serena Canin, Violin Misha Amory, Viola Nina Maria Lee, Cello
Program
Sunday Afternoon, February 4, 2001 at 4:00 Rackham Auditorium, Ann Arbor, Michigan
Franz Joseph Haydn
Charles Wuorinen
String Quartet in A Major, Op. 20, No. 6
Allegro di molto e scherzando
Adagio cantabile
Menuetto: Allegro
Finale: Allegro (Fuga a tre soggetti)
String Quartet No. 4
INTERMISSION
Igor Stravinsky
Wolfgang Amadeus Mozart
Three Pieces,
i
String Quartet in C Major, K. 465
Adagio: Allegro Andante cantabile Menuetto: Allegro Allegro
Forty-seventh
Performance
of the 122nd Season
Thirty-eighth Annual Chamber Arts Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This concert is presented in partnership with the Chamber Music Society of Detroit.
The Brentano String Quartet appears by arrangement with MCM Artists.
Large print programs are available upon request.

String Quartet in A Major, Op. 20,
Born March 31, 1732 in Rohrau, Ldriei
Austria Died May 31,1809 in Vienna
Early in Haydn's career, it was the popularity of his string quartets rather than the sym?phonies that spread his fame across Europe. Although the terms of his employment at the Esterhaza court expressly forbade the dissem?ination of his compositions without permis?sion from his patron, Haydn's early quartets were nevertheless published in Paris, London, and Amsterdam, and were tremendously popular. Although Haydn did not invent the string quartet genre (it seems to have arisen ?? from a combination of German folk genres ' and the Italian divertimento earlier in the . . j eighteenth century), he single-handedly raised it to an unprecedented level of artistry, popularizing the genre that would become the fundament of chamber music composi?tion for the next 150 years.
The six quartets that comprise Op. 20 were composed in 1772 and dedicated to Nikolaus Zmeskall von Domanovecz, a jjf Hungarian diplomat and lover of chamber music. They are known collectively as the "Sun" quartets, for no other reason than that one of the first published editions (from Hummel in Amsterdam) included a drawing of a rising sun on the cover. But they are also known as Die Grossen Quartette (The Great Quartets), since they are Haydn's first truly mature works in the genre. His earlier essays V in quartet writing--the Op. 9 and Op. 17 quartets--show the influence of an essential-i ly symphonic conception (Haydn had com?pleted at least forty symphonies before j attempting his first quartets). They retain the i simplicity and refinement of the Rococo -$jj orchestral tradition. But it is in Op. 20 and subsequent sets that Haydn began to think of the quartet in its own terms, standardiz-
ing the four-movement format, allowing ' greater independence for the cello and viola . parts, and infusing the genre with the Sturm und Drang passion that also enlivens his j middle-period symphonies.
Part of the influence of Sturm und Drang on music was a tendency toward -? minor keys, a return to "learned" polyphony j or Gelehrte stil, and a deepening of expres?sive content. This is expressly true of Op. 20, i with two of the six quartets in minor keys, .: and two more with slow movements in tonic minor. Three of the quartets (includ?ing No. 6) conclude with elaborate fugues.
The sixth and last quartet in the set is also known specifically as the "Sun" Quartet. , Melvin Berger claims that, in addition to the 1 cover design, this quartet earns the nick?name through its "cheery warmth and light-hearted grace." Typical of Haydn's composii tions from this period, the work is front] weighted; the first two movements take up ' almost three quarters of the entire quartet's i length, while the last two are rather brief. :_J
The triple meter of the light-hearted eg first movement implies a dance, but it :$) moves to the dominant minor (rather than i the expected major key) for the second j
theme. Though the exposition ends in J8 major, the free alternation of modes, and the affective nervousness it implies, is a clear J hallmark of Sturm und Drang. '"?"
In the slow movement, the first violin "sings" a two-part aria form with gentle accompaniment from the other strings. Haydn had been heavily involved with the opera theatre at Esterhaza in the years leading up to the composition of this quartet, and it is ; conceivable that he was thinking in operatic terms for this movement. The score direction to play mezza voce (half-voice) throughout adds a degree of emotional restraint.
The ensuing "Menuetto" and trio return to sprightly triple-time rhythms. The second violin drops out for the trio (resulting in a true trio in texture as well as form), and the :
other three instruments play only on their lowest strings, creating a rich, darker tone color. For the "Finale," Haydn writes a com?plex and imaginative three-subject fugue that concludes with a rousing unison state?ment of the first theme.
String Quartet No. 4
Charles Wuorinen ';
Born June 9, 1938 in New York 1
I composed my fourth string quartet during" 1999, for the Brentano Quartet, with whom I had had previous happy associations; the piece was commissioned by a consortium of chamber music presenters, including the Chamber Music Society of Lincoln Center, Chamber Music Northwest, El Paso Chamber Music Festival, and the Chamber Music Society of Detroit. At somewhat over twenty! minutes playing time, the quartet's single ? movement necessarily involves a wide variety of attitudes, gestures, textures, and speeds. But overall one can detect a directed progress from slower to faster, from sparer to denser-although with many detours--and finally to a kind of repose. Stasis is not victorious, m however, for the work ends (some might say)S with the musical analogue of a question. ??
--Charles Wuorinen 1
i. New York, September 2000 1
Three Pieces
Igor Stravinsky
Born June 17, 1882 in Oranienbaum,
near St. Petersburg, Russia Died April 6,1971 in New York
Stravinsky's Three Pieces for string quartet are one of the first manifestations of the composer's tendency toward a lean, ascetic style, a trend that would be expressed more fully in the neoclassical works of the 1920s
and '30s. But the Three Pieces are relatively early works, dating from the late spring of 1914, during the aftermath of the premiere of Rite of Spring.
In these pieces, Stravinsky ignored the" whole Classical-Romantic quartet tradition, avoiding traditional tempo indications (with their subtle inferences of style) by using simple metronome markings instead. It was only when he orchestrated the pieces fifteen years later that he gave them descriptive J titles--"Danse," "Excentrique," and 1
"Cantique"--though these qualities were evident even before the titles were added. 1 The brief first piece is about mechanical repetition. The leader repeats a simple tune with a four-note range over an ostinato and a drone, with scale fragments from the sec?ond violin. Each instrument employs a dif?ferent method of tone production, creating four individual and distinct characters. But the texture avoids true chamberistic inter?play; the instruments are simply playing simultaneously. If this is indeed a dance, as the composer's later title suggests, then the asymmetric rhythms and irregular accents make it a decidedly lopsided one.
Paul Griffiths describes the second piece as "a portrait of a clown, jumping from one bizarre posture to another." Stravinsky was inspired in this work by the antics of the clown Little Tick, whom he had seen perform in London. More directly connotative than the other two pieces, this,-work mimics a wide range of clown-like I expressions, with cartoon notions of slap-,1 stick and visual humor.
The final piece is solemn and liturgical, as the four players move homophonically through harmonizations of a chant-like j. melody. Stravinsky described it as "choral and religious in character," foreshadowing in its solemnity the composer's later choral works such as the Pater noster and passages , from the Mass. -?if
String Quartet in C Major, K. 465
Wolfgang Amadeus Mozart Born January 27, 1756 in Salzburg Died December 5, 1791 in Vienna
When Mozart heard Haydn's Op. 33 quar?tets for the first time, it was (according to Alfred Einstein) one of the most profound experiences of his musical life. Haydn claimed that his Op. 33 quartets, composed almost ten years after the Op. 20 set, were written in "an entirely new and special man4 ner." Inspired by this model, Mozart com?posed three quartets in late 1782 and early 1783, and three more in 1784-85, dedicating the complete set of six to Haydn with the observation, "I have learned from Haydn , ,.-.. how to write quartets." This act of pure ' homage was unusual for Mozart, who almost never wrote such a substantial opus without any commission or guaranteed occasion for public performance. What's more, he relinquished all rights for the works to the dedicatee. Yet for all his indebtedness to Haydn, it is clear that Mozart's quartet writing in turn influenced Haydn's later compositions in the genre, j Mozart's quartets and Haydn's Op. 33 are coequal contributors to the development of the string quartet during the early 1780s.: While composing chamber music seems to ; have come relatively easy to Haydn, Mozart spent more effort on these quartets than he did on just about any other composition. I They presented a tremendous challenge to him, as evidenced in the many corrections, 1 changes, and alterations he made to the I manuscript. fii
After completing the last of the set-4Rl the String Quartet in C Major, K. 465--in : January 1785, Mozart organized a perfor?mance of all six quartets for Haydn, spread ' ? over two evenings (January 15 and February 12, 1785). Mozart and his father, Leopold, both played in the ensemble. After hearing these works, Haydn remarked to Leopold
Mozart: "Before God and as an honest man, I tell you that your son is the greatest com?poser known to me either in person or by name."
This C-Major quartet is the only string quartet Mozart wrote with a slow introduc?tion, one of the more obvious references to his mentor's compositional style. It is this introduction that introduces the dissonance from which the work as a whole gets its nickname, "Dissonance": an A-flat in the ? ... viola clashing with an A-natural in the first violin. So peculiar was this effect that many thought it was perhaps a misprint in the published edition, or that the composer himself had made an error, though it is clear from the documentary evidence that Mozart knew exactly what he was doing, and Haydn had, after all, praised the compositional technique behind it. Maynard Solomon writes of this passage, "Without knowing precisely where we are, we know that we are in an alien universe." Yet Charles Rosen points out that this introduction cleverly "f establishes the tonic C-Major without ever ' once stating it: "The opening of a work by Mozart is always solidly based, no matter how ambiguous and disturbing its expressive significance." J
The main effect of the slow introduc-H tion is to throw into high relief the buoyan?cy and light-heartedness of the remainder of., the movement, which is remarkably free fi from dissonance. Still, in true Haydn-esque style, there is continuity in the contrast: the repeated-note accompaniment from the slow introduction is carried over into the bubbling main theme of the "Allegro."
The intimate second movement is a slow-movement sonata form (without a development section) in which the transi?tion between themes is effected by a sublime duet between cello and first violin. At sever?al points in this contrapuntal movement Mozart omitted imitative entries for the first violin and viola in the score, suggesting to
some critics that the composer had made a mistake there, too. Modern performances often "fill in" the missing parts to create the complete imitative texture, something Mozart may have expected his players to do intuitively.
The orchestral minuet that follows dis?plays contrasts of line, dynamics, articula?tion, and texture, with a somber and yearn?ing trio in the minor mode. The rondo finale, "Allegro," abounds with wit and humor. The unexpected pauses, dramatic shifts in temperament, false reprises, and unusual harmonic excursions, all within the bounds of good-natured felicity, are in overt homage to Haydn, and would have pleased him greatly.
Program notes by Luke Howard.
? ince its inception in 1992, the Brentano String Quartet has been singled out for their technical bril?liance, musical insight and stylistic elegance. Within a year's time, the Brentano String Quartet claimed the distinction of being named to three major awards, win?ning the first Cleveland Quartet Award, the
1995 Naumburg Chamber Music Award and the tenth Annual Martin E. Segal Award. For their first appearance in Great Britain at Wigmore Hall, the Brentano was awarded the Royal Philharmonic Society Music Award for the most outstanding chamber music debut for 1997.
The Quartet became the first quartet-in-residence at Princeton University in 1999, and since 1995 they have been the quartet-in-residence at New York University. In 1995 they were chosen by the Chamber Music Society of Lincoln Center to participate in the inaugural season of Chamber Music Society Two--a program designed for out-standing emerging artists and chamber S musicians. Additionally, beginning in the year 2000, the Brentano String Quartet became the quartet-in-residence at 1
Wigmore Hall in London. ?'J
The Brentano String Quartet has appeared with pianist Mitsuko Uchida at the Concertgebouw in Amsterdam, at the Library of Congress, and at Lincoln Center, and has collaborated with Jessye Norman in her 1998 Carnegie Hall recital. In the fall of 1998, the Brentano String Quartet per-formed to great acclaim in various venues ? across Australia, including the prestigious Sydney Opera House, and were featured in a Live From Lincoln Center
broadcast.
The Brentano String Quartet has made appear?ances in the major musical centers in North America including Alice Tully Hall ic New York, the Philadelphia Museum of Art, Pittsburgh's Frick Museum, La Jolla Chamber Music Society, Chamber Music Society of Detroit, the Ford Centre for the Performing Arts in 3 ' Toronto, and venues in Washington, DC, San . _.
Francisco, Los Angeles, Baltimore, Houston, New Orleans, Kansas City, and Boston. During the 20002001 season, the Quartet will appear in Europe at Royal Festival Hall in London, the Accademia de Santa Cecilia in Rome, and in Frankfurt, Cologne, and Milan.
The Brentano's recent and upcoming festival appearances include the Edinburgh Festival in Scotland, Festival De Divonne in France, the Bath Festival in England,
Chamber Music Northwest, the San Luis Obispo Mozart Festival, Chautauqua, [
Caramoor International Music Festival, the Taos School of Music and Interlochen's Advanced String Quartet Institute, jjj The Quartet is named after Antonie Brentano, whom many scholars believe to have been Beethoven's mysterious "Immortal Beloved," and to whom he wrote his famous love confession.
They maintain a strong interest in the music of our time and have had several
works written for them, including Milton Babbitt's String Quartet, No. 6, Chou Wen-Chung's Clouds, and two quartets by Bruce Adolphe. Upcoming music projects include a recording of the music of Steven Mackey.
This afternoon's performance marks the Brentano String Quartet's UMS debut.
Personnel Systems, Inc. Arbor Technical StaffingArbor Temporaries, Inc.
present
Hubbard Street Dance Chicago
Jim Vincent Artistic Director :'?' '"'? '?'?
Gail Kalver Executive Director
The Company Shannon Alvis Francisco Avina Darren Cherry Sandi J. Cooksey Steve Coutereel Ron De Jesus Charlaine Katsuyoshi
Yael Levitin Cheryl Mann Jamy Meek Kendra Moore Geoff Myers Mary Nesvadba Massimo Pacilli
Joseph P. Pantaleon: Gregory Sample : Christine Carrillo :,
Simpson Lauri Stallings Robyn Mineko i
Williams i
Lou Conte Founder
Choreography by Nacho Duato
Friday Evening, February 9, 2001 at 8:00 Power Center, Ann Arbor, Michigan
Rassemblement (The Gathering)
INTERMISSION
Choreography by Trey Mclntyre
Choreography by -Harrison McEldowney
Choreography by Daniel Ezralow
SHORT PAUSE
Group Therapy
INTERMISSION
Read My Hips
Forty-eighth Performance of the 122nd Season
Tenth Annual Dance Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This evening's performance is sponsored by Personnel Systems, Inc.Arbor Technical StaffingArbor Temporaries, Inc. j.___;__.__.....
Special thanks to Jeanne Merlanti of Personnel Systems, Inc.Arbor '
Technical StaffingArbor Temporaries, Inc. for her generous support of the University Musical Society. -.m
Additional support provided by media sponsors, WDET and MetroTimes.
Special thanks to Eastern Michigan University and Peter SparlingDance Gallery for their involvement in this residency.
Special thanks to Susan Filipiak of Swing City Dance Studio for her leader?ship in providing in-school educational outreach for HSDC.
Large print programs are available upon request.
Hubbard Street Dance Chicago
; Lucas Crandall ?
:.'Artistic Associate
Claire Bataille ;
Ballet Mistress '.
Sandi J. Cooksey .'
Rehearsal Assistant
j Todd L. Clark Production Stage Manager & Lighting Supervisor
$; Anne Grove
? Company Manager " ' ' ???'-
Kilroy G. Kundalini Audio Engineer j-
? I
-Sandra Fox K?..,
Richard J. Carvlin j Technical Director
Andrew Brown .. . ., Assistant Stage Manager
ijason Bauer ?& -.-, '.Production Electrician
Photo by: Lois Greenfield
Rassemblement (The Gathering) : (25 minutes) "?
Choreography by Costume Design by Set Design by Lighting Design by Music by
Dancers
Nacho Duato j
Nacho Duato ;
Walter Nobbe . ?.,??
