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UMS Concert Program, Friday Feb. 16 To Mar. 07: University Musical Society: Winter 2001 - Friday Feb. 16 To Mar. 07 --

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Day
16
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
of Michigan
Winter 2001 season
WINTER 2001 SEASON
university musical society
U MS services
UMSannals
UMSexperience
University of Michigan Ann Arbor
UMS leadership 3 5
UMSsupport 45 45
Letter from the President .
Letter from the Chair I
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
UMS History UMS Choral Union AuditoriaBurton Memorial Tower
The Winter 2001 UMS Season ?
Education & Audience Development
Dining Experiences
BRAVO!
Restaurant & Lodging Packages '?
UMS Preferred Restaurant Program
UMS Delicious Experiences
Advisory Committee
Sponsorship & Advertising
InternshipsCollege Work-Study
Ushers 1
Membership ii'JBffii
UMS Advertisers tlj
the riles tf Jun if Ait and Queen Man) artt in the Ryal SlialKSKait employ's HIstKy Hays.
eadership
LETTER FR0M_TH PRESIDEN J
'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 g 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 US presentation in our community.
It takes a large group of dedicated and tal?ented people to put bring you the Royal Shakespeare Company and the other world-
renowned artists and ensembles that have been part of UMS' tradition since 1879. I'm privileged to work with an outstanding Board of Directors, Senate, Advisory Committee, and staff, all of whom are listed on pages 14-15. In addition, UMS works with more than 500 volunteers who serve in our dedicated usher corps, sing in our outstanding Choral Union, and assist us with many of our programs, especially our Youth Education Program.
It is the UMS staff (see photo) who works day in and day out to assure that you are able to see and hear the world's best performing artists. The programming staff, led by Michael Kondziolka, works with artists and artists' managers to design a diverse, exciting, and high-quality season, which this year fea?tures over ninety performances. The produc?tion staff, led by Gus Malmgren, looks after the well-being of our artists and, working with an outstanding group of local stagehands, assures that each performance looks great and runs smoothly. The education and audi?ence development staff, led by Ben Johnson, designs and manages more than 200 events, working with nearly 100 community partners to enhance the audiences' understanding and appreciation of our artists and their work. People learn about our programs through many different media, thanks to the efforts of our marketing staff, led by Sara Billmann, which last year oversaw an all-time record in ticket sales for UMS. Our box office staff, led by Michael Gowing, has a well-deserved rep-
utation of providing outstanding personal?ized service. Our finances, computer systems, human resources, and office management are' under the purview of our administrative staff, led by John Kennard. Finally, there is the development staff, led by Christina Thoburn, which must raise nearly half of UMS' budget this year to supplement our income from ticket sales and which has never failed to exceed their ambitious goals in each of the last ten years.
I feel extremely fortunate to work with this outstanding team of colleagues, whom many leaders in our field consider to be the finest ?
staff of any performing arts presenting organization in the country. I hope you will have a chance to get to know members of this exceptional group of people, who delight in their opportunity to serve you and the other members of the UMS family.
If you would like to learn more about UMS, let me suggest that you purchase a copy of Bravo!, a popular, high-quality 224-page cookbook that includes recipes, legends, and lore from our long history. For more infor?mation and to place an order, see page 37.
I'd like to know your thoughts about this performance. I'd also like to learn from you
about anything we can do at UMS to make your performance experience the best possi?ble. If we don't see each other in the lobby, feel free to call my office at 734.647.1174, drop me a note, or send me an e-mail message at kenfisch@umich.edu. ,r .
?. : ;? Wi'.irtsi-,-..-. :.;-r-:v '
Sincerely,
Kenneth C. Fischer President
r "
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. r"" "'
Sincerely, MBBW
Beverley Geltner ???? Chair, UMS Board of Directors
x0CORPORATE 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." j_.
William Broucek
President and CEO __.
Bank of Ann Arbor
'As Ann Arbor's community
bank, we are glad and honored
to be a supporter of the cultural
enrichment that the University
Musical Society brings to our
community."
Jorge A. Solis
Senior Vice President Bank One, Michigan "Bank One, Michigan is honored to share in the University Musical Society's proud tradi?tion of musical excellence and artistic diversity."
Habte Dadi Manager Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organi-
zation that provides such an important service to Ann Arbor."
Carl A. Brauer, Jr. Owner Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically support the University Musical Society in bringing great music to our community."
David G. Loesel President T.M.L Ventures, Inc. 'Cafe Marie's support of the University Musical Society Youth Program is an honor and a priv?ilege. Together we will enrich and empower our community's youth to carry forward into future generations this fine, tradition of artistic talents." '
Clayton Wilhite
Managing Partner CFI Group, Inc.
"Can you imagine a more power?ful demonstration of Ann Arbor's quality of life than the University Musical Society We at CFI can't, and that's why we're so delighted to be a concert sponsor. We salute UMS for its accomplishments and for what it has contributed to the pride in our community."
Charles Hall
C. N. Hall Consulting 'Music is one way the heart sings. The University Musical Society helps our hearts enjoy and par?ticipate in song. Thank you."
Eugene Miller
Chairman and CEO Comerica Incorporated "Bravo to the University Musical Society! Their contributions are vital to the arts community. Comerica applauds their tradition of excellence, and their commit?ment to the presentation of arts and promotion of arts education."
S. Martin Taylor Sr. Vice
President, Corporate & Public Affairs and President Detroit Edison Foundation "The Detroit Edison Foundation is proud to sponsor the University Musical Society because we share a mission of enhancing south?eastern Michigan's reputation as a great place to live and work. To this end, UMS brings the joy of the performing arts into the lives of community residents, provides an important part of Ann Arbor's uplifting cultural identity and offers our young people tremen?dous educational opportunities."
Larry Denton
Global Vice President Dow Automotive "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 innovam
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." 4
Phillip R. Duryea L,--,-----
Community President National City Bank 'National City Bank is pleased to continue our historical support of the University Musical Society, which plays such an important role in the richness of our,..., community."
Joe O'Neal President O'Neal Construction "A commitment to quality is the main reason we are a proud supporter of the University Musical Society's efforts to bring the finest artists and special events to our community."
Michael Staebler Partner Pepper Hamilton LLP "Pepper Hamilton congratulates the University Musical Society for providing quality perform?ances in music, dance and the-
ater to the diverse community that makes up southeastern
Michigan. It is our pleasure to be among your supporters."
Jeanne Merlanti President Personnel Systems, Inc. Arbor Technical Staffing Arbor Temporaries, Inc. "As a member of the Ann Arbor business community, I'm thrilled to know that by supporting UMS, I am helping perpetuate the tradition of bringing out?standing musical talent to the community and also providing education and enrichment for our young people."
Peter B. Corr, Ph.D. Senior Vice President, Pfizer, Inc.; Executive Vice President, Pfizer Global Research & Development; President, Worldwide Development "The University Musical Society is a cornerstone upon which the Ann Arbor community is based: excellence, diversity and quality. Pfizer is proud to support the University Musical Society for our community and our Pfizer colleagues."
Kathleen G. Charla Consultant Russian Matters
"Russian Matters is pleased and honored to support UMS and its great cultural offerings to the community."
Joseph Sesi President Sesi Lincoln Mercury "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury team is delighted to sponsor such a fine organization."
Thomas B. McMullen President Thomas B. McMullen Co., Inc. "I used to feel that a U of M -Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational entertain-
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 J. F. Ervin Foundation The Ford Foundation Harold and Jean Grossman
Family Foundation The Heartland Arts Fund Hudson's Community Giving Elizabeth E. Kennedy Fund KMD Foundation The Lebensfeld Foundation
Michigan Council for Arts
and Cultural Affairs Mid-America Arts Alliance Montague Foundation ? '
The Mosaic Foundation !