Nicolas Fischtel Toto Bissainthe, Rasambleman
Shannon Alvis ;
Yael Levitin, Ron De Jesus
Charlaine Katsuyoshi, Massimo Pacilli"
Sandi J. Cooksey, Steve Coutereel, Gregory Sample
Jamy Meek, Darren Cherry
Rassemblement is underwritten by the Above & Beyond Campaign. ' . ,.,,.
Created for the Cullberg Ballet in 1990. First performed by Hubbard Street Dance I Chicago at the Shubert Theatre, Chicago, Illinois, April 13,1999.
O1998, Nacho Duato, all rights reserved. Tony Fabre, Ballet Master. Costume materials: "Span Atelier van der Berg (Holland). Sets: John Campbell Scenic Studio (Great Britain). -J
Organization: Mediart Producciones SL (Spain). Music: Rasambleman by Toto Bissainthe, I used with permission of Milena Sandier. From the CD Haiti Chante, courtesy of ARION, 4 Paris. By special arrangement with SACD, Paris. J
Split
(9 Minutes)
Choreography by Costume Design by Lighting Design by Music by
Dancers ' '
TreyMclntyre ..., Sandra Woodall Michael Mazzola [
Art Blakey, "Split Skins"
Sandi J. Cooksey, Steve Coutereel, Charlaine Katsuyoshi, Gregory Sample, Shannon Alvis, Darren Cherry
The Elizabeth F. Cheney Foundation is the principal underwriter of Split, with partial, support by the National Endowment for the Arts. i
Created for Hubbard Street Dance Chicago in 2000. First performed by Hubbard Street TQi Dance Chicago at the Cadillac Palace Theatre, Chicago, IL, October 3, 2000.lJj?S!f
"Split Skins" by Art Blakey from the album Orgy in Rhythm Volumes One & Two, Blue Note 56586. Blue Note is a registered trademark of Capitol Records, Inc. O1997 Capitol Records, Inc. Manufactured by Capital Records, Inc. All rights reserved.
r.5.
Group Therapy
(15 minutes)
Choreography by Costume Design by Lighting by Music by
Dancers
Harrison McEldowney Nan Zabriskie Diane Ferry Williams Various Composers
Kendra Moore, Geoff Myers Cheryl Mann, Gregory Sample Sandi J. Cooksey, Ron De Jesus Mary Nesvadba, Jamy Meek

@@@Group Therapy is underwritten in part by a gift from Jim and Kay Mabie.
Created for and premiered by Hubbard Street Dance Chicago, at the Shubert Theatre, ' Chicago, Illinois, April 13,1999.
"The Worry Song," by Sammy Fain; performed by Gene Kelly from the recording S'Wonderful: Gene Kelly at MGM, Turner Entertainment Co.Rhino Movie Music. Published by EMI Miller Catalog, Inc. Used by permission. "Fascinatin" Rhythm," by ?--,--George and Ira Gershwin; performed by Herbie Hancock from the recording Gershwin's & World, VervePolygram Records. O1924 (Renewed) WB Music Corp (ASCAP). All rights M reserved. Used by permission. "Treat Me Rough," by George and Ira Gershwin; performed jfi by Kathy Santon from the recording Second City Divas, courtesy of Jeff Duke and M.A.M. m Records. O1944 (Renewed) New World Music Company, Ltd. (ASCAP). All rights OBO 1 New World Music, Ltd. administered by WB Music Corp. (ASCAP). All rights reserved. ?.;-.,3t Used by permission. "Embraceable You," by George and Ira Gershwin; performed by 5 Duncan Sheik from the recording Red Hot and Rhapsody, VervePolygram Records. O1930 (Renewed) WB Music Corp (ASCAP). All rights reserved. Used by permission. "You're Getting To Be A Habit With Me," by Harry Warren and Al Dubin; performed by Diana Krall from the recording Love Scenes, GRP Records, Inc. O1932 (Renewed) WB ;I Music Corp. (ASCAP) All rights reserved. Used by permission. "Baby I'm Gone," by R. '; Milton; performed by Blues Jumpers from the recording Wheels Start Turning, Ridge ' Recordings, LLC. Schon Rosmarin composed by Fritz Kreisler; performed by Henryk -?
Szeryng, Mercury Living PresencePhillips Classics. Published by Carl Fischer, Inc. "What is This Thing Called Love" written by Cole Porter; performed by Rachelle Ferrell from the recording First Instrument, Blue Note RecordsCapitol Records. O1929 Warner Bros., Inc. (ASCAP). All rights reserved. Used by permission. Excerpt from Now, Voyager, .jffip Phonographic Performance LimitedGanton House. Excerpt from "Mr. Clean" cornmetj cial, TVT Records. 'SSimm
Read My Hips
(20 minutes)
Choreography by Costume Design by Lighting Design by Original Music by
Dancers
Daniel Ezralow ?Zl v
Jackson Lowell Howell Binkley '
Michel Colombier
Shannon Alvis, Francisco Avina
Charlaine Katsuyoshi, Darren Cherry
Yael Levitin, Steve Coutereel
Cheryl Mann, Jamy Meek
Kendra Moore, Geoff Myers
Christine Carrillo Simpson, Gregory Sample
Robyn Mincko Williams
The choreography for Read My Hips is underwritten by an anonymous donor.
Created for and premiered by Hubbard Street Dance Chicago at the Civic Opera House, Chicago, Illinois, May 8,1990.
Note: A strobe-like lighting effect will be used during this dance.
ubbard Street Dance Chicago
(HSDC) was founded in 1977 by veteran dancer and choreogra; pher Lou Conte. Today, under the leadership of Artistic Director Jim Vincent, twenty culturally diverse dancers represent Hubbard Street Dance Chicago throughout the world, per?forming annually for more than 100,000 people.
During its twenty-three-year history, HSDC has emerged as an innovative force in contemporary dance, combining theatri?cal jazz, modern and classical ballet tech?nique to create an unparalleled artistic style. The company and its distinctive repertoire serve as a living archive for significant choreographic works by world-class choreo?graphers Nacho Duato, Daniel Ezralow, Jiri Kylian, Kevin O'Day, Margo Sappington and Twyla Tharp. In addition, the company reg?ularly collaborates with emerging choreog?raphers on new dance works. ' The company performs in downtown Chicago and the metropolitan area and also tours extensively throughout the year. The company has appeared in forty-two states and fifteen countries at celebrated dance venues including the American Dance Festival, DanceAspen, the Holland Dance Festival, Jacob's Pillow, The Joyce Theater, the Kennedy Center, the Ravinia Festival and' the Spoleto Festival of Two Worlds (Italy).
From its inception, HSDC has captured; public attention and garnered local, national and international critical acclaim. With four; public television specials, including two that! aired nationally, HSDC has enlightened and " entertained audiences of all backgrounds. After viewing the company's television debut in 1981, Fred Astaire called the per, formance "some of the greatest dancing I'y seen in years." i
In March 1998, Hubbard Street Dance ' Chicago merged with the Lou Conte Dance Studio (LCDS) and relocated to a perma?nent facility in Chicago's West Loop Gate
neighborhood. HSDC and the LCDS nowv serve as one institution dedicated to perfor?mance, dance training and community edu?cation. One of the most comprehensive dance centers in the US, this facility houses five dance studios equipped with state-of-the-art floors and audio systems, including two stage-sized spaces; production shops for building and maintaining sets and cosVl' tumes; storage space for the company's ' advanced sound and lighting systems; a sound mixing studio; and administrative offices and meeting rooms.
Hubbard Street 2, HSDC's young pro?fessional company (formerly known as Hubbard Street Trainee Ensemble), is the ?''fk backbone of HSDC's community education M program. Formed in 1997, the ensemble performs in schools, community centers and park districts, as well as in small professionM al venues, reaching 23,000 people annually. g HSDC's team of dance educators works "
closely with about twenty classrooms each year on a multi-layered program that exposIt es students to dance, trains teachers to inteIj grate dance and movement into the curricum lum, and offers free admission to company E: performances. m
The Lou Conte Dance Studio offers m more than sixty classes per week to adults! and teens in ballet, jazz, tap, modern, hip-'; hop, funk and dance fitness. Named "Best; Dance Class for Adults" by Chicago maga-rJ zine, the Lou Conte Dance Studio offers ; various levels of classes for dancers from. ? beginners to professionals. ' jj
August 1, 2000 marked a major turning point in the life of HSDC as Conte retired as . artistic director and respected dancer, H teacher, ballet master and choreographer Jim Vincent became the new artistic director. Vincent's relationships with Kylian, DuatoS and other distinguished choreographers will ? continue to build on HSDC's illustrious his?tory as a contemporary repertory company. Vincent will continue to work with both renowned and emerging choreographers
from around the world to create a distinct body of works for the company.
In 1977, Hubbard Street Dance Chicago ;was launched to fill a community need. ; Today it stands as one of the most renowned dance companies in America, ' dedicated to performance, dance training and community education, while serving as an emblem of Chicago's international cul?tural profile.
This weekend's performances mark Hubbard Street Dance Chicago's third and fourth appearances under UMS auspices.
Jim Vincent (Artistic Director) joins HSDC following an extensive career as a dancer, teacher, ballet master and choreographer. Vincent's dance training began at the age of &five and continued through his childhood
f-Ballets in New Jersey. He studied on scholar?ship at the Washington School of Ballet in Washington, DC, Harkness House of Ballet in New York City and North Carolina School of the Arts at University of North Carolina. Vincent's distinguished career as a professional dancer includes a twelve-year tenure with Jiri Kylian's Nederlands Dans .. Theater, a guest appearance with Lar ?f?. Lubovitch and two years with Nacho j&Sr Duato's Compania Nacional de Danza in K$ffi.Spain. As a dancer, he worked with many H choreographers, including Kylian, Duato, William Forsythe, Mats Ek, Hans van Manen, Christopher Bruce, Ohad Naharin ; and Lar Lubovitch.
; Vincent has served as ballet master for '"Nederlands Dans Theater II, Compania . Nacional de Danza and Opera National de ?' Lyon, where he rehearsed repertory by
Jpjf Forsythe, Ek, George Balanchine, Angelin : ip Prejlocaj and Bill T. Jones. He has restaged ] 'choreographies for Duato, including Jardi '?'
Tancat, Synaphai and Na Floresta, and for Kylian, including Return to the Strange Land and Stamping Ground. Vincent has choreo?graphed a number of works for Nederlands Dans Theater I and II, Quebec's Bande a Part and Switzerland's Stadt Theater Bern. His teaching experience includes Holland's Royal Conservatory of the Hague, Australia's Victorian College of Art, Compania Nacional de Danza and Opera National de Lyon. He served as assistant artistic director of Compania Nacional de Danza from 1990-94.
In October 1997, Vincent joined the creative team of Disneyland Paris as a con?cept designer and show director. He has specialized in creating original concepts for corporate entertainment, press and gala events. Born in New Jersey, Vincent is both a US and French citizen, speaks four languages and is married to France Nguyen, a former dancer with Nederlands Dans Theater, Compania Nacional de Danza and Lyon Opera Ballet. They have three daughters, L?na, Claire and June.
Gail Kalver (Executive Director), a native Chicagoan, joined HSDC in 1984. She received a degree in music education from the University of Illinois (ChampaignUrbana) and a master's degree in clarinet from the Chicago Musical College of Roosevelt University. Kalver founded the Windy City Wind Ensemble and performed with the Chicago Symphony Orchestra, Lyric Opera Orchestra and Grant Park Symphony. She joined the Ravinia Festival staff in 1976, where she became associate manager until joining HSDC. Kalver was also music con?sultant to the Peabody Award-winning National Radio Theatre. She has served on the boards of the Chicago Dance Coalition, DanceUSA, the National Association of Performing Arts Managers and Agents and on numerous funding panels. Kalver currently serves on the boards of the Illinois Arts Alliance, Chicago Dancers United and the West Loop Gate Association. Kalver is
the recipient of the Chicago Dance Coalition's 1988 Ruth Page Award, was rec?ognized by Today's Chicago Woman in 1996 and has co-chaired Dance for Life and the Midwest Arts Conference.
Lou Conte (Founder), after a performing career including Broadway musicals, estab?lished the Lou Conte Dance Studio in Chicago in 1972. In 1977, he founded what is now Hubbard Street Dance Chicago with four dancers performing at senior citizens' homes in Chicago. Originally the company's sole choreographer, he developed relation?ships with world-renowned choreographers as the company began to grow, adding bod?ies of work by a variety of artists. These rela?tionships transformed HSDC into the inter?nationally acclaimed repertoire company it is today. In the 1980s, Conte brought in several works by Lynne Taylor-Corbett, Margo Sappington and Daniel Ezralow. He contin?ued to build HSDC's repertoire by forging a key partnership with Twyla Tharp in the 1990s, acquiring seven of her works, includ?ing an original work for the company. Conte further expanded the company's repertoire to include European choreographers Jiri Kylian, Nacho Duato, and most recently, Ohad Naharin, whose Minus 16 received its US premiere by HSDC in October 2000. These long-term relationships along with Conte's participation in selecting the compa?ny's new artistic director have paved the way for HSDC's future. Through his twenty-three years as the company's artistic director, Conte has received numerous awards, including the Chicago Dance Coalition's inaugural Ruth Page Artistic Achievement Award in 1986, the Sidney R. Yates Arts Advocacy Award in 1995 and the Chicagoan of the Year award from Chicago magazine in 1999. He has been credited by many for helping raise Chicago's international cultural profile and for creating a climate for dance in the city, where the art form now thrives.
Lucas Crandall (Artistic Associate) was born in Madison, Wisconsin and began training in modern dance at the age of fourteen. After receiving several scholarships in the US and serving as an apprentice with the , Milwaukee Ballet, Crandall went to Europe to perform with the Ballet du Grand Theatre in Geneva, Switzerland. In 1985, he joined m Nederlands Dans Theater where he first worked with Hubbard Street Dance ?
Chicago's new artistic director, Jim Vincent. After performing with the Nederlands Dans Theater for two years, Crandall returned to the Ballet du Grand Theatre, working with choreographers including Ohad Naharin, Jiri Kylian, Mats Ek and Christopher Bruce. In 1996 he became the company's rehearsal ar director where he assisted choreographers ? including Oscar Araiz, Lionel Hoche, ? Amanda Miller, Toru Shimazaki and Etienne Frey. During that time, he also rehearsed bal?lets from William Forsythe, David Parsons and Ohad Naharin. A choreographer since fflj 1982, his pieces have been performed in a M variety of countries including Switzerland, , Italy, France, Canada and the US. In 1999, Crandall was selected from sixty candidates to be one of six participants for the third SIWIC International Choreographic -IS Workshop in Zurich, Switzerland. M
Claire Bataille (Ballet Mistress) was a found?ing member of Hubbard Street Dance , Chicago, and during her fifteen years at HSDC was assistant artistic director and choreographed five works for the company. She retired from performing in 1992. Since then, she has created works for several com?panies, including Spectrum Dance Theatre (Seattle), Tennessee Children's Dance Ensemble (Knoxville), Akasha Dance WSkT Company (Chicago) and Playhouse Dance Theatre (Pittsburgh) and has also taught master classes throughout the US and in ?-.-. Europe. She has been on the faculty of the Chicago Academy for the Arts, River North_.
Dance Company, Columbia College and Gus Giordano Dance Center. Bataille is married to Don Sorsa and the mother o: two boys, Isaac and Jack.
The Company
Shannon Alvis (Indianapolis, IN) trained at Jordan Academy of Dance at Butler University and at the University of Utah. She has per?formed with the Utah Ballet, Indianapolis '? Ballet Theatre and the Chautauqua Ballet Company and has attended numerous ;
summer programs including Boston Ballet, Pennsylvania Ballet, School of American Ballet, Royal Winnipeg Ballet and American Ballet Theatre. Alvis joined Hubbard Street 2 in June 1998 and moved to the full company: in June 2000. She would like to dedicate her j performances to her Dad.