(of R. & P. Heydon) National Endowment __ ?
for the Arts New England Foundation
for the Arts The Power Foundation The Shiffman Foundation The Sneed Foundation, Inc. State of Michigan--Arts and
Quality of Life Grant Program
The Texaco Foundation ----------
Vibrant of Ann Arbor Wallace-Reader's Digest Funds
UNIVERSITY MUSICAL SOCIETY of the University of Michigan
Beverley B. Geltner,
Chair Lester P. Monts,
Vice-Chair Len Niehoff,
Secretary David Featherman,
Treasurer Lee C. Bollinger
Janice Stevens Botsford Barbara Everitt Bryant Kathleen G. Charla
Jill A. Corr --------
Peter B. Corr William S. Hann Toni Hoover Alice Davis Irani Gloria James Kerry
Leo A. Legatski Helen B. Love Barbara Meadows Alberto Nacif Jan Barney Newman Gilbert S. Omenn Randall Pittman Rossi Ray-Taylor Prudence L. Rosenthal
Maya Savarino Erik H. Serr , Herbert Sloan -Timothy P. Slottow Peter Sparling James L. Telfer : Clayton Wilhite Karen Wolff Elizabeth Yhouse
(former members of the 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 j"" 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 i 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 m 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
x0ADVISORY 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 Endres
Andra Bostian Ferguson
Nancy Ferrario
Penny Fischer
Anne Glendon
Maryanna Graves
Linda Greene
Karen Gundersen
Nina E. Hauser
Kathy Hentschel Debbie Herbert Mercy Kasle Steve Kasle Anne Kloack Maxine Larrouy Beth LaVoie Stephanie Lord Esther Martin Mary Matthews Ingrid Merikoski Ernest Merlanti 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, "ij
Information Systems .
Manager
Box Office
Michael L. Gowing,
Manager
Laura Birnbryer, Staff Sally A. Cushing, Staff Ronald J. Reid, Assistant
Manager and Group j
Sales '?
!
Choral Union i
Thomas Sheets, __
Conductor Andrew Kuster,
Associate Conductor Jean Schneider-Claytor,
Accompanist Kathleen Operhall,
Manager i
Donald Bryant, Conductor Emeritus
Development
Christina Thoburn,
Director Mary Dwyer, Manager
of Corporate Support Karen Meske, Advisory
Committee and Events
Coordinator Lisa Michiko Murray,
Manager of
Foundation and ft"
Government Grants J. Thad Schork, Direct
Mail, Gift Processor Anne Griffin Sloan,
Assistant Director -
Individual Giving
EducationAudience Development
Ben Johnson, Director Kristin Fontichiaro,
Youth Education !
Manager Dichondra Johnson,
Coordinator Warren Williams,
Manager
MarketingPublic Relations
Sara Billmann, Director Aubrey Alter, Coordinator
Ryonn Clute,
Coordinator . Gulshirin DubasK,
Public Relations
Manager
Production and Special Projects
Gus Malmgren, Director Emily Avers, Production
and Artist Services
Manager Jerica L. Humphrey,
Front-of-House
Coordinator Production Supervisors
Eric Bassey
Mary Cannon
Steven Jarvi Usher Supervisors
Paul Jomantas
Bruce Oshaben Head Ushers
Ken Holmes
Joyce Holmes
Brian Roddy
Sanjay Pavipati
Nancy Paul
Edward Szabo
Programming
Michael J. Kondziolka,
Director Mark Jacobson, Manager
Work-Study
Erika Banks Megan Besley Eric Blanchard Jo Chen Patricia Cheng Patrick Elkins Christine Field Mariela Flambury Milena Gruber David Her Benjamin Huisman Laura Kiesler Dawn Low Kathleen Meyer Rossalyn Quaye Rosie Richards Jennifer Salmon Angela Sitz Corey Triplett Sean Walls
Interns
Helene Blatter Erin Dahl Angela Dixon Robert Frey Shaila Guthikonda Michael Steelman Ryan Suit Shauna Voltz
President Emeritus
Gail W. Rector
UMS TEACHER ADVISORY COMMITTEE
Fran Ampey Kitty Angus Alana Barter Kathleen Baxter Elaine Bennett Lynda Berg Yvette Blackburn Barbara Boyce Letitia Byrd
Doug and
Nancy Cooper Naomi Corera Gail Davis Barnes :tj Gail Dybdahl Keisha Ferguson Doreen Fryling Brenda Gluth Louise Gruppen Vickey Holley Foster
Taylor )acobsen Gallic Jefferson Deborah Katz Deb Kirkland Rosalie Koenig David Leach Rebecca Logic Dan Long Laura Machida Ed Manning
Glen Matis Kim Mobley Ken Monash Eunice Moore Amy Pohl Rossi Ray Taylor Gayle Richardson Katy Ryan Karen Schulte Helen Siedel
loan Singer Sue Sinta Grace Sweeney Sandy Trosien Melinda Trout Sally Vandeven Barbara Wallgren Jeanne Weinch
UMSservices
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.
Smoking Areas
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
For phone orders and information, please contact:
UMS Box Office Burton Memorial Tower 881 North University Avenue Ann Arbor, MI 48109-1011
on the University of Michigan campus
734.764.2538
Outside the 734 area code, call toll-free 800.221.1229
Order online at the UMS website:
http:www.ums.org
or
Visit our Power Center Box Office
in person
Due to the renovation of Burton Tower,
our Box Office has been relocated to the
Power Center.
Mon-Fri: 10 a.m. to 6p.m.
Sat: 10 a.m. to 1 p.m.
Performance hall box offices open
90 minutes before each performance.
Returns
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the UMS Box Office. Refunds are not available; however, you will be given a receipt for an income tax deduc?tion. Please note that ticket returns do not count toward UMS membership.
any thanks to all of the groups who have [joined UMS for an event in past seasons, and welcome to all of our new friends who will be with us in the coming years. The group sales program has grown incredibly in recent years, and our success is a direct result of the wonderful leaders who organize their friends, families, congregations, students, and co-workers and bring them to one of our events.
Last season over 10,000 people came to UMS events as part of a group, and they saved over $51,000 on some of the most popular events around! Many groups who booked their tickets early found themselves in the enviable position of having the only available tickets to sold out events including the Buena Vista Social Club, Yo-Yo Ma, the ?'?. Berlin Philharmonic, the Chieftains, and ?; many other exciting performances.
This season UMS is offering a wide variety of events to please even the most discriminat?ing tastes, many at a fraction of the regular price. Imagine yourself surrounded by ten or more of your closest friends as they thank you for getting great seats to the hottest shows in town. It's as easy as picking up the phone and calling the UMS Group Sales hotline at 734.763.3100.
ooking for that perfect meaningful gift ?that speaks volumes about your taste Tired of giving flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than eighty
events throughout our season, wrapped and delivered with your personal mes?sage, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's
Days, or even as a housewarming
present when new friends move to town.
MS and the following businesses thank you for your generous support by pro?viding you with discounted products and services through the UMS Card, a privilege for subscribers and donors of at least $100. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe Ann Arbor Acura Ann Arbor Art Center The Back Alley
Gourmet Bivouac Outdoor
Clothing and
Equipment The Blue Nile
Restaurant Bodywise Therapeutic
Massage Cafe Marie Chelsea Flower Shop Dough Boys Bakery Fine Flowers Gandy Dancer Great Harvest John Leidy Shop
John's Pack and Ship Kerrytown Bistro King's Keyboard House Le Dog Michigan Car Services,
Inc. and Airport
Sedan, LTD Nicola's Books, Little
Professor Book Co. Paesano's Restaurant Randy Parrish Fine
Framing Regrets Only Ritz Camera One Hour
Photo Shaman Drum -
Bookshop
SKR Downtown '. SKR Uptown
oin the thousands of savvy people who log onto www.ums.org each month!
Why should you log onto www.ums.org
Tickets Forget about waiting in long ticket lines--order your tickets to UMS performances online! And now you'll know your specific seat location before you buy online, thanks to our new relationship with tickets.com!
Cyber$avers Special weekly discounts appearing every Tuesday only available by ordering over the Web.
Information Wondering about UMS' history, event logistics, or volunteer opportunities Find all this and more.
Program Notes and Artist Bios Your online source for performance programs and in-depth artist information. Learn about the artists and repertoire before you enter the hall!
Sound Clips Listen to recordings from UMS performers online before the concert.
BRAVO! Cookbook Order your UMS hardcover coffee-table cookbook featur?ing more than 250 recipes from UMS artists, alumni and friends, as well as historic photos from the UMS archives.
Education Events Up-to-date infor?mation detailing educational opportu-
nities surrounding each UMS performance. Choral Union Audition information and per?formance schedules for the UMS Choral Union.