Francisco Avina (Santa Ana, CA) graduated from Orange County High School of Performing Arts and started dancing at the ? age of fifteen. He has performed in the TV : series Fame LA., in the movie Batman and Robin and in Michael Jackson's Sisterella and the 1994 Super Bowl. He choreographed Gianni Versace's runway show in Singapore and a piece for Hubbard Street 2. A former ' member of Hubbard Street 2, Avina joined the full company in June 2000. He would i like to thank his mother and Julie Nakagawa for their love and support.
mm ?""
t)arfen Cherry (Baytown, TX) began his , dance training at Cheryl's Dance Studio in Baytown at age eleven and then studied for six years with Houston Ballet Academy. Cherry graduated early from Houston's ' High School for Performing and Visual Arts and immediately moved to Chicago. He joined Hubbard Street 2 in June 1998 and moved to the full company in September 1999. He thanks his parents for their uncon?ditional support............
Sandi J. Cooksey (Juneau, AK) performed with Ballet Iberico Hispanico Chicago, Giordano Jazz Dance Chicago and in several industrial productions before joining HSDC in 1987. In 1996 Cooksey took a three-year leave from HSDC, performing with Twyla Tharp's NYC-based company Tharp! during 1998, returning to HSDC in 1999. She is the recipient of the 1995 Ruth Page Dance Achievement Award.
Steve Coutereel (Nieuwpoort, Belgium) received his training at the Academy of Ballet in Antwerp (Belgium). He danced with Royal Ballet of Flanders, Ballet du Nord (Roubaix, France), Oregon Ballet Theatre, Los Angeles Classical Ballet and the San Francisco Ballet, joining HSDC in June 1999.
Ron De Jesus {Chicago, IL) studied at Northeastern Illinois University and danced with Ensemble Espanol, Joseph Holmes Chicago Dance Theatre and the Chicago Repertory Dance Ensemble prior to joining HSDC in 1986.
Charlaine Katsuyoshi (Honolulu, HI) grad?uated from the University of California at Irvine with a bachelor of fine arts degree in dance performance. She has performed with MOMIX, on the TV series Fame LA., and appeared in the film Blade. Katsuyoshi joined Hubbard Street 2 in June 1999 and moved to the full company in September 1999.
Yael Levitin (Haifa, Israel) trained in her native Israel, where she danced with the Haifa Ballet for three years. In 1991, she joined Bat-Dor Dance Company as a principal dancer. In 1992, Levitin represented Israel at the Paris Opera Dance Soloist Competition, receiving a silver medal for her performance. In the US, she worked with Complexions, Connecticut Ballet and Ballet Hispanico before joining HSDC in August 1999.
Cheryl Mann (Orlando, FL) graduated from Point Park College in Pittsburgh, PA, and has performed with Pittsburgh's Civic Light Opera, Southern Ballet Theater in Orlando and at Florida's Walt Disney World. Mann danced with River North Dance Company for three years before joining HSDC in 1997. She adores and thanks her amazing family and Swany for all their love and support.
Jamy Meek (Lubbock, TX) received a Bachelor of Arts degree in performing arts from Oklahoma City University. Meek danced with Ballet Lubbock, Willis Ballet and for the San Antonio Metropolis Ballet, joining HSDC in June 1996. He has found new inspiration in his son, Cooper, and dedicates 1 this season to him and his enthusiasm for life.
Kendra Moore (Lethbridge, Canada) studied at the Edmonton School of Ballet. She danced with Ballet Austin and Les Ballets : Jazz de Montreal before joining HSDC in ! May 1998. She has enjoyed traveling the globe with all these companies and the wonderful friends she has made along the way.
Geoff Myers (St. Louis, MO) rejoined HSDC in 1996 following a three-year hiatus. He has performed with the Verona Ballet, River North Dance Company and Milwaukee Dance . Theatre. Myers danced with HSDC from 1984-1993 and has since completed a Bachelor' of Arts degree in TVvideo production. He would like to thank his family, friends and his dog Jack for their love and support.
Mary Nesvadba (Houston, TX) has studied and danced at the Houston Ballet, the Fort Worth Ballet and the School of American Ballet in NYC, joining HSDC in 1991. She would love to thank her Mom, Dad and Joey for their inspiration and support.
Massimo Pacilli (Torino, Italy) trained at the Torino School of Dance. After an early career in ballroom dancing, he relocated to
New York City in 1993 and has since per?formed with Alvin Ailey Repertory Ensemble, Elisa Monte, Complexions and Donald ByrdThe Group. He joined HSDC in 1999.
Joseph P. Pantaleon (San Diego, CA) began his formal dance training at the age of twenty, while pursuing a degree in clinical psycholo?gy at San Diego State University. During his dancing career, Pantaleon has performed with numerous companies in the Chicago area and has been a member of HSDC since 1993. He would like to thank the many teachers, friends and especially his family for inspiring and supporting him through his
Gregory Sample {Louisville, KY) studied ' dance intensively in Louisville and received"' a Bachelor of Fine Arts in dance from North Carolina School of the Arts. Sample joined HSDC in June 1997. He thanks his teachers . and support systems, past and present, including Mom, Dad, Carla, Jameel and Jim.
Christine Carrillo Simpson (South Holland, IL) joined HSDC in 1988 and recently g rejoined the company after a one-year absence pursuing a degree in culinary arts at CHIC. A professional dancer since 1985, . Simpson has been a guest artist for several ' dance companies throughout her career. She would like to thank her husband for being, supportive in all of her endeavors.
Lauri Stallings (Gainesville, FL) spent the " past two years exploring Chicago's modern' dance scene with artists including Ginger Farley, Asimina Chremos and Bob Eisen and joined HSDC this fall. Earlier in her career, Stallings devoted her work to classical and contemporary works, dancing with Cleveland San Jose Ballet, BalletMet and Canada's Ballet British Columbia. "This that I do, this act of giving, is dedicated to my beautiful family."
Robyri Mineko Williams (Lombard, IL) began dancing at age five under the direc?tion of Yvonne Brown Collodi, with whom she toured Germany, Switzerland and Austria. She continued studying dance at the Lou Conte Dance Studio where she was on full scholarship from 1993-1995. Williams danced with River North Dance Company for four years before joining HSDC as an apprentice in June 2000. She would like to thank her family and friends for their love, encourage?ment and inspiration over the years.
Choreographer Biographies
Nacho Duato (Choreographer) was born in Valencia, Spain, in 1957 and trained with the Rambert School in London, Maurice Bejart's Mundra School in Brussels and the Alvin Ailey American Dance Center in New York. In 1980, Duato joined the Cullberg Ballet in Stockholm, and a year later Jiri Kylian brought him to the Nederlands Dans Theater in Holland, where he was named Resident Choreographer in 1988. Since June 1990, Duato has been Artistic Director of Compania Nacional de Danza (Spain), where he has created several works, includ?ing Concierto Madrigal, Opus Piat, Empty, Coming Together, Mediterrania, Cautiva and Tabulae. In 1998, the Spanish Government awarded Duato the Golden Medal for Merit in Fine Arts.
Daniel Ezralow (Choreographer) created SUPER STRAIGHT is coming down, READ MY HIPS, In Praise of Shadows and Lady Lost Found for HSDC. A native of Los Angeles, he studied dance at UC Berkeley and has performed with 5X2 Plus, Lar Lubovitch, Paul Taylor and Pilobolus. In 1980, he co-founded Momix, and in 1986 he co-founded ISO Dance. Ezralow has created original works for HSDC, Batsheva Dance Company of Israel, Paris Opera Ballet, Rudolf Nureyev and London Contemporary Dance
Company. Ezralow works extensively in film and television in the US and Europe, with such artists as Lina Wertmuller and Mauro Bolognini. He has choreographed music ? videos for Sting, U2 and David Bowie. Her recently toured Europe performing his one-man multi-media show Mandala.
Jiri Kylian {Choreographer) was born in '? Prague, Czechoslovakia in 1947, and started his dance training at the ballet school of the Prague National Theatre at the age of nine. He later studied at the Prague Conservatory and the Royal Ballet School in London. In 1968 he joined the Stuttgart Ballet under the direction of John Cranko as both a dancer and choreographer. In 1973, he created his first work for the Nederlands Dans Theater, where he became artistic director in 1975 until 1999 and is currently resident choreog?rapher and artistic advisor. Kylian has choreographed sixty-six works for NDT including Sinfonietta, Sechs Tanze, ??????,
Kaguyahime and Arcimboldo. His works V have been staged by over forty companies around the world, such as American Ballet Theater, Royal Danish Ballet, Tokyo Ballet, The Australian Ballet and National Ballet of Canada.
Harrison McEldowney {Choreographer) ;g earned the 1998 Ruth Page Award for excel?lence in choreography for his piece Let's Call the Whole Thing Off, which was set on Hubbard Street 2 that year and still remains in the current repertory for both Hubbard Street 2 and Hubbard Street Dance Chicago. In 1999, he choreographed his first work for Hubbard Street Dance Chicago, Group Therapy. With HSDC, he was the recipient?_ of the inaugural Prince Prize from Prince Charitable Trusts in 1999, through which he created a new work for the company, The Fate of James Harris. Harrison has also choreographed for River North Chicago Dance Company, Civic Ballet of Chicago, Sj Cerqua Rivera Art Experience and is -iv-aWs
currently the Creative Director for Concentrix Corporation of Chicago.
Trey Mclntyre (Choreographer) studied at the North Carolina School of the Arts for two years and in 1987 went to the Houston Ballet Academy. Two years later, he was named Choreographic Apprentice to Houston Ballet where he is now the Choreographic Associate. In 1990, at the age of twenty, he created his first work for the company, Skeleton Clock. In 1994, he was the youngest choreographer selected interna?tionally to participate in the New York City Ballet's prestigious "Diamond Project," and in 1995 and 1996 he was awarded choreo?graphic fellowships from the National Endowment for the Arts. In addition to cre?ating five works for the Houston Ballet, he. has choreographed pieces for numerous 3W companies including the Stuttgart Ballet, Pennsylvania Ballet, Pacific Northwest Ballet and Ballet Florida. In 2000, he choreo?graphed his first work for Hubbard Street Dance Chicago, Split.
Ohad Naharin (Choreographer) was born in Israel and began his dance training with the Batsheva Dance Company, where he has been the artistic director since 1990. He continued his studies at The Juilliard School of Music and the School of American Ballet in New York and performed with the Martha Graham Company and Maurice Bejart. In 1980, Naharin made his choreo?graphic debut in Kazuko Hirabayashi studio in New York, where he studied and worked with Maggie Black, David Gordon, Gina Buntz and Billy Seigenfeld. His works have been staged by many companies around the world including the Pittsburgh Ballet Theatre, Nederlands Dans Theater, Frankfurt Ballet, Rambert Dance Company, Ballet Nacional Madrid, Cullberg Ballet and Opera National de Paris.
Hubbard Street Dance Chicago , ?
Administration
Theresa Golas, Director of Finance and Administration
Mollie Alexandar, Administrative AssistantOffice Manager
1 Marketing
Kristin A. Walsh, Director of Marketing Sarah B. McKoski, Marketing Coordinator Jill Chukerman, Public Relations Consultant
Development
Stephanie Kimmel, Director of Corporate & Foundation
Relations Robyn Grady, Manager of Individual Giving & Special
Events
Emilie De Angelis, Development Coordinator Stefania Heim, Development Assistant Paula Petrini Lynch, Gala Coordinator Marie O'Connor, Development Consultant
Lou Conte Dance Studio ';
Lou Conte, Director
Julie Nakagawa Bottcher, Associate Director '
Jennifer Beltran, Studio Manager
Hubbard Street 2
Julie Nakagawa Bottcher, Artistic Director ..
Andreas Bottcher, Managing Director i
Dancers
Eric Chase, Erin Derstine, Adam Hundt, Lisa Keskitalo,
Christopher Tierney, Anne Zivolich
Educational Program
Andreas Bottcher, Director of Education
Debbie Kristofek, Teaching ArtistProgram Manager
for Education Leslie Dempsey, Teaching Artist
Special Services
Kupferberg, Goldberg and Neimark, Auditor
Donald I. Resnick, Jenner & Block, Legal Counsel u
North American Tour Direction jk
Rena Shagan, President jj
Rena Shagan Associates, Inc. ._.-aS!
Hubbard Street Dance Chicago Lou Conte Dance Studio www.hubbardstreetdance.com 312.850.9744
For class information, please call 312.850.9766.
United Airlines is the Official Airline of Hubbard Street Dance Chicago.
Kraft Foods is the principal corporate underwriter of Hubbard Street Dance Chicago's educational outreach programs.
UMS
and
Susan B. Ullrich
Hubbard Street Dance Chicago
Jim Vincent Artistic Director Gail Kalver Executive Director
The Company Shannon Alvis Francisco Avina Darren Cherry Sandi J. Cooksey Steve Coutereel Ron De Jesus Charlaine Katsuyoshi
Yael Levitin Cheryl Mann Jamy Meek Kendra Moore Geoff Myers Mary Nesvadba Massimo Pacilli
Joseph P. Pantaleon Gregory Sample Christine Carrillo
Simpson Lauri Stallings Robyn Mineko
Williams
Lou Conte Founde
Choreography by Jiri Kylidn
Choreography by Harrison McEldowney
Choreography by Nacho Duato
Daniel Ezralow
Choreography by Ohad Naharin
Saturday Evening, February 10, 2001 at 8:00 Power Center, Ann Arbor, Michigan
Sechs Tanze (Six Dances)
SHORT PAUSE
Lefs Call the Whole Thing Off
INTERMISSION
Jardi Tancat (Enclosed Garden)
SHORT PAUSE
Lady Lost Found
Minus 16
W.....

Forty-ninth
Performance
of the 122nd Season
Tenth Annual Dance Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited."
This evening's performance is presented with the generous support of Susan B. Ullrich, with additional support from GKN Sinter Metals.
Special thanks to Susan B. Ullrich for her generous support of the University Musical Society.
Additional support provided by media sponsors, WDET and MetroTimes.
Special thanks to Eastern Michigan University and Peter SparlingDance Gallery for their involvement in this residency.
Special thanks to Susan Filipiak of Swing City Dance Studio for her leader?ship in providing in-school educational outreach for HSDC. -.....,
M Large print programs are available upon request
Hubbard Street Dance Chicago
j; Lucas Crandall l Artistic Associate
Claire Bataillc Ballet Mistress
Sandi J. Cooksey Rehearsal Assistant
Todd L.Clark ".-
Production Stage Manager & Lighting Supervisor
Anne Grove ... , Company Manager ?
Kilroy G. Kundalini Audio Engineer'O,
'-? Sandra Fox ' . Wardrobe Supervisor
';? Richard J. Carvlin ' Technical Director ?:,
:'&4.fC

[Andrew Brown ,? Assistant Stage Manager
Jason Bauer
aacProduction Electrician Wffl.
Photo by: Lois Greenfield
Sechs Tanze (Six Dances) _ (14 minutes)
Choreography by Set and Costume Design by Lighting Design by Music by
'mmm
Jiri Kylian
Jiri Kylian ---
Joop Caboort
Wolfgang Amadeus Mozart, Sechs deutsche
Tanze, K. 571 .-?..-.
Dancers
Cheryl Mann, Geoff Myers
Robyn Mineko Williams, Francisco Avina ""
Lauri Stallings, Jamy Meek
Christine Carrillo Simpson, Massimo PacilK
The Sara Lee Foundation is the exclusive sponsor of The Kylian Project Phase I. '
Created for Nederlands Dans Theater in 1986. First performed by Hubbard Street DaiioK Chicago at the Auditorium Theatre, Chicago, Illinois, April 14, 1998.
Staged by Roslyn Anderson. Sechs deutsche Tanze, composed by Wolfgang Amadeus fltt( Mozart, K. 571, in 1789. Courtesy of PolyGram Classics and Jazz, a division Of PolyGram Records, Inc.