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 3 of Handel's Messiah was in December of 1879, and this glorious oratorio has since been per?formed by the UMS Choral Union annually. It-As a great number of Choral Union members also belonged to the University, the University
Musical Society was established in December 1880. UMS included the Choral Union and University Orchestra, and throughout the year presented a series of concerts featuring local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the perform?ing arts--internationally renowned recitalists and orchestras, dance and chamber ensem?bles, jazz and world music performers, and opera and theatre. Through educational endeavors, commissioning of new works,
Musical America selected UMS as one of the five most influential arts presenters in the United States in 1999.
youth programs, artist residencies and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction and innovation. UMS now hosts over eighty performances and more than 150 educational events each season. UMS has flourished with the support of a generous community that gathers in Hill and Rackham Auditoria, Power Center for the Performing Arts, Lydia Mendelssohn Theatre, Michigan Theater, St. Francis of Assisi Catholic Church, the Detroit Opera House, Music Hall and the Residential College Auditorium.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor cam?pus, and a regular collaborator with many University units, UMS is a separate not-for-profit organization that supports itself from ticket sales, corporate and individual contri?butions, foundation and government grants, and endowment income.
hroughout its 121-year history, the University Musical Society Choral Union has performed with many of the world's distinguished orchestras and conductors. Based in Ann Arbor under the aegis of the University Musical Society, the 150-voice Choral Union is known for its definitive per?formances of large-scale works for chorus and orchestra. Seven years ago, the Choral Union further enriched that tradition when ; began appearing regularly with the Detroit Symphony Orchestra. Among other works, the chorus has joined the DSO in Orchestra Hall and at Meadow Brook for subscription performances of Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe and Brahms' Ein deutsches Requiem, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd. In 1995, the Choral Union began accepting invitations to appear with other major regional orchestras, and soon added Britten's War Requiem, Elgar's The Dream of Gerontius, the Berlioz Requiem and other masterworks to its repertoire. During the 1996-97 season, the Choral Union again expanded its scope to include performances with the Grand Rapids Symphony, joining with them in a rare presentation of Mahler's Symphony No. 8 (Symphony of a Thousand).
The Choral Union is a talent pool capable of performing choral music of every genre. In
addition to choral masterworks, the Choral Union has recently given acclaimed concert presentations of Gershwin's Porgy and Bess with the Birmingham-Bloomfield Symphony Orchestra and musical-theatre favorites with Erich Kunzel and the DSO at Meadow Brook. A 72-voice chorus drawn from the larger choir has performed Durufle's Requiem, the Langlais Messe Solenelle, the Mozart Requiem and other works. The Choral Union's 36-voice Chamber Chorale presented "Creativity in Later Life," a program of late works by nine composers of all historical periods, at the University of Michigan Museum of Art.
During the 1999-2000 season, the Choral Union performed in three major subscription series at Orchestra Hall with the Detroit Symphony Orchestra. Other programs included Mahler's Symphony No. 3 with the Ann Arbor Symphony Orchestra.
During the current season, the UMS Choral Union again appeared in two series with the Detroit Symphony Orchestra, both conducted by Neeme Jarvi. The chorus joined in the DSO's opening night performance of Mahler's Symphony No. 2 (Resurrection), followed later in the season by Carl Orff's Carmina Burana. The Choral Union's 122nd annual performances of Messiah followed, and the Choral Union's season will close on April 22, 2001, in a performance of Hector Berlioz' Requiem with the Greater Lansing Symphony Orchestra and members of the U-M School of Music Symphony Band in Hill Auditorium, conducted by Thomas Sheets.
Participation in the Choral Union remains open to all by audition. Representing a mixture of townspeople, students and faculty, members of the Choral Union share one common passion--a love of the choral art. For more information about the UMS Choral Union, e-mail kio@umich.edu or call 734.763.8997.
Hill Auditorium
tanding tall and proud in the heart of the University of Michigan campus, Hill Auditorium is associated with the best perform?ing artists the world has to offer. Inaugurated at the Twentieth Annual Ann Arbor May Festival in 1913, the 4,163-seat Hill Auditorium has served as a showplace for a variety of important debuts and long relationships throughout the past eighty-seven years. With acoustics that highlight everything from the softest notes of vocal recitalists to the grandeur of the finest orchestras, Hill Auditorium is known and loved throughout the world.