Let's Call the Whole Thing Off
(9 Minutes)
;h
Choreography by Costume Design by Lighting Design by Music by
M
Harrison McEldowney
Jackson Lowell
Todd Clark
George and Ira Gershwin, Mose Allison,
Sammy Cahrt
Dancers
.mm.
Let's Call the Whole Thing Off is underwritten by a gift from Andy and Betsy Rosenfield.
Created for the Dance Chicago Festival in 1997. First performed by Hubbard Street 2 in 1998. First performed by Hubbard Street Dance Chicago at the Ravinia Festival, Highland Park, Illinois, September 1, 1999.
"Let's Call the Whole Thing Off," by George and Ira Gershwin; performed by Sam Harris from the recording Standard Time, Finer Arts Records. Published by Warner Chappell. ?&& "Your Mind Is On Vacation," by Mose Allison; performed by Van Morrison from the ftt recording How Long Has This Been Going On: Van Morrison with Georgie Fame and Jgg Friends, VervePolygram Records. Published by Audre Mae Music Co. "Call Me Irresponsible," by Sammy Cahn; performed by Dinah Washington from the soundtrack recording That Old Feeling, UniversalMCA Records. Published by Paramount Music Corporation. pj.
Jardi Tancat (Enclosed Garden) (20 minutes)
Choreography by Set and Costume Design by Lighting Design by Music by
Dancers
Nacho Duato Nacho Duato Nicolas Fischtel
Maria Del Mar Bonet
-a
Shannon Alvis, Steve Coutereel, Mary Nesvadba, Joseph P. Pantaleon, Cheryl Mann, Jamy Meek
fe-'
M
'; Jardi Tancat is underwritten by the Above & Beyond Campaign. '-.,...
SCreated for Nederlands Dans Theater in 1983. First performed by Hubbard Street Dance"j
i Chicago at the Auditorium Theatre, Chicago, Illinois, April 14,1998. 'iJSJgir
? Staged by Kevin Irving. O1997 Nacho Duato, all rights reserved. Costume materials: ;
r Atelier van der Berg (Holland). Music recording: BMG-Spain. Organization: Mediart ."
jj. Producciones SL (Spain). .?i
Lady Lost Found
Choreography by Costume Design by Lighting Design by Music by
Dancers'
Jackson Lowell ;
Howell Binkley '
Percy Grainger ''v-,.?-,.?,?..,--!
mm. .........'?
Robyn Mineko Williams, Massimo Padlli,
Charlaine Katsuyoshi Gregory Sample, Francisco Avifla'
Lady Lost Found is underwritten by the Above'& Beyond Campaign. '
i
Created for and premiered by Hubbard Street Dance Chicago at the Shubert Theatre, l Chicago, Illinois, April 15, 1997.
Scotch Strathspey & Reel, The Lost Lady Found, Mock Morris, Irish Tune from County Derry, and I'm a Young Bonnie Lassie used by arrangement with Schott & Co. Ltd., by arrangement with G. Schirmer, Inc., publisher and copyright owner, courtesy of Polygram Classics and Jazz, a division of Polygram Records, Inc., courtesy of Academy Sound and Vision, Ltd., MCA Music and United Music and courtesy of Legacy International.
Minus 16
(30 Minutes)
Choreography by Costume Design by Lighting Design by Music by
Ohad Naharin '
Ohad Naharin
Ohad Naharin and Avi Yona Bueno (Bambi)'.
Various Composers ;
The Company
Minus 16 is based on excerpts from the works Anaphase, Zachacha, Sabotage Baby and Moshe.
The Julius Frankel Foundation is the principal underwriter of Minus 16.
Created for Nederlands Dans Theater in 1999. The US premiere was performed by Hubbard Street Dance Chicago at the Cadillac Palace Theatre, Chicago, 1L, October 3, 2000.
From the disc Cha-Cha de Amor, Ultra-Lounge Volume 9, produced and compiled by Brad Benedict, 1996 Capitol Records, Inc. CDP 7243 8 37595 2 1: "Sway," by Dean Martin (P.B. RuizN. Gimbel), Orchestra conducted by Dick Stabile, recorded April 22, 1954, From a Capitol Records single; "Recado Bossa Nova," by Laurindo Almeida and The Bossa Nova All-Stars (L. AntonioD. Ferreira), Recorded February 4, 1963, M. From the album "Ole! Bossa Nova!;" and "Choo Choo Cha Cha," by Rinky Dinks (L. FordC. Ford) recorded January 1959 from a Capitol Records single. From the disc Mambo Fever, Ultra-Lounge Volume 2, Produced and Compiled by Brad Benedict, 1996 Capitol Records, Inc. CDP 7249 8 32564 2 6: "Hooray for Hollywood," (Cha-Cha) by Don Swan and his Orchestra; "Chihuahua," by Luis Oliveira and his Bandodalua Boys; and "Glow Worm Cha Cha Cha," by Jackie Davis. From the disc Unknown Territory of Dick Dale, Highton records 1994, Hava Nagila: "Ehad Mi Yodea," traditional music arranged and performed by the Tractor's Revenge (ACUM Tel-Aviv); "Somewhere Over The Rainbow," by Arlen Harold adapted by Marusha; and "Asia 2001."
Please refer to pages 24 through 30 for Company and choreographer s: biographies and the Hubbard Street Dance Chicago Administrative listing.
mt-
presents
Dubravka Tomsk
Piano
Sunday Afternoon, February 11, 2001 at 4:00 Hill Auditorium, Ann Arbor, Michigan
johann Sebastian Bach, Prelude and Fugue in D Major, BWV 532
arranged by Ferruccio Busoni
Franz Liszt
Sonata in b minor
Allegro energico--
Andante sostenuto--
Fugato--
Finale
(All mvts. attacca--without pause)
INTERMISSION
Sergei Prokofiev
Sonata No. 4 in c minor. Op. 29
Allegro molto sostenuto
Andante assai
Allegro con brio, ma non leggiere
St. Francis of Assisi: Sermon to the Birds
(Legend No. 1)
Mephisto Waltz, No. 1
Fiftieth Performance of the 122nd Season
122nd Annual Choral Union Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is made possible by a gift from the H. Gardner Ackley endowment fund, established by Bonnie Ackley in memory of her husband.
Additional support provided by media sponsor, WGTE.
Special thanks to Louis Nagel and the U-M School of Music for their involvement in this residency.
The piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan. !
Dubravka Tomsic appears by arrangement with Trawick Artists '.
Management, New York, NY.
1
Large print programs are available upon request.
Prelude and Fugue in D Major,
BWV 532 .
Johann Sebastian Bach . Born March 21, 1685 in Eisenach; Gefntdh ' Died July 28, 1750 in Leipzig
Arranged by Ferruccio Busoni
Born April 1, 1866 in Empoli, near Florence,
Italy Died July 27, 1924 in Berlin
The Prelude and Fugue in D Major (which exists in two versions) shows the "unruly" side of Bach's genius: a prelude full of sur?prising turns is followed by a fugue on a highly unorthodox theme. Influenced by the similarly extravagant compositions of Dietrich Buxtehude and others of the north German organ school, it dates from Bach's early twenties, when the composer served as organist at the court of Weimar. The prelude consists of several distinct sections, separat?ed by rests and introducing radically differ?ent types of textures: scales and arpeggios .-, followed by harmony-driven passages. Regular sequential chains of chords alter?nate with unexpected dissonances, especially at the end of the prelude. There is a certain improvisatory character to the piece, which . continues in the fugue. The fugue theme is what they call a Spielthema in German: a j "play-theme," generated more by the organ-1 ist's fingers than by any rigorous composi' tional design. The theme is all kinetic energy with strong harmonic implications. Although Bach applied the usual rules of fugue-writing to this unusual material (imH tative entries, countersubject, modulations, etc.), the end result often doesn't sound like a fugue at all, or at least not like a mature ? Leipzig work such as the "St. Anne" (BWV 552). Of the startling final bars of BWV 532, Peter Williams writes in his three-volume 1 book The Organ Music of]. S. Bach fi
(Cambridge University Press, 1980): "No I other fugue in the literature...ends so sue1
cinctly, with such an exclamation."
Ferruccio Busoni, the highly original composer and prodigious pianist, was intro?duced to Bach's music as a child, and his deep love for the Thomaskantor endured his entire life. In the preface of his piano tran?scriptions of Bach's organ works, Busoni explained that he was motivated by the desire "to interest a larger section of the public in these compositions which are so rich in art, feeling and fantasy...."
Sonata in b minor
Franz Liszt
Born October 22, 1811 in Doborjdn, Hungary
(now Raiding, Austria) Died July 31, 1886 in Bayreuth, Germany
Among the great composers of the nine?teenth century, few were subject to such antagonistic impulses as Franz Liszt. Quite possibly the greatest virtuoso pianist of the century, Liszt also aspired to be a revolul$g tionary composer and, if that were not " enough, was compelled by his religious feel?ings to take holy orders and become an abbe (a priest without actual pastoral duties at a church). A native of Hungary who identified strongly with that country even though he did not speak its language, he remained a ,? lifelong wanderer, sojourning at various times in Paris, Geneva, Weimar, Rome, and Budapest, at home everywhere and ----nowhere.
In his monumental Sonata in b minor,, Liszt managed to reconcile many of these I conflicting tendencies and create a work J that was revolutionary in design, virtuosicfj in execution, and deeply spiritual in con$ tent. As in his cycle of symphonic poems written around the same time, Liszt united all the different characters of the multia movement sonata or symphonic form in aS single movement of extended proportions. The recurrence of a number of fundamental
themes guaranteed organic unity while the contrasting tempos and characters provided diversity.
The Sonata opens hesitatingly, with a slow descending scale that will become one of the recurrent elements throughout the work. The heroic main theme soon follows; its brilliant development leads into a melody (a hymn-like tune accompanied by massive blocks of chords) marked grandioso. In the first of several dramatic shifts, the music turns from heroic to introspective and lyrical, yet the melodic material is the same as before (the difference is in tempo, dynamics, and accompaniment). These two fundamental characters continue to alter?nate, but each is continually enriched and developed with each new recurrence. On the dramatic side, we hear a set of brilliant vari?ations on the main theme, interrupted by the powerful grandioso motive. A doleful recitative calls into question the heroism of the entire passage, and the music gradually calms down to an Andante sostenuto with an aria-like new theme. The mood, however, soon becomes more passionate, and the heroic theme returns in yet another incar?nation, as a fugue, with a countersubject consisting of rapid, short notes that give it a slightly satirical edge. This section, which incorporates the descending scales of the introduction, leads to a re-statement of the grandioso motive, even more powerful than before. At the end of a breath-taking stretta (final section in a faster tempo), the grandioso theme returns yet another time, as the emotional high point of the entire work. But the final word belongs to the lyrical-introspective character in the drama: the Andante sostenuto aria is recalled, followed by an extremely quiet restatement of the main theme, as if to suggest that the conflict is over. The descending scales from the opening are heard again, followed by a few ethereal chords. After what seemed like a voyage through a whole pianistic and emo;
tional universe, the last note is a single, barely audible, short 'B' in the extreme low register of the piano.
Liszt dedicated his sonata to Robert Schumann, who many years earlier had ded?icated his Fantasy in C Major (Op. 17) to Liszt. By the time of this belated response, the relations of the two men had cooled, and the dedication, as one commentator put it, "was received with embarrassment." Yet neither dedication was a coincidence: both works being crucially important in the respective composers' oeuvres, it is under?standable that they should have been chosen to honor an esteemed colleague. ? v.
Sonata No. 4 in c minor. Op. 29 '
Sergei Prokofiev
Born April 27, 1891 in Sontsovka, near
Ekaterinoslav, Ukraine Died March 5, 1953 in Nikolina Gora, neard
Moscow
i
On October 25, 1917, the Bolshevik Revolution broke out in Petrograd (St. Petersburg). Sergei Prokofiev was at the resort town of Kislovodsk in the Caucasus Mountains, more than a thousand miles away. Returning to the capital was out of the question, and Prokofiev had to stay in Kislovodsk for half a year. He used this enforced isolation to write music, and com?posed his Piano Sonata No. 3 and Sonata No. 4 as well as his cantata Seven, They Were Seven during these "months that shook the world."
Both sonatas bear the subtitle "From Old Notebooks." Prokofiev had some of his childhood compositions with him in Kislovodsk, and set out to rework his juve?nilia in a way that would reflect how far he had come in the meantime as a composer. (By 1917, he had finished his Symphony No. 1, First Violin Concerto, the first two piano concertos, and the Scythian Suite, to name
just major works.)
The "reworking," in the case of Sonata No. 4, meant retouching the harmony and the technical aspects of the piano idiom. The style is eminently melodic and tradi?tional (Prokofiev was never going to be so close to Schumann and Brahms again!), although there is no shortage of sharply rhythmical and harmonically "spicy" moments in a typical Prokofievian vein. JrProkofiev's Russian biographer Israel ' Nestyev perceived a "narrative" character in the first movement ("Allegro molto sostenu-to"), perhaps because its melodies don't push forward but rather circle around the same few pitches. The second movement ("Andante assai") was adapted from a youthful symphony that Prokofiev had writ-, ten in 1908, at the age of seventeen. The movement opens with a melody Nestyev1 characterizes as "severe and stately;" this ,] theme is developed in a highly complex way, with virtuoso runs and arpeggios assuming the role of contrapuntal voices in a poly-si phonic texture. A more lyrical second ? melody appears; at the end of the move-.M ment, it is heard simultaneously with the j first theme.
The last movement bears the unusual marking Allegro con brio, ma non leggiero. , Nestyev writes: "The impetuous character of! the rhythm and the ebullient, sharply accented melody, with its accentuated disso-' nance, evoke images of a merry and vigor?ous game." Yet it is not supposed to be legj giero (light)! Despite the obvious references j to dances and marches and a general mood j of relaxation, there is an element of seriousness in this game--something Prokofiev didn't want us to forget. -s ? ?
St. Francis of Assisi: The Sermon to the Birds (Legend No. 1)
Mephisto Waltz, No. 1
Franz Liszt '
It is hard to say what attracted Liszt more:, . the Saints or the Devil (this is just another'!, of the many fascinating paradoxes that char?acterized this exceptional man). He did pay tribute to both, on numerous occasions, in his works from about 1860 on. 1861 was the year Liszt withdrew from his position as Kapellmeister at the court of Weimar. He I moved to Rome in order to help his comi panion, the Princess Carolyne von Sayn' -?; Wittgenstein obtain a divorce from the Pope . so he could marry her--an ordeal that took several years and was ultimately unsuccess?ful. Liszt drifted away from the Princess and eventually took holy orders. But his preoc?cupation with religious matters, of course, ? dated from much earlier times. Among his ?, earliest works we find Harmonies poetiques ? et religieuses for piano and the De profundis, an "instrumental psalm," for piano and orchestra. It goes without saying that the two saints named Francis--after whom he had been named--held a special place in his heart. He joined the angelic St. Francis of Assisi (who preached to the birds) and the li" fervent St. Francis of Paule (who walked on ? water) in his two Legends for piano, in which two aspects of his personality--his incom?; parable pianistic virtuosity and his spiritual: ity--were joined in a seamless union. -1
Liszt placed the text of the sermon to jJ the birds, as transmitted in the writings of St. Francis of Assisi, at the front of his score:
My dear little birds, you have to be thank?ful to God, your Creator, whom you must praise at all times and in all places: He has allowed you to fly everywhere and clothed : t? you in feathers. He has preserved you in Kg Noah's ark so your kind did not perish. ' ' ?
You owe him the element of air which he gave you. He bestowed the hills and dales for you to dwell in, tall trees where you can build your nests. You know not how to sew or weave, but He provides for you and your little ones. He loves you well, your Creator, since He lavishes so many good deeds on you. Do not commit the sin of ingratitude, then, my good little birds; be sure to praise God always.
A friar, who accompanied St. Francis, asserted that the birds opened their beaks and flapped their wings in appreciation, before flying off East, West, North and South to spread the words of the Saint.