Former U-M regent Arthur Hill bequeathed $200,000 to the University for the construction of an auditorium for lectures, concerts and other university events. Then-UMS President Charles Sink raised an additional $150,000, and the concert hall opened in 1913 with the Chicago Symphony Orchestra performing Beethoven's Symphony No. 5. The auditori?um seated 4,597 when it first opened; subse?quent renovations, which increased the size of the stage to accommodate both an orchestra and a large chorus (1948) and improved wheelchair seating (1995), decreased the seating capacity to its current 4,163.
Rackham Auditorium
ixty years ago, chamber music concerts in Ann Arbor were a relative rarity, present?ed in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, and Newberry Hall, the current home of the Kelsey 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 acoustics of the church building, "?gj 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
" otvvithstanding 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 mailing address.
A Full House
uditorium 4,163
'Rackham
Auditoriur
1,129
Power Cent 1,390
Mendelsso Theatre 658
St. Francis 950 i
Detroit Ope Hoi"""
University Musical Society
of the University of Michigan
2001 Winter Season
Event Program Book Friday, February 16 through Wednesday, March 7, 2001
General Information
Children of all ages are welcome at UMS Family and Youth Performances. Parents are encouraged not to bring children under the age of three to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS perfor?mance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment are
prohibited in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event: electronic-beeping or chiming digital watches, beeping pagers, ringing cellular phones and clicking portable comput?ers should be turned off during perfor?mances. In case of emergency, advise your paging service of auditorium and seat location and ask them to call University Security at 734.763.1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS performances included in this edition. Thank you for ..your. help. .
Swedish Radio Symphony Orchestra and Choir Verdi's Requiem
Friday, February 16, 8:00pm Hill Auditorium
Swedish Radio Choir and Eric Ericson Chamber Choir
Saturday, February 17, 8:00pm
St. Francis of Assisi Catholic Church
Manuel Barrueco
Sunday, February 18, 4:00pm...,. Rackham Auditorium i
Ballet Preljocaj
Wednesday, February 21, 8:00pm Power Center
M
Prague Chamber Orchestra with the Beaux Arts Trio
Wednesday, March 7, 8:00pm Hill Auditorium "a
Swedish Radio Symphony Orchestra
Swedish Radio Choir
Eric Ericson Chamber Choir
Manfred Honeck Music Director and Conductor W
Marina Mescheriakova, Soprano M
Nadja Michael, Mezzo-soprano -M
Marco Berti, Tenor M
John Relyea, Bass-Baritone .. . .JS
Friday Evening, February 16, 2001 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Qiuseppe Verdi
Offertorium
Sanctus Agnus Dei Lux aeterna Libera me
Fifty-second 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 sponsored by KeyBank, with additional support from Alcan Global Automotive Solutions.
Special thanks to Bill Hann of KeyBank for his generous support of. the,J5 University Musical Society. ?:
Additional support provided by media sponsor, WGTE.
Special thanks to Naomi Andre for her Pre-Performance Educational , Presentation (PREP). -?-?
The Sewdish Radio Symphony Orchestra and Choir and the Eric Ericsori' ?' Chamber Choir appear by arangement with Konzertdirektion Hans Ulrich Schmid and Van Walsum Management.
Large print programs are available upon request.
Requiem
Giuseppe Verdi
Born October 9, 1813 in Le Roncole,
near Busseto, Italy Died January 27, 1901 in Milan
V hroughout his long life, Giuseppe Verdi devoted his energies almost exclusively to the writing of operas. He wrote only a few works in other forms, of which the Requiem is by far the greatest: since it is a vocal work for chorus and soloists (whose parts are every bit as demanding as any Verdian stage role), commentators have been quick to call the Requiem "operatic." Granted, Verdi was true to his own unmistakable personal style that is primarily known from his operas; yet, as David Rosen writes at the end of his Cambridge Music Handbook devoted to the work, "in important ways the Requiem is fun?damentally different from Verdi's operas."