The virtuosic figurations in the highest registers of the piano, with which the piece begins, are without a doubt the most effec?tive evocations of birdsong before Olivier Messiaen (the other great composer to give St. Francis a musical identity). The bird concert is followed by the Saint's address ini an unaccompanied recitative which uses a . theme from Liszt's choral setting of St. i Francis' canticle to the sun (1862, later 1 revised). After a musical symbol of the sign of the cross, a hymn-like melody develops which, together with the recurring motifs for birds, sermon and cross, summarizes the peaceful and comforting tableau.
After the Saint, the Devil. Following a long-standing medieval tradition, Liszt often associated negative spiritual forces with dance movements: it is enough to think of Totentanz and such late piano works as Csdrdds macabre and Csdrdds obstine to realize that Liszt's favorite way of visualizing the Devil was as a dancing mas?ter (to say nothing of his later Mephisto Waltzes, Nos. 2-4).
Of all the incarnations of the Devil in Western literature, Mephistopheles of the Faust legend is by far the most powerful. Mephistopheles offers a pact to Faust, an old scholar who has spent his entire life among books yet feels that he has learned nothing. ?MM --------
Mephistopheles shows Faust limitless possi?bilities for self-realization, only to take his soul as payment. The most famous literary treatment of this old legend is Johann Wolfgang Goethe's monumental dramatic poem. Although Liszt based a grandiose three-movement symphony on Goethe's Faust, we know that in his heart he pre?ferred the version by Nikolaus Lenau (1802-1850), a poet who used to occupy a respectable seat in the German literary pan?theon but who doesn't seem to be read very much any more.
Lenau's Romantic generation was not comfortable with Goethe's Olympian opti?mism. In the second part of his drama, Faust had, after all, reached happiness through 8_ working for the good of his fellow humans; and even the pact with the Devil is over?turned in the end as his soul moves on to the highest spiritual realms, drawn by the "eter?nal feminine." Such a happy ending was unacceptable to Lenau, the deeply troubled son of a Hungarian aristocrat, who had wan?dered aimlessly through America and who would end his days in an insane asylum. :i Lenau's Faust, written in 1836, is an entirely negative take on the legend. As one commen?tator has put it, this "Faust has signed away his soul without knowing for what.... He is never shown obtaining truth or even pursu?ing it." He goes wherever the Devil takes him and follows his orders, yet he never seems to derive any kind of benefit from his actions. In the end, he commits suicide.
One of the scenes in Lenau's Faust takes place at a wedding in a little village tavern.1 Mephistopheles and Faust enter; Faust notices a dark-eyed peasant girl and starts dancing with her to the sound of Mephisto's fiddle. At the end of the dance, he takes the girl out of the inn, out of the village, to the
1 The music Liszt wrote for this scene also exists in an orches?tral version, as the second of Two Episodes from Lettaus Faust. The orchestral version, written in 1860, slightly predates the present transcription for piano.
forest where they listen to the song of the nightingale and find a hidden spot under the trees.
In other words, no immortal love, no transcendent Gretchen experience for this Faust!
The first thing Mephistopheles does when he takes the fiddle is to tune it. The open fifths, piled up on top of one another, Y result in sonorities that were radically new M: at the time. After the "tuning," an energetic theme emerges, followed by a second, more languid waltz melody, which becomes in pjturn whimsical, fiery, and--finally-Sag' unabashedly erotic. Near the end, we hear i: another birdsong imitation, but certainly gg not a heavenly one as in the St. Francis leg-gStend: the nightingale witnesses (and indeed, g symbolizes) the passionate love scene that , 0K concludes both Lenau's poem and Liszt's
{Program notes by Peter Laki.
he brilliant Slovenian pianist ' , Dubravka Tomsic gave her first public recital at age five and has since given more than 3500 perfor-, mances throughout Europe, .j J Australia, North America, Mexico, Russia, and Eastern Europe as well as parts of Africa and Asia. Ms. Tomsic began her studies at gjj Ljubljana Academy of Music and, at the age of twelve, moved to New York on the rec?ommendation of Claudio Arrau to study ;? . with Katherine Bacon at The Juilliard School. During her teenage years she fin-' ished high school and a Bachelor of Science with two special awards, and made her New York Philharmonic, Town Hall and Chicago recital debuts. She also gave a recital in L Carnegie Hall about which Artur Rubinstein wrote a glowing account in his memoirs My Many Years. Ms. Tomsic subsequently stud?ied privately with Artur Rubinstein for twoi
years. He considered her "a perfect and mar?velous pianist" and they remained friends throughout his life. M
Although people in many countries H consider Ms. Tomsic a pianist of legendary stature, it was only in 1989, after a hiatus of almost thirty years, that she was reintro-duced to American audiences with a tri?umphant performance on the gala opening night recital of the Newport Music Festival. Since then she has performed recitals on prestigious series in Cleveland, Atlanta, Seattle, Fort Worth, Los Angeles, St. Paul, Ma Portland (Oregon and Maine), and her suc?cessful debut recitals in Boston, Chicago, ., San Francisco, Baltimore, and Kansas City.iL. led to immediate reengagements. In April of 1999 she performed a highly acclaimed recital in New York's Alice Tully Hall under the auspices of the Newport Music Festival; her first New York recital in over forty years. Last season included recital debuts in Philadelphia and San Diego as well as return engagements in Seattle and her sixth recital in Boston's Symphony Hall presented by the Celebrity Series. She has performed recitals in major halls in London, Amsterdam.
Munich, Berlin, Prague, Moscow, St. Petersburg, Budapest, Madrid, and Rome. Ms. Tomsic has also become known for her' exceptional performances with orchestra. She has performed concerti with Vienna Symphony, Royal Philharmonic Orchestra of London, Czech Philharmonic, Leipzig Gewandhaus Orchestra, l'Orchestre de la Suisse Romande, Munich Philharmonic, Berlin Symphony, Mozarteum Orchestra in Salzburg, Dresden Staatskapelle, Moscow State Orchestra, the Sydney, Melbourne and Adelaide Symphonies in Australia, and the Boston, Atlanta, and Detroit Symphony Orchestras in the US. After her stellar debut performances of Beethoven's Emperor Concerto with Seiji Ozawa and the Boston Symphony in 1994, she was invited to play additional performances in Boston and New York's Carnegie Hall. The Boston Phoenix and The Boston Globe chose her subsequent "electrifying" performances with Boston i Symphony in 1998 as the best piano playing of the year. .
Dubravka Tomsic has performed at'J . prestigious international festivals in Dubrovnik, Vienna, Prague, Naples, ,-Dresden, Paris, Mexico City, Joliette, ??-n Newport (RI), and at Mostly Mozart in New' York City, and Tanglewood. More than sixty recordings released since 1987 have brought Ms. Tomsic worldwide acclaim. In addition to The Art of Dubravka Tomsic and a disc of favorite encores, she has recorded concerti by Brahms, Beethoven, Chopin, Grieg, Liszt, Mozart, Rachmaninoff, Saint-Saens, Schumann, and Tchaikovsky, and recital works by Bach, Beethoven, Brahms, Chopin, Debussy, Mozart, Scarlatti and Srebotnjak. She can be heard on the Vox Classics, Stradivari Classics, Critic's Choice, Pilz International, Point Classics, Intersound Inc., Pentagon Classics, Intermusic S. A., and Koch International labels.
As a young pianist Ms. Tomsic won many awards and competitions and now
serves as juror for many international piano competitions, including her participation as juror for the Tenth Van Cliburn International Piano Competition in May of 1997. She makes her home in Ljubljana, Slovenia and teaches at the Ljubljana Academy of Music.
Tonight's recital marks Dubravka Tomsk's UMS debut.
Dairakudakan
Choreography and direction by Akaji Maro Music by Osamu Goto Costume design by Kyoko Domoto Lighting design by Kiyokazu Kakizaki Sound design by Shinya Kaneko Translation by Ichi Omiya
Wednesday Evening, February 14, 2001 at 8:00 Power Center, Ann Arbor, Michigan
The Sea-Dappled Horse (Kaiin No Uma)
Fifty-first Performance of the 122nd Season
Third Annual
New Directions 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, MetroTimes.
Special thanks to Kate Remen-Wait for leading this evening's Performance-Related Educational Presentation (PREP).
Dairakudakan appears by arrangement with the John E Kennedy Center for the Performing Arts; Michael Kaiser, President; Charles L. Reinhart and Stephanie Reinhart, Artistic Directors for Dance.
These performances are made possible through the support of the Japan Endowment of the International Performing Arts Fund of the John F. Kennedy Center for the Performing Arts.
Large print programs are available upon request.
Cast
Akaji Maro ?????Zengoro Mamiana Jun Wakabayashi Takuya Muramatsu Kumotaro Mukai Masatora Ishikawa Kin Tokuhisa Ikko Tamura Kenji Tamura Atsushi Matsuda Hiroyuki Hatakeyama Rie Yasuda Tamami Nanjo Reiko Yaegashi Ryo Yamamoto Yuko Kobayashi Eiko Kanesawa Atsuko Imai Ayumi Ogoshi Emiko Agatsuma Akiko Takakuwa -
Staff
Kazuhiko Nakahara Stage Manager
Seiichi Otsuka and Toshiharu Nakamae Assistant Stage Managers
Yoko Shinfune Manager
Photo by: Hiroto Yamazaki
The Sea-Dappled Horse (Kaiin No Uma)
I The Inhabitants Appear
The earth, sea, and sky are skewed They twist nature as if stringing a bow
II In and Around the House
A place of sunlight, a place of darkness The bustling sounds of housework
III Journey
You sell yourself to the highest bidder Bones of water
IV Pandemonium
A discordant prayer Picking a fight with flowers
V How Sad to Be Without a Head
The revolt __i__:.
The embryo
The rapture of existence
VI A Fervent Prayer for Easy Delivery
A prayer for easy delivery
Seizing the juxtaposition of a near-extinct animism
and shamanism
VII Crime and Punishment
Land of cherry blossoms, where darkness and shame flow like water
VIII Haimenki
Drowning in scenery
It all melts away splendidly
IX Finale
How sad, a portrait of ranks in procession
The Sea-Dappled Horse is performed without intermission.
I
:j --'
airakudakan, established in 1972 by Akaji Maro, has already pre?sented more than fifty works, in which Maro collects and recon-
__ structs the forgotten miburi-
teburi (human gestures) on the principle of tetnpu-tenshiki (being born in this world is a great talent itself). The company has per?formed internationally in twenty-five cities , in nine countries. Mr. Maro has always endeavored to train the younger generation' on his principle of ichinin-ippa (one dancer, one school). The company recently per?formed its new work Complete People at the Art Sphere in Tokyo. The company received the Japan Dance Critics Association's Award in 1974, 1987, 1996 and 1999. .---
Dairakudakan is supported by The Japan FoundationThe Agency for Cultural Affairs of Japan Kanebo Cosmillion, ? ' Ltd.Mizuno Corporation.
Tonight's performance marks Dairakudakdn's, UMS debut. . '
n 1964, Akaji Maro founded a theatre' production called Jokyo Gekijo with Juro Kara under the leadership of Butoh choreographer Tatsumi
____Hijikata. In the 1960s, Mr. Maro was
acknowledged as an actor who melded Kara's
the privileged physi?cal theory" with his own spectacular acting method. In 1972, Akaji Maro established Dairakudakan and brought a spectacular performing method into their dance. The method--called Temputenshiki-
became controversial, not only in Japan but also overseas after Dairakudakan's atten?dance at such festivals as the Festival
?mm
d'Avignon and American Dance Festival in 1982. Mr. Maro crosses over many borders of different artistic worlds as a dancer, an actor and as a director.
Temputenshiki-Style Butoh .
By Way Of Introduction
by Akaji Maro ;
The essential notion of Temputenshiki-style Butoh is that the very act of being born into this world is a great talent unto itself.
After undergoing various trials and tribulations, people, both as individuals and ' the human race as a whole, cease to ques?tion. Instead, due to our false concepts of ' pragmatism, we become complacent with conventional behavior. Over a long period of time, such conventional behavior has all but snuffed out our ineffable, innate body language. Temputenshiki-style Butoh's main task is to reclaim, reassemble, and recom-pose this disowned body language. Modern conventional behavior, which is repressive pragmatic and purely muscular, fills me 1 with a sense of emptiness; whereas our 1 inner "body expression," on the verge of ? , extinction, fascinates me with its rich possi?bilities. Such multi-varied richness is evi?dent in the striking ways in which our Butoh style has been described: primeval, tribal, ;? awe-inspiring, obscene, vulgar, dynamic, erotic, and barbaric, among other things. Yet it has never been my intention to evoke such qualities from the outset. Rather, they are merely a natural byproduct.
Unfortunately, misplaced concepts of pragmatism and convention continue to ?? drive our innate body language to near destruction. Hopefully, Temputenshiki-style Butoh will continue to spread worldwide until the day comes that our lost body lan?guage is fully restored to us. A shift in peo?ples' thinking seems to have begun that will
one day make such a restoration possible. Temputenshiki's Sea-Dappled Horse: A Supernatural Tale is a drama formed by the combination of hundreds of such disowned "body gestures." In the course of our creative
process, we have given birth to assorted demons and spirits. This time around we have conjured forth the spirit of the Sea-dappled Horse with zestful enthusiasm. Now that he is loose, let us see what transpires.
From Backstreets to Broadway, Forty Years of Butoh Dance
by Bonnie Sue Stein
, nown for its shocking, contorted body gestures and dedication to taboo, Butoh dance rose out of Post-World War II Japan as a renegade performance form. Ankoku Butoh (dance of darkness) was termed by Japanese choreographer and dancer, Tatsumi Hijikata (1929-1986) in the mid-1960s to refer to his own brand of per?formance art. Butoh blossomed in Hijikata's world of messy artistic experimentation during a time in Japan of street demonstra?tions and civil unrest, reflecting a '60s counter-culture that was growing world?wide. Forty years later, some of the same issues are being confronted in today's Butoh: transformation, metamorphosis, and the search for meaning inside the limits of cor?poreal flesh.
In the '60s, Japan was quickly absorbing Western culture in all facets of daily life. Hijikata staged surrealistic Butoh perfor?mances, crammed with images symbolizing ancient and contemporary Japan: bicycles and carriages, the RCA dog, action painting and Beatles music. Performances took place in tight alternative spaces, often no bigger than a living room. Among Hijikata's 1960s collaborators were writers, painters, poets, and performing artists who would go on to
form their own groups into the 1970s and': '80s: Kazuo Ohno (now ninety-two-years old, still dancing and touring), Yoshito Ohno (son of Kazuo, and one of Hijikata's first partners), Ushio Amagatsu (who became a featured daredevil member of Dairakudakan before forming the most widely known Butoh company, Sankai Juku) Akira Kasai, (who has gained recent recog?nition for his solo work based in Rudolf Steiner's Eurythmics), Koichi Tamano (who has his own company in San Francisco, and continues to be a guest artist in Dairakudakan) and many, many others.
The vocabulary of Hijikata's movement style was rooted in pre-historic Japan, mixed with modern dance, and influenced largely by the avant-garde art forms of early twenti?eth century--Dadaism, German expression?ism (Mary Wigman), the cabaret of the J Folies Begere, and the violent literature of Antonin Artaud. Hijikata twisted these influences into unpredictable performances, shocking and confrontational. In Japan, the soles of the feet are a public taboo. Hijikata literally bared his naked feet and body shamelessly to the audience, and donned a grotesque array of costumes--kimono back?wards, a floor-length tutu, or a golden phal?lus. When he performed, the piercing look
in Hijikata's eyes gave the impression of unleashed madness.