The differences begin with the very way the piece came to be written. Unlike most of Verdi's operas, the Requiem was not com?missioned by anyone; it was Verdi's own ini?tiative, a project that occupied him for sev?eral years during which time he wrote no new operas. As a matter of fact, one has to talk about not one project but two, for the ?'' Requiem idea first arose in a form that never came to fruition.
On November 13,1868, Gioachino ? Rossini passed away at the age of seventy. six. The last surviving member of the great triumvirate of opera composers before Verdi was gone (Bellini and Donizetti had died many years earlier). Verdi, well aware that a whole era of musical history had come to an end, took the initiative--with the help of his publisher, Tito Ricordi--to invite a group of. composers to write a joint Requiem. The composers duly completed their work, but the performance fell through because of technical difficulties. (The Messa per Rossini remained unperformed until 1988.)
Verdi had written the "Libera me" movement for this composite Requiem; this extremely powerful contribution was subse?quently languishing in the composer's draw?er. Four years passed before Verdi decided to write an entire Requiem Mass of his own. The completed work was eventually dedicat?ed to the memory of another great Italian artist, the novelist Alessandro Manzoni. Yet in his book, David Rosen offers evidence that Verdi had begun thinking about writing a Requiem a month or so before Manzoni died, for reasons that are not entirely clear.! Verdi may have thought that, having com-. pleted Aida in 1871, he would write no more operas (his two late masterpieces for the theater, Othello and Falstaff, would only come many years later) and, by turning to sacred music, he was following in Rossini's footsteps, who, after the end of his operatic career, went on to write the Stabat Mater .,' and the Petite messe solennelle. 'k"
Yet there is no doubt that it was Manzoni's death at age eighty-eight on May 22,1873 that gave the writing of the Requiem a real purpose. Verdi deeply revered Manzoni, whose novel I promessi sposi (The Betrothed) is one of the great classics of Italian literature.. As with Rossini's death five years earlier, 'M he again voiced feelings about an era having ended, and offered his Requiem to the city of Milan, where Manzoni had made his JT home, to be performed on the first anniver?sary of the novelist's death.
This time, nothing stood in the way of the performance; the premiere--at Milan's San Marco church--was an overwhelming success and was followed by three more per?formances at La Scala, Milan's famous opera house. (The two female soloists, Teresa Stolz and Maria Waldmann, were the first Aida and the first Amneris, respectively.) Within a year, the work was performed in Paris, London, Vienna, and New York. ?
Any composer writing a Requiem in the 1870s had to be keenly aware of the great
.1
previous accomplishments of Mozart,;
Berlioz, and Cherubini (the latter almost ?.'__
completely neglected today, but held in high' esteem throughout the nineteenth century). The first thing Verdi had to do was to define his own personal approach to the subject. From the outset, he clearly intended to give the vocal soloists far more important roles than had been the case in other Requiems. In addition, he was committed to driving home the emotional meaning of the text as strongly as possible. As a result, the very first word, "Requiem" is whispered rather than sung by the chorus, to avoid any musical
embellishments standing in the way of the word itself. Soon after that, of course, Verdi unleashed some of the great melodies of which he was the undisputed master. But his use of melody in the Requiem is always determined by what the sacred text calls for. The contrast between the whispered word "Requiem" and the beautiful violin melody that introduces the words "lux perpetua" (eternal light) shows how deeply Verdi pen?etrated the spirit of that text. For "Te decet hymnus" Verdi wrote a hymn for unaccom?panied chorus, whose contrapuntal imita?tions suggest Renaissance polyphony. After a return of the "Requiem aeternam" section (with choral whispers and lyrical violins) the soloists take over in the "Kyrie" a fervent plea for mercy {eleison).