Akaji Maro, the notorious director and founder of Dairakudakan (Great Camel Battleship), was primarily an actor before he was awed by Hijikata's performance. The two became very close, and though Mr. Maro never formally joined Hijikata's early '60s scandalous groups, he considered Hijikata his legitimate brother. The two men gleefully engaged in nightlong historical and philosophical discourse that often erupted into an improvisational spectacle. They shared a common viewpoint, asserting that j&the body had no limits, but was draped and propelled forward by ancient ghosts--"the , dead run inside me," said Hijikata, "driving ' ;every motion of my being." j
H Akaji Maro formed Dairakudakan, sub-isSstitled: Temptenshiki (to be born into this ,_4 world is a great talent onto itself) in 1972, in the communal spirit of Ankoku Butoh. Mr. ' Maro's intention was to combine some of the essence of Butoh with a theatrical level },. Kjjof performance, out of small dance halls to
a larger proscenium stage, and adding elab orate stage effects--lighting, set, costume, "f sound and design. He gleaned ancient Japanese epics, myths and ceremonial ori?gins of Japan for content, and gathered a company of more than twenty physically adept performers who lived communally in Tokyo. Mr. Maro did not take his troupe outside Japan until 1982, at the invitation of the American Dance Festival for a US tour_j-and visit to Festival d'Avignon in France, ?. when he brought his newest work, The Sea-Dappled Horse, which had premiered in Japan that year. It was the first time a Western audience experienced the world of Butoh, with its white painted makeup, ,-i writhing bodies and shocking imagery. ThS effect was daunting and audiences and M artists were shaken and intrigued by the aggressive style of the performers, and the level of intensity onstage. At a time when we had not yet seen the old Kazuo Ohno, or the five member troupe, Sankai Juku, New York Times critic, Anna Kisselgoff wrote in 1982, "Dairakudakan is reminiscent of the Living
Photo by: Hiroto Yamazaki

Theater of the 1960s... its counter-culture trappings...and stage imagery have the same intent to shock...and contribute a statement -about society." Kisselgoff continued, "Mr. Maro, who has as shrewd a finger on the pulse of Western sensibilities as he does on j his own Japanese roots, must now be count?ed as a leader in the international nonverbal -theater movement." Due to the constraints of touring such an enormous group from Japan, and since the work is still considered "underground," Dairakudakan came to the US for a brief tour in 1987 and has not been here since. In fact, the company faces the same issues at home, and has had few appearances over the last thirteen years.
A star of stage and screen, Akaji Maro has a reputation of being a rabble-rouser, and for constantly challenging performers to discover new forms of expression. He asks, "What would happen if a man ate vacuum Would the body blow up" To retain this level of intensity, Mr. Maro asks the per?formers to show "no dancing," but instead to rely on their instincts. The company appears to be a circus spectacle gone haywire, with acrobatic daredevil clowns tossing them?selves aimlessly, carrying objects much heav?ier than their own body weight. These char?acters inhabit another world, beyond ours, where comedy and tragedy are ever chang?ing. Faces slip instantly from a frown, to a wide idiotic grin, to a frozen silent scream in a matter of seconds. An object on stage has its own life: a toothpick is both a tool for murder and an acupuncture needle. Each performer from the Great Camel Battleship seems to be part of a dying, decaying era-ghosts reborn to tell the tale of their violent destruction. And each seems to have swal?lowed his own share of vacuum, creating a near-explosive physical appearance--causing the audience to alternately cringe, guffaw, or gaze in hypnotic awe.
In Japan, artists like Tatsumi Hijikata, the father of Butoh, and Kazuo Ohno,
Butoh's "grandfather," and Akaji Maro were society dropouts, challenging tradition and non-traditional mores. That was then, and now, in the year 2001, a current Broadway play features a scene in which Kazuo Ohno is discussed by one of the characters as a W master of "poetry in performance."
There is Butoh on nearly every country in the world: East and West Europe, Russia, North and South America, and throughout Asia. Dairakudakan has spawned companies all over the world, and non-Japanese per?formers have lived in Japan, or studied and joined companies in Europe or the US. After unleashing Butoh from Japan in the early '80s, a boom of imitators, devotees, and a range of talented performers emerged across the globe, on nearly every continent, inter?preting, misinterpreting, and redefining their own dance within the framework of Butoh. I
Butoh has gone from back alleys, to major dance festivals, to the lights of Broadway, traveling a lifetime of change M over the last forty years. Most of the early Butoh exponents, such as Sankai Juku and Min Tanaka may even reject the term to ; describe their current artistic expression, k '" owing allegiance to their master by repeatr& ing his own rebellion. As the so-called piom neer of contact improvisation, Steve Paxton said, "We have two types of paths in dance, a 1 conservative track which evolves and a radiI cal track which mutates." 1
Butoh, a renegade form at its inception, I was destined to have both of these tracks, S spawning a generation of mutants reinvent1 ing themselves in true allegiance to the mas1 ter Hijikata. And now, after a hiatus of thira teen years, US audiences may once more be treated to The Sea-Dappled Horse, a spectacI ular performance created by Akaji Maro and 1 his talented artists from Dairakudakan. It is I rumored that although they have gone on to create their own companies, some of the jj original cast members will perform. It is an f
event that will surely stir up minds and hearts, and in our current wave of conser?vatism, may prove to be as shocking as it was in 1982.
m&-
Bonnie Sue Stein is a writer and administrator, and currently Executive Director and Producer of GOH Productions in New York, an art services organization working with international cultural exchange projects. She has contributed articles on Butoh and other per?forming arts to Dance Magazine, the Village Voice, BAM Magazine, and the Drama Review. She edited the Butoh sections for the Encyclopedia of World Dance, and wrote an essay on Kazuo Ohno for Fifty Contemporary Choreographers (1999). In 1990, she created the film, Butoh: Body on the Edge of Crisis, with Michael and Christian Blackwood. ? ?'
-Kennedy Center Staff for Dairakudakan
L ':
Michael Kaiser, President
Charles L. Reinhart and Stephanie Reinhart, Artistic '
Directors for Dance
David Eden, Artistic Advisor for International Programs Jason Palmquist, Kristen Brogdon, Artistic Programming Paul Bilyeu, National Tour Press Andrew Kranis, Technical Director Michael Daniels, Lighting Supervisor Jonathan Willen, TourCompany Manager
experience
THE WINTER 2001 UMS SEASON
11 educational activities i 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 www.ums.org. 4
PiLobolus with The Klezmatics
Saturday, January 6, 2 p.m (One-Hour Family Performance) Saturday, January 6, 8 p.m. Sunday, January 7, 4 p.m. Power Center PREP "Galloping Sofas, (he Appendectomy, and Hairballs: The Method and Movement Vocabulary of Pilobolus" by Kate Remen-Wait, UMS Dance Education Specialist. Saturday, lanuary 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 Kimbcrli Boyd. Wednesday, January 10,4:30 p.m., Washtenaw Intermediate School District, 1819 S. Wagner, Ann Arbor. Contact the UMS Youth Education
Department at 734.615.0122 or e-mail umsyouth@umich.edu 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 1 734.647.6712 for more information. 1 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 Aim'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 JazzNet, a program of the Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation and the National Endowment for the Arts. This performance is co-presented with the U-M Office of Academic Multicultural Initiatives. Media sponsors WEMU, 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 ore-mail umsyouth@umich.edu. 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 Alvin 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 Tomsk, piano
Sunday, February 11,4 p.m.
Hill Auditorium
This performance is made possible by
the H. Gardner Ackley Endowment
Fund, established by Bonnie Ackley in
memory of her husband.
Media sponsor WGTE. hk--
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 Buloh 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
Church
PREP by Naomi Andre, Assistant S-
Professor, U-M School of Music. m
Friday, February 16, 7:00 p.m., ,-?
Michigan League, Henderson Room
(3rd Floor).
Presented with the generous support i
of Kathleen G. Charla.
Manuel Barrueco, guitar
Sunday, February 18, 4 p.m. Rackham Auditorium
Ballet Preljocaj Paysage apres la BataiUe
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 Croup, Inc. Additional support provided by Hella 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 lohnson, 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 unisyouth@umich.edu. 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 umsyouth@umich.edu. 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 IIP' 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 WCTF.
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, Canficld, Paddock and Stone, P.l.C. 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 Shiffman Foundation, Sigrid Christiansen and Richard Levey.
Funded in part by the National Dance Project of the Nnv 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 lrwin.
UMS 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 Chon: 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 Peler 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 premiering Fall 2001. If you would like more information about upcoming residency activities, please contact the UMS Education Department at 734.615.6739.
1 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 Hotiorvc
199b
Van Cliburn
1997
Jessye Norman
199S
Garrick Ohlsson
1999
The
Canadian Brass
2000
Isaac Stern
n the past several seasons, UMS' Education and Audience Development program has grown significantly. With a goal of deepening the understanding of the importance of the live performing arts and the major impact the arts can have in the community, UMS now seeks out active and dynamic collabora?tions and partnerships to reach into the many diverse communities it serves.
Family Performances
For many years, UMS has been committed to providing the opportunity for families to enjoy the arts together.
The 2001 Winter Season's Family Performances include: j
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 thi 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
A Win 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 umsyouth@umich.edu.
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.
INING EXPERIENI
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 reservation priority. Please reserve in advance by calling 734.647.8009.
We are grateful to Sesi Lincoln Mercury for their support of these special dinners.
Friday, February 2
Dresden Staatskapelle ? Friday, February 16
Swedish Radio Symphony Orchestra and Choir 6
Wednesday, March 7
Prague Chamber Orchestra .
Saturday, March 24 ]
Academy of St. Martin-in-the-Fields
Wednesday, April 4
Royal Concertgebouw Orchestra 1 of Amsterdam , ----------"
elebrate 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.
con'tonp. 39
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 1 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.
isit and enjoy these fine area restaurants. Join us in thanking them for their gener?ous support of UMS.
Bella Ciao Trattoria
118 West Liberty 734.995.2107 Known for discreet dining with an air of casual elegance, providing simple and elabo?rate regional Italian dishes for you and your guests' pleasure. Reservations accepted.
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. 1
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 lJ 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. ,
Gratzi !
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.
Palio
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.
Seva
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.
Zanzibar ?--
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.
MS DELICIOUS : EXPERIENCES'"
ack by popular demand, friends of UMS are offering a unique donation by hosting a variety of dining events. Thanks to the ? generosity of the hosts, all proceeds go directly to support UMS' educational and artistic programs. Treat yourself, give a gift of tickets, or come alone and meet new people! Call 734.936.6837 to receive a brochure or for more information.
support
1 MS volunteers are an integral part of the success of our organi?zation. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome you to the UMS family and involve you in our exciting programming and activities. We rely on volunteers for a vast array of activities, including staffing the edu?cation residency activities, assisting in artist services and mailings, escorting students for our popular youth performances and a host of other projects. Call 734.936.6837 to request more information.
ow fifty-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.
dvertising in the UMS program book or sponsoring UMS performances enables you to reach 130,000 of southeastern Michigan's most loyal concertgoers.
Advertising --
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.
Sponsorship
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 r---
Targeting messages to specific demographic groups I_______
Making highly visible links with arts and education programs . ,
Recognizing employees
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
nternships with UMS provide experience in performing arts administration, mar?keting, publicity, promotion, production and arts education. Semesterand year-long internships are available in many of UMS' departments. For more information, please call 734.764.9187. "-------
OLLEGE WORK-STUDY
tudents working for UMS as part of the College Work-Study program gain valu?able experience in all facets of arts manage?ment including concert promotion and marketing, fundraising, event planning and production. If you are a University of Michigan student who receives work-study financial aid and who is interested in working at UMS, please call 734.764.9187.
, ithout the dedicated service of UMS' Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing program books and pro?viding that personal touch which sets UMS events above others.
The UMS Usher Corps comprises over 300 individuals who volunteer their time to make your concert going experience more pleasant and efficient. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill, Power Center, or Rackham) for the entire concert season.
If you would like information about becoming a UMS volunteer usher, call the UMS usher hotline at 734.913.9696.
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. J The 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. ?? UMS would also like to thank those generous donors who wish to remain anonymous.
SOLOISTS
Individuals '
Mrs. Gardner Ackley Carl and Isabelle Brauer Dr. Kathleen G. Charla Charlotte McGeoch Randall and Mary Pittman Herbert Sloan
Businesses y' Bank One, Michigan :
Ford Motor Company Fund Forest Health Services
Corporation
Hudson's Project Imagine Office of the Provost,
University of Michigan Pfizer Global Research and
Development; Ann Arbor
Laboratories
FoundationsGovernment
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
MAESTROS
Individuals
Herb and Carol Amster
Peter and Jill Corr
Ronnie and Sheila Cresswell
Businesses
Comerica Incorporated Dow Automotive KeyBank
MASCO Charitable Trust McKinley Associates National City Bank Sesi Lincoln Mercury Thomas B. McMullen
Company Wolverine Technical Staffing,
Inc.
Foundations
Detroit Edison Foundation Elizabeth E. Kennedy Fund Mid-America Arts Alliance
Heartland Arts Fund New England Foundation
for the Arts, Inc. i
Shiffman Foundation Trust
(Richard Levey and Sigrid
Christiansen) The Texaco Foundation
VIRTUOSI Individuals
David Eklund and Jeff Green Prudence and Amnon Rosenthal f--......
Businesses
Bank of Ann Arbor CF1 Group
'-
CONCERTMASTERS
Individuals
Maurice and Linda Binkow Barbara Everitt Bryant Douglas D. Crary i
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. Skcwes Dr. Isaac Thomas III and
Dr. Toni Hoover Don and Carol Van Curler Marina and Robert Whitman Ann and Clayton Wilhite Roy Ziegler , "
Businesses
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 i
America ?'.J
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 $
Foundations
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 III Marion Wirick and James Morgan
Businesses
Alf Studios -
AAA Michigan Blue Nile Restaurant Dennis A. Dahlmann Inc. Ideation, Inc. Joseph Curtin Studios Masco Corporation I
Foundations
Ann Arbor Area Community
Foundation The Lebensfeld Foundation
PRINCIPALS
Individuals
Dr. and Mrs. Gerald Abrams
Jim and Barbara Adams
Bernard and Raquel Agranoff
Lloyd and Ted St. Antoine
Lesli and Christopher Ballard
Emily W. Bandera, M.D.
Dr. and Mrs. Robert Bartlett
Karen and Karl Bartscht
Ralph P. Beebe
Ruth Ann and Stuart J. Bergstein
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 ;h Jean and Kenneth Casey 'tBIBI 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 loan 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 Latta 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. f
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
Zimmerman
Businesses
Charles Reinhart
Company Realtors Shar Products Company
Foundations L-
Harold and Jean Grossman Family Foundation Hudson's Community
Giving
Montague Foundation The Power Foundation Vibrant of Ann Arbor
BENEFACTORS
Individuals
Robert Ainsworth Dr. and Mrs. Robert G. Aldrich Michael and Suzan Alexander Carlene and Peter Aliferis j Michael Allemang and
Denise Boulange Dr. and Mrs. Rudi Ansbacher Janet and Arnold Aronoff Max K. Aupperle i
Gary and Cheryl Balint j Norman E. Barnett ---1 Mason and Helen Barr Astrid B. Beck and
David Noel Freedman t Kathleen Beck Harry and Betty Benford John Blankley and
Maureen Foley Tom and Cathie Bloem ' Jane M. Bloom Ron and Miini 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. Grade 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 J 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 4 Herbert Katz J
Richard and Sylvia Kaufman John B. and Joanne Kennard Richard L. Kennedy Emily and Ted Kennedy f"-' Howard King and j
Elizabeth Sayre-King J Dick and Pat King i--
Hermine R. Klingler Bethany and Bill Klinkc 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 Brigittc 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
Jonathan Allen Cohn Jim and leva Rasmussen Jim and Bonnie Reecc Rudolph and Sue Reichcrt 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. Sundclson Ronna and Kent Talcott Bob and Betsy Teeter Mrs. E. Thurston Thieme Christina and
Thomas Thoburn Dr. and Mrs.
Merlin C. Townley loan Lowenstein and
Jonathan Trobe Marilyn Tsao and Steve Gao Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger lack 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
Businesses
The Barfield Company "s
Bartech
Bellanina Day Spa Dupuis & Ryden P.C.CPAs
and Business Advisors Guardian Industries
Corporation Lewis Jewelers Public Sector Consultants, Inc.
Foundations
The Sneed Foundation, Inc.