The dramatic high point of the Requiem is, without question, the monu?mental "Dies irae." The fearsome strokes of
the timpani and bass drum serve as a back?drop for one of the most powerful expres?sions of fear and anguish in the entire litera?ture, in response to the famous medieval poem, attributed to Thomas of Celano (around 1250) that depicts the Last Judgment. Yet the eruption of intense emo4. tions gradually yields to silent shudders at Ml the words "Quantus tremor est futurus" '& Another violent explosion occurs at "Tubfl mirum" (with onstage and offstage brass), 31 followed by a whisper expressing the "stupe?fied" (stupebit) state in which Death and Nature find themselves. The same extremes
characterize the mezzo-soprano solo "Liber scriptus" which culminates in a reprise of , the movement's dramatic opening. j
The mood changes in "Quid sum ' miser" as the tempo slows down and the mezzo-soprano begins a beautiful lyrical melody surrounded by the figurations of a solo bassoon. This is where the poem sud?denly turns to first person singular: "What can a wretch like me say" The sectioKfti evolves into a profoundly moving trio '? between soloists (soprano, mezzo, tenor), ' which should perhaps be called a quartet, as the bassoon effectively takes the place of the bass singer as the fourth soloist in the sec-. tion. "??$p
Bass voices and low-pitched instrui ments intone the solemn "Rex tremendae majestatis" (King of terrible majesty), s answered by an ethereal melody at "Salva fjp me" (Save me). The two contrasting ideas $&
THE DRAMATIC HIGH POINT OF THE REQUIEM IS, WITHOUT QUESTION, THE MONUMENTAL "DIES IRAE." THE FEARSOME STROKES OF THE TIMPANI AND BASS DRUM SERVE AS A BACKDROP FOR ONE OF THE MOST POWERFUL EXPRESSIONS OF FEAR AND ANGUISH IN THE ENTIRE LITERATURE.
are combined in a powerful passage uniting a all the performing forces; a quiet restate'? ment of "Salva me" leads into "Recordare," a heart-rendingly beautiful duet for female voices. The tenor soloist sings "Ingemisco" in a tone that is in turn tender and heroic; the bass' "Confutatis maledictis" again links images of turmoil and salvation in a dra?matically poignant way. The lyrical conclu?? sion of the bass aria is brusquely interrupted"jg by another reprise of the movement's openM ing with its powerful drumstrokes. M
The "Dies irae" concludes with the j exceptionally moving"Lacrymosa" whose I melody comes from a duet Verdi had coma posed for Don Carlos but discarded before m the premiere. The mezzo-soprano soloist J begins the theme, gradually taken over by M the entire orchestra and all the singers. The 9 movement ends with a memorable coda, 1 including an unaccompanied passage for the'S four soloists and a final Amen with some 2 highly unusual chord combinations. 1
? The main melody of the "Offertory"-9 an eminently lyrical idea--is introduced by ? unaccompanied cellos and taken over by the E soloists. First, the three lower voices sing a together; the entrance of the soprano, on a 8 long-held note and accompanied only by .;j violins in their high register, depicts St. ?BST Michael showing the departed souls the light of eternity. A new theme, developed in imitation, and another idea, with a strong rhythmic energy, express the image of the earthly community ("Abraham and his seed"). With the middle section "Hostias et preces" we are back to heavens, as it were. ] Introduced by the tenor, this is a quiet J prayer for eternal life, followed by an expanded return of the "Abraham" section, i The movement ends quietly, with a repeat ofj the plea for life, rising from the lowest regis?ter of the voices to the highest, and fading .? away with the sound of the muted strings.
The "Sanctus" is a fugue for double chorus, in which the texts "Sanctus"
"Hosanna," and "Benedictus" are all com?bined, contrary to traditional practice. The vigorous contrapuntal activity stops in the final section of the movement, where the melody is presented in augmentation (twice as slowly as the first time) in preparation for a grandiose ending.
The beginning of the austere "Agnus .; Dei" alludes to (though does not actually quote) Gregorian chant with its unaccom-panied single vocal line, sung by the sopra?no and mezzo soloists in parallel octaves. The melody is repeated, without any changes, by the chorus. The instruments of the orchestra join in during further repeats of the melody, alternating between soloists and chorus. The most remarkable of these is the breath-taking quintet of two singers and three flutes, followed by a choral response and a short, highly emotional coda.
In "Lux aeterna," the idea of eternal light is symbolized by the tremolos (fast repeated notes) of the violins in a high reg?ister and--later in the movement--by the piccolo's striking staccato motif (one mov?ing in well-separated fast notes). A warm melody, first introduced by the bass soloist, is associated with the words "requiem aeter-nam