ASSOCIATES
Individuals
Dr. Diane M. Agresta
Anastasios Alcxiou
Christine Webb Alvcy
Dr. and Mrs. David G. Anderson
David and Katie Andrea
Harlene and Henry Appelman
Patricia and Bruce Ardcn
Jeff and Deborah Ash
Mr. and Mrs. Arthur J. Ashe, III
Dwight Ashley
Dan and Monica Auuns
Jonathan and Marlene Ayers
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 Bcltangady Erling and
Merete Blondal Bcngtsson Linda and Ronald Benson Robert Hunt Berry Sheldon and Barbara Berry Dan and Irene Biber Roger and Polly Bookwaltcr James and Janice Stevens Botsford Mr. Joel Brcgman 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 Mcrial 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 Ethel and Sheldon Ellis Mackenzie and Marcia Endo Joan and Emil Engel Patricia Enns
Dr. and Mrs. James Ferrara Yi-tsi M. and
Albert Fcuerwerker Karl and Sara Fiegenschuh
Dr. James R Filgas I
Carol Fincrman 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 I
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 Fusfeid 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 Ula 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 Hamano 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 Heffner 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 Samuclson 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 Mary 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 Kinncar
Rhea and Leslie Kish
James and Jane Kister
Beverly Kleibcr
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. Lapcza
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 Jean Manis Marcovitz Family Sheldon and Geraldine Markel Peter Marshall Jim and Ann Mattson Melissa McBrienBaks Family Margaret E. McCarthy Ernest and Adele McCarus W. Bruce McCuaig Griff and Pat McDonald Mr. and Mrs. Ernest Merlanti Bernice and Herman Mcrte Henry D. Messer Carl A. House Helen Metzner Deanna Relyea and
Piotr Michalowski Jcanettc 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. Ncidhardt and
Germaine Chipault Laura Nitzberg and
Thomas Carli Donna Parmelee and
William Nolting Marysia Ostafin and
George Smillic 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 Petersen Joyce H. and Daniel M. Phillips
William and Barbara Pierce Frank and Sharon Pignanelli Richard and Meryl Place Donald and Evonne Plantinga Mary Alice Power Philip and Kathleen Power Bill and Diana Pratt Jerry and Lorna Prescott Larry and Ann Preuss Wallace and Barbara Prince I. Thomas and Kathleen Pustell Leland and
Elizabeth Quackenbush Patricia Randle and lames Eng Anthony L. Reffells and
Elaine A. Bennett --
Glenda Renwick -------------
Janet I.. Repp
Molly Rcsnik and John Martin
Carol P. Richardson
Betty Richart
Jack and Margaret Ricketts
Constance O. Rinehart
Jay and Machree Robinson
Mr. and Mrs. Stephen J. Rogers
Mary R. Romig-deYoung
W. Robin Rose
Robert and Joan Rosenblum
Gay and George Roscnwald
Craig and Jan Ruff
Bryant and Anne Russell
Robert E. Sanecki
Mike Savitski and
Christi Balas Savitski Albert J. and Jane L. Sayed Christine J. Schesky-Black David and Marcia Schmidt Monica and David E. Schtcingart Suzanne Selig Harriet Selin ]
Erik and Carol Serr Ruth and Jay Shanberge Hollis and Martha A. Showalter Ned Shure and Ian Onder Sandy and Dick Simon Robert and Elaine Sims Scott and Joan Singer John and Anne Griffin Sloan Tim and Marie Stottow . . Alenc M. Smith jjjSJB Carl and Jari Smith 3" 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 Stark-Nemon and
Barry Nemon
Dr. and Mrs. Stanley Strasius Brian and Lee Talbol Eva and Sam Taylor Dr. Paul and Jane Thielking Catherine Thoburn Edwin J. Thomas Betle M. Thompson Mr. and Mrs. W. Paul Tippett Patricia and Terri! Tompkins Paul and Fredda Unangst Dr. and Mrs. Samuel C. Ursu Jim and Emilie Van Bochove Kathleen and Edward Van Dam Hugo and Karla Vandersypen Tanja and Rob Van der Voo J. Kevin and Lisa M. Vasconi William C. Vassell Shirley Verrett Carolyn and Jerry Voight John and Maureen Voorhees
Wendy L. Wahl and
William R. Lee 4
Mrs. Norman Wait ------------.
Robert D. and Liina M.'Wallin Dr. and Mrs. Ion M. Wardner Mr. and Mrs. Robert M. Warner Deborah Webster and i
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 'j
Charlotte A. Wolfe "
Kathy and Alan Wright MaryGrace and Tom York ; Ann and Ralph Youngren ?
Gail and David Zuk
Businesses
A. F. Smith Electric, Inc.
Alias Tool, Inc.
Bodywise Therapeutic Massage
Clark Professional Pharmacy
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 Adlcr
Thomas Aider
Michael ana Hiroko Akiyama
don and Carol Allardyce , cs and Catherine Allen Barbara and Dean Alseth 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 loseph 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 Austgen Shirley and Donald Axon Virginia and Jerald 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 Balon Peter and Paulett Banks David and Monika Barcra Maria Kardas Barna Joan W. Barth Robert and Carolyn Bartle Leslie and Anita Bassctt Mrs. Jere Bauer lames and Margaret Bean Mr. and Mrs. John C. Beatty
Mr. and Mrs. Steven R. Beckert Robert Beckley and Judy Dinesen Mr. and Mrs. Bruce Beier Sieve and Judy Bemis Walter and Antje Benenson Bruce Benncr and
Hely Merle-Benner Linda Bennett and Bob Bagramian Mr. and Mrs. Ib Bentzen-Bilkvist Dr. Rosemary R. Berardi Mr. and Mrs. Joel S. Bcrger 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 Bcrtz
R. Bezak and R. Halstcad Naren and Nishta Bhalia John and Marge Biancke Eric and Doris Billes John E. Billic and Sheryl Hirsch Sara BiNmann and Jeffrey Kuras William and llenc Birgc 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 and Joyce Blum Mr. and Mrs. Ralph O. Boehnke, Jr. Beverly J. Bole Mark and Lisa Bomia Dr. and Mrs. Frank P. Bonciorno Harold W. and Rebecca S. Bonnell Edward and Luciana Borbely Lola J. Borchardt Morris and Reva Bornstein fl Jeanne and David Bostian H Victoria C. Botek and A
William M. Edwards j 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 R Brandt William R. Brashear Enoch and Liz Brater Mr. and Mrs. Gerald Bright Paul A. Bringer Amy and Clifford Broman Razelle Brooks Olin L. and AJeeta Browder Linda Brown and Joel Goldberg Cindy Browne Molly and John Brueger Mrs. Webster Brumbaugh Phil Bucksbaum and
Roberta Morris Dr. Frances E. Bull
Tony and Jane Burton
Barbara H. Busch
Joanne Cage
Barbara and Albert Cain ;
Louis and Janet Callaway '
H. D. Cameron
Mrs. Darrell A. Campbell
James H. Campbell
Valerie and Brent Carey
Barbara Carpenter
James and Jennifer Carpenter
Deborah S. Carr
James and Mary Lou Caxras t
Margaret P. Carrigan ?
Dennis B. and Margaret W. Carroll
Dean Carter and
Dr. Petra Schindler Carter Joseph and Nancy Cavanaugh K. M. Chan
Bill and Susan Chandler . Wehrley and Patricia Chapman Dr. Carey Charles-Angclos
Barry and Marjorie Checkoway
Joan and Mark Chester
Felix and Ann Chow
Catherine Christen
Edward and Rebecca Chudacoff
Sallie R. Churchill
Pat Clapper
Brian and Cheryl Clarkson
Roger and Mary Coe
Dorothy Coffey
Alice S. Cohen
Jill Kronheim Cohen
Hilary and Michael Cohen
Mr. and Mrs. William Cohen
Willis Colburn and Denise Park
Marion Collier
Ed and Cathy Colone
Gordon and Marjorie Comfort
Wendy and Mark Comstock
Carolyn and L. Thomas Conlin
Patrick and Anneward Conlin
Sandra S. Connellan
M. C. Conroy
Philip and Jean Converse
Lolagene C. Coombs
Dr. and Mrs. William W. Coon
Gage R. Cooper
Dr. and Mrs. Richard Cooper
Alan and Bctte Cotzin
Marjorie A. Cramer
Dee Crawford
Richard and Penelope Crawford
Charles and Susan Crcmin
Mary C. Crichton
Mr. and Mrs. James I. Crump
Peggy Cudkowicz
Richard J. Cunningham
Marcia A. Dalbey
Marylee Dallon
Mr. and Mrs. Norman Dancy
Mildred and William B. Darnton
Stephen Darwall and
Rosemarie Hester DarLinda and Robert Dascola Ruth E. Datz
Mr. and Mrs. John L. Dauer Mr. and Mrs. Arthur W. Davidge Judi and Ed Davidson Laning R. Davidson, M.D. Wayne and Patricia Davis Robert and Barbara Ream Debrodt Joe and Nan Decker Dr. and Mrs. Raymond F. Decker Rossanna and George DeGrood Mr. and Mrs. Rolf A. Deiningcr Pamela DcTullio and
Stephen Wiseman Don and Pam Devine Sheryl Diamond Macdonald and Carolin Dick Gordon and Elaine Didier Ruth J. Doanc Patti Dobbs Judy and Steve Dobson Ed and Betty Doezcma Rev. Dr. Timothy J. Dombrowski Steven and Paula Donn Deanna and Richard Dorner Roland and Diane Drayson Cecilia and Allan Dreyruss John Dryden and Diana Raimi Gulshirin Dubash and
Jeremy Mistry
Mary P. Dubois ___
Rosanne and Sandy Duncan 2 Mary H. Dunham n
Robert and Connie Dunlap m Jean and Russell Dunnabark -Edmund and Mary Durfee John W. Durstine Dr. and Mrs. Theodore E. Dushane George C. and Roberta R. Earl Elaine Economou and
Patrick Conlin Richard and Myrna Edgar Morgan H. and Sara O. Edwards Julie and Charles Ellis James Ellis and Jean Lawton H. Michael and Judith L. Endres Mr. and Mrs. Fred A. Erb
Erb Foundation Roger E. Erickson Steve and Pamela Ernst
Leonard and Madeline Eron : Dorothy and Donald Eschman Sally Evaldson and John Posa Barbara Evans Don and Jeanette Fabcr Mr. and Mrs. Robert B. Fair, Jr. Elly and Harvev Falit Dr. Chervl C. farmer Mike and Bonnie Fauman Inka and David Felbeck Reno and Nancv Feldkamp Phil and Phyllis'Fellin Ronda and Ron Ferber Larry and Andra Ferguson Dennis and Claire Fernly Susan FilipiakSwing City
Dance Studio Clarisse (Clay) Finkbeiner Marilyn Finkbeiner Gerald B. and Catherine L. Fischer Lydia H. Fischer Dr. and Mrs. Richard L. Fisher Janet and Tom Fisher Barbara and Janies Fitzgerald Beth and Joe Fitzsimmons Rochelle Flumenbaum and
Paul Estenson
e and Kathryn Foltz Susan Goldsmith and Spencer Ford Dr Linda K. Forsberg Burke and Carol Fossee Jason I. Fox
William and Beatrice Fox Dan and Jill Francis Mark and Gloria Frank Lynn A. Frceland Lucia and Doug Freeth Richard and Joann Freethy Sophia French Marilyn L. Friedman Esther and Peretz Friedmann Susan Froelich and Richard Ingram Gail Fromes Jerry Frost
Philip and Renec Frost Jane Galantowicz Frances and Robert Gamble C. J. Gardiner and Cynthia Koch C. Louise Garrison Janet and Charles Garvin Allan and Harriet Geifond Chuck and Rita Gelman Ms. Jutta Gerber W. Scott Gerstenberger and
Elizabeth A. Sweet Leo and Renate Gerulailis Beth Genne and Allan Gibbard Paul and Suzanne Gikas Matthew and Dcbra Gildea Dr. and Mrs. Gary Gillcspie Zita and Wayne Gillis Beverly Jeanne Giltrow Albert and Barbara Glover Albert L. Goldberg David and Shelley Goldberg Joyce and Janice Golding Ed and Mona Goldman Arna and Michael J. Goldstein Beryl and David Goldsweig Mitch and Barb Goodkin Ann F. Goodman Sclma and Albert Gorlin Enid M. Gosling Jean and Bill Gosling Michael L. Gowing Mr. and Mrs. Gordon J. Graham Mr. and Mrs. Robert C. Graham Pearl E. Graves Whit more and Svea Gray Ivan Green
Lewis R. and Mary A. Green Phyllis Green Sandra Gregerman G. Robinson and Ann Gregory Martha J. Greiner Linda and Roger Grekin Raymond and Daphne M. Grew Marshall J. and Ann C. Grimm Marguerite M. Gritcnas Laurie Gross Richard and Marion Gross
Advocates, continued
Frederick and Iris Gruhl Lionel and Carol Guregian Lorraine Gutierrez and Robert Peyser
Michael Marietta Jeff and LeAnn Guyton Dr. Merle Haanes "--oline and Roger Hackett
rgo Halsted
in I. Hamcke David Hamilton Mrs. Frederick G. Hammitt Dora E. Hampel Dr. and Mrs. Carl T. Hanks Grace H. Hannenin Lourdes S. Bastos Hansen Charlotte Hanson Mary C. Harms
Stephen G. and Mary Anna Harper Laurelynnc Daniels and
George Harris Susan S. Harris Elizabeth C. Hassinen James B. and Roberta Hause Ian and Barbara Hawkins Maureen Hawley D. Keith and Lori Hayward Anne Heacock
Kenneth and Jeanne Heininger Jim and Esther Heitler Bill Heifer Sivana Heller Paula B. Hencken and
George C. Collins Karl Hcnke! and Phvllis Mann Dr. and Mrs. Keith S Henley Kathryn Dekoning Hentschel
and Rudi Hentschel Jeanne Hernandez C.C. Herrington, M.D. Ronald D. and Barbara J. Hertz Stuart and Barbara Hilbert Herb and Dee Hildebrandt Lorna and Mark Hildebrandt Carolyn Hiss
James and Ann Marie Hitchcock Louise Hodgson Jane and Dick Hoerner Robert and Claire Hogikyan Donna M. Hollowell Mr. and Mrs. Howard Holmes Pam and Steve Home Dave and Susan Horvath Mr. and Mrs. F. B. House James and Wendy Fisher House Jeffrey and Allison Housner Kenneth and Carol Hovey Drs. Richard and Diane Howlin John I. Hritz, Jr. Mrs.V.C.Hubbs Hubert and Helen Hucbl Judc and Ray Huetteman Mr. and Mrs. William Hufford Joanne Wjnkleman Hulcc Ralph and Del Hulett Jewel F. Hunter Marilyn C. Hunting Diane C. Imredy Edward C. Ingraham Joan L. Jackson Judith G. Jackson Dean and Leslie Jarrett Marilyn G. Jeffs
Professor and Mrs. Jerome Jelinek Ken and Marcia Jenkinson James and Elaine Jensen Keith and Kay Jensen Mark and Linda Johnson Paul and Olga Johnson Dr. Marilyn S. Jones Andrce 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 Rrum Karunas
Alex and Phyllis Kato Ann F. Katz Deborah and Ralph Katz
Julie and Phil Kearney
Mr. and Mrs. Robert Keiser
Janice Keller
Linda Atkins and Thomas Kenney
George L. Kcnyon and
Lucy A. Waskell Paul and Leah Kileny Jeanne M. Kin
Robert and Vicki Kiningham John and Carolyn Kirkendall Lcilani and Steven Kitler Rosalie and Ron Kocnig Michael J. Kondziolka Charles and Linda Koopmann Alan and Sandra Kortesoja Dimitri and Suzanne Kosacheff Sara Kring William G. Kring Alan and Jean Krisch Symaand Phil Kroll Bert and Gcraldine Kruse Helen and Arnold Kuethe Danielle and George Kuper Alvin and Lia Kushner Dr. and Mrs. R. A. Kutcipal Tim and Kathy Laing 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
Joan Larscn and Adam Pritchard Carl F. and Ann L. LaRue Beth and George Lavoie Judith and Jerold Lax Chuck and Linda Leahy Francois and Julie Lebel Cyril and Ruth Leder Fred and Ethel Lee Skip and Mary LeFauve Diane and Jeffrey Lehman Ron and Leona Leonard Sue Leong f---
Margaret E. Leslie ; David E. Levinc Tom and Judy Lewis Margaret K. Liu and
Biarmaid M. O'Foighil Jackie K. Livesay Julie M. Loftin Jane Lombard Ronald Longhofer and
Norma McKenna Barbara R. and Michael Lett Bruce Loughry Christopher Loving Donna and Paul Lowry Ross E. Lucke Lynn Luckenbach Pamela and Robert Ludolph Fran Lyman
Becky and Reno Maccardini Walter Allen Maddox Mark Mahlberg Suzanne and Jay Mahler Deborah Malamud and
Ncal Plotkin
Claire and Richard Malvin Alan and Carla Mandel Pankai Manku
Alice K. and Robert G. Marks
Rhoda and William Martel
James E. and Barbara Martin
Wendy Massard
Vincent and Ma
Glenn D. Maxwefl
Helen Byrm May
LaRuth C. McAfee
Margaret and Harris McClamroch
Dores M. McCree
Neil and Suzanne McGinn
Michael G. McGuirc
Mary and Norman Mdver
Bill and Ginny McKeachie
Nancy and Robert Meader
William and Marilyn Meadowcroft
Marilyn ). Meeker
Robert and Kathleen Megginson
Bob and Doris Mclling Allen and Marilyn Menlo Warren and Hilda Merchant Hely Merlc-Bcnncr George R. and Brigette Mer. Julie and Scott Merz
Don and Lee Meyer
Shirley and Bill Meyers ,
Helen M. Michaels !
William and Joan Mikkclscn
John W. Milford
Prof, and Mrs. Douglas Miller
Carmen and lack Miller
)amcs A. and Kathryn Miller
Sonya R. Miller
Bob and Carol Milstein
Dr. and Mrs. lames B. Miner
Olga Ann Moir
Mary Jane Molesky
Bruce and Ann Moln
Jim and Jeanne Montie
Mr. Erivan R. Morales and
Dr. Seigo Nakao Arnold ana Gail Morawa Robert and Sophie Mordis Dr. and Mrs. George W. Morley A. A. Moroun Robert C. Morrow Muriel Moskowitz James and Sally Mueller J. Thomas and Carol Mullen Marci Mulligan and Katie Mullii Gavin Eadie and Barbara Murphy Lora G. Myers
Dr. and Mrs. Gunder A. Myran Drs. Louis and Julie Nagel Roscmarie Nagel Eugene and (Catherine Napolitan Joan Nassauer Arthur and Dorothy Nessc 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 Lcxa Ooricn Patricia O'Connor Henry and Patricia O'Kray Peter M. and Alicia C.Olin William and Joan Olsen Elizabeth Olson and Michele Davis Nels R. and Mary H. Olson Paul L. and Shirley M. Olson J. L. Ondey
Joe O'Neal
Robert and Elizabeth Oneal Kathleen I. Opcrhall Ted and Joan Operhall Dr. Jon Oscherwitz Elisa Ostafin and Hossein Keshtkar Mr. and Mrs. James R. Packard Jenny Palmer
Penny and Steve Papadopoulos Michael P. Parin Donna D. Park Bill and Katie Parker Frank and Arlene Pasley Alka Patcl Eszther Pattantyus and
Tibor Nagy Nancy K. Paul Robert and Arlene Paup Wade IX and Carol Peacock William and Susan Penner Steven and Janet Pepe Don and Giannine Perigo Bradford Perkins Susan A. Perry NealW. 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-Phelps Jim and Julie Phelps Mr. and Mrs. Frederick R. Pickard
Robert and Mary Ann Pierce
Roy and Winnifred Pierce
Daniel Piesko
Wayne and Suellen Pinch
Brenda Pontillo
Mr. and Mrs.
Jeffrey Michael Powers Robert and Mary Pratt Jacob M. Price John and Nancy Prince Yopie Prins and
Michael Daughcrty Bradley and Susan Pntts Lisa M. Profera Ernst Pulgram Morton and Diane Raban Dr. and Mrs. Tushar N. Raiji Nancy L. Rajala
Alfred and Jacqueline Raphelson Dr. and Mrs. Robert Rapp Mr. and Mrs. Robert H. Rasmussen Ruth Rattner
Dr. and Mrs. Mark Rayport Maxwell and Marjorie Reade Sandra Reagan
Mr. and Mrs. Richard W. Redman Dr. and Mrs. James W. Reese Mr. and Mrs. Stanislav Rehak Georgia Reid
Mr. and Mrs. Bernard E. Reisman James and Judith Reiter Anne and Fred Remley Duanc and Katie Renkcn John and Nancy Reynolds Alice Rhodes Lou and Sheila Rice Mr. and Mrs.
Thomas D. Richardson Kurt and Lori Riegger Thomas and Ellen Riggs Lita Ristine
Kathleen Roelofs Roberts Dave and Joan Robinson H. lames and Kathleen Robinson Jonathan and Anala Rodgers Mary Ann and WilJard Rodgers Joseph and Joan Rogers Leslie and Ann Rogers Mary F. Loeffler and
Richard K. Rohrer Michael ]. and Yelcna M. Romm Elizabeth A. Rose Edith and Raymond Rose Bernard and Barbara Rosen Dr. and Mrs. Gary R. Rosenblatt Richard Z. and Edie W. Rosenfeld Charles W. Ross Marlene Ross Christopher Rothko Carol Rugg and
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 Rcda Santinga Ed Sarath and Joan Harris Harry and Elaine Sargous Helga and Jochen Schacht Chuck and Gail Scharte Mary A. Schieve Courtland and Inga Schmidt Gary and Claudia Schnitker Susan G. Schooner Thomas H. Schopmeyer Yizhak Schotten and
Katherine Collier
Carol H. Schreck and Ada Herbert Aileen Schulze Art and Mary Schuman Ed and Sheila Schwartz David and Darlene Scovell 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 ). Sherzcr
Mary Alice Shulman
Dr. Douglas and Barbara Siders
Dr. Bruce M. Sicgan
Milton and Gloria Sicgel
Alida and Gene Silverman
Geoffrey and Morrinc Silverman
Carl Simon and Bobbi Low
Michael and Maria Simonte
Alice Simsar
Donald and Susan Sinta
Irma J. Sklenar
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 Smuckcr Robert and Susan Soderstrom Nathan and Patrick Sohnly Hugh and Anne Solomon James A. Somcrs Dora Maria Sonderhoff Dr. Sheldon and Sydelle Sonkin Errol and Pat Soskolnc Becki Spanglcr 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 Stahte Constance D. Stankrauff Mr. and Mrs. William C. Stebbins Bert and Vickie Stcck Virginia and Eric Stein Frank D. Stella
William and Georgine Steudc 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 Stroebel Dr. and Mrs. Icoffrey K. Stross Joe Stroud and Kathleen Fojtik Mary Stubbins Judy and Sam Stulbcrg Donald and Barbara Sugerman Mike and Peg SupernauTt Valerie Y. Suslow Earl and Phyllis Swain Rebecca Sweet and Roland Loup Rebecca Szabo Michael W. Taft 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 Tarzia Robert and Carolyn Tate Stephan Taylor and
Elizabeth Stumbo Margie and Graham Teall Scott Terrill and Maggie Long Carol and )im Thiry William Jerry Thornton Peggy Tieman
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 Urata
Morel la Urbina
Paul and Marcja Valenstein
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
Katherine Verdery
Ryan and Ann Verhey-Hcnke
Elizabeth Vetter
Alice and Joseph Vining
Mr. and Mrs. Theodore R. Vogt
Haruc and Tsuguyasu Wada
Jill Wagner
Jerry Walden and
Julia Tiplady-Walden George ana Lorraine Wales David C. and Elizabeth A. Wall Timothy Wang Jill A. Warren Lorraine Nadelman and
Sidney Warschausky Evy and Morrie Warshawski Ruth and Chuck Watts " -1
Carol Weber :
Edward C. Weber ,
Joan M. Weber J
Jack and Jerry Weidenbach Carolyn J. Weigle Dr. Neal Weinberg Rosalyn and Gerald Weintraub Mr. and Mrs. Harvey L. Weisberg Barbara Weiss Lisa and Steve Weiss John, Carol and Ian Welsch Kim Werner Helen Michael West Tim and Mim Westerdalc Paul E. puffy and
Marilyn L. Wheaton James B. and Mary F. White :
Janet F. White
Mr. and Mrs. Nathaniel Whiteside Nancy Wiernik William and Cristina Wilcox Catherine Wilkcrson Benjamin D. Williams John Troy Williams Sara S. Williams Shelly F. Williams Anne Marie and Robert J Willis Bruce Wilson and
Carol Hollenshead Leslie C. Wimsatt Beverly and Hadley Wine Donna Winkelman and
Tom Easthope
Sarajane and Jan Z. Winkelman Beth and I. W. Winsten lames H. and Mary Anne Winter Dr. and Mrs. Lawrence D. Wise Karen Wixson Stanley B. Wolfe, M.D. Dr. and Mrs. Ira S. Wollni;r Richard E. and Muriel Wong Ronald and Wendy Woods Israel and Fay WoronofT Harry Wright
Harry Wright Phyllis B. Wright Alfred and Corinn
Alfred and Corinne Wu
Fran and Ben Wylie
Sandra and Jonathan Yobbagy
Mr. Frank Youkstetlcr
James and Gladys Young
Phyllis Zawisza
Mr. and Mrs. Martin Zeile
John J. Zerbiec
Daniel and Mary Ziegeler
Ronald W. Zorney
Erik and Lineke Zuiderweg
Businesses
Ann Arbor Center for Financial Services
Diametron, Inc.
Dobbs Opticians Inc. of Ann Arbor
Palladium Associates
John Shultz Photography
SWEAInc.
Thalner Electronic Labs
Thing-a-majigs for Kids
Foundations
Molloy Foundation World Heritage Foundation "The Prechter Fund"
IURTON TOWER SOCIETY
77k Burton Tower Society is a very special group of University Musical Society friends. These people have included the University Musical Society in their estate planning. We are grateful for this important support to continue the great tra?ditions of the Society in the future.
Carol and Herb Amster
Mr. Neil P. Anderson
Catherine S. Arcure
Mr. and Mrs. Pal E. Barondy
Mr. Hilbert Beyer
Elizabeth Bishop
Barbara Everitt Bryant
Pat and George Chatas
Mr. and Mrs. John Alden Clark
Dr. and Mrs. Michael S. Frank
Beverly and Gerson Geltner
Mr. Edwin Goldring
Mr. Seymour Greenstone
Mr. and Mrs. Richard Ivcs
Marilyn Jeffs
Thomas C. and
Constance M. Kinnear Charlotte McGeoch Michael G. McGuire Dr. Eva Mueller Len and Nancy Niehoff Dr. and Mrs. Frederick O'Dell Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Herbert Sloan Roy and JoAn Wetzel Mr. and Mrs. Ronald G. Zollars
H. Harlan Bloomer Tom Bob Boothby George W. Brooks William G. Dow David Eklund Kathleen Fischer Edwin Goldring George R. Hunsche Thomas Michael Karun Frederick C. Matthaci, Sr. Robert Meredith Valerie Meyer Steffi Reiss Fred C. Shure Clarence Stoddard Charles R. Tieman Mrs. Durwell Vetter Francis Viola 111 Alice Warshaw Carl H. Wilmot Peter Holderness Woods
IN-KIND GIFTS
Amadeus Cafe
Ann Arbor Acura
Ann Arbor Art Center
Back Alley Gourmet
Bella Ciao Trattoria
Bivouac Outdoor Clothing and
Equipment
Bodywise Therapeutic Massa Caf303 Catherine Arcure Kathleen Ben ton and
Robert Brown Chelsea Flower Shop Peter and Jill Corr The Original Cottage Iiu. Paul and Pat Cousins, Cousins
Heritage Inn
Dr. and Nfrs. Ronald Cresswell D'Amato's Neighborhood
Restaurant
David Smith Photography Peter and Norma Davis Katy and Tony Derczinski Dough Bovs Bakery Bob and Chris Euntt Katherinc and Damian Farrell Fine Flowers Ken and Penny Fischer The Gandy Dancer Beverlev and Gerson Geltner Great Harvest Bread Company John Leidy Shop John's Pack & Snip Mercy and Stephen Kaslc Kerrytown Bistro Kings Keyboard House LeDog
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 Randv Parrish Fine Framing Red Hawk Bar & Grill Regrets Only
Ritz Camera One Hour Photo Maya Savarino Peter Savarino 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
GIVING LEVELS
Soloists $25,000 or more
Maestro $10,000-24,999
Virtuosi $7,500 9,999
Conccrtmastcr $5,000 7,499
Leader $2,500 4,999
Principal $1,0002,499
Benefactor $500 999
Associate $250 499
Advocate $100-249
Friend $50 99

Michigan na Corporation an Global Automotive Solutions "Studios n Arbor Acura 1 Arbor Center for Financial Services
is Tool, Inc. ,;
utoCom Associates Bank of Ann Arbor hank One, Michigan The Barfield CompanyBartcch lellanina Day Spa j
Hue Nile Restaurant :
' TJodywisc Therapeutic Massage Brauer Investments Butzel Long Attorneys frft Marie FI Group
'irk Professional Pharmacy ,arles Reinhart Company ' Realtors t
trTee Express Co. tmerica Incorporated .
implcte Design 5c Automation Systems Inc. ""nsumers Energy _nnis A. Dahlmann Inc. iamctron, Inc.
-bbs Opticians Inc. of Ann Arbor njw Automotive hipuis & Ryden P.C.CPAs
and Business Advisors Jward Surovell Realtors wards Brothers, Inc. stizell Corp of America rd Motor Company Fund rcst Health Services Corporation trris, Garris, Garris Sc Garris
Law Office
luardian Industries Corporation [udson's Project Imagine deal ion, Inc. bhn Leidy Shop, Inc. bhn Shultz Photography oseph Curtin Studios ' yBank wis Jewelers
[alloy Lithographing, Inc. IASCO Charitable Trust lasco Corporation kKinley Associates .liller, Canfield, Paddock and
Stone P.L.C. National City Bank Jffice 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 Laboratories illack Design Associates lblic Sector Consultants, Inc. Quinn EvansArchitects tSesi Lincoln Mercury ,Shar Products Company I'SWEA Inc. Thalncr Electronic Labs Thing-a-majigs for Kids L' Thomas B. McMullen Company ;; Vibrant of Ann Arbor Visteon Volvcrinc 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 Bcllanina Day Spa
2 Blue Hill Development
38 Bodman, Longley and
Dahling
26 Butzel Long Attorneys
26 Carty's Music
56 Charles Reinhart Company
Realtors
42 Chelsea Community Hospital
20 Chris Triola Gallery
42 Cleveland's Gill Sc Grill
32 Comerica Bank
26 Dobson-McOmber Agency,
Inc.
20 Edward Surovcll Realtors
BC Ford Motor Company
34 Fotol
24 Fraleigh's Nursery
24 Garris, Garris, Garris, 8c
Garris
16 Glacier Hills
50 Harmony House
34 Hiller's Market
40 Howard Cooper Imports
24 IATSE
26 John 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
8c Stone
24 Mundus & Mundus
26 National City
42 Performance Network 40 Prudential Securities
43 Renaissance Clothing
44 Rudolf Steiner School FC St. loseph Mercy Health
System
10 Swcetwaters Cafe
50 Swing City Dance Studio
34 Three Chairs
10 Toledo Opera
33 Ufer & Co. Insurance 33 University Living
24 Washington Street Gallery
42 WDET
12 WEMU
22 WGTE
18 Whole Foods _12_ ' "'

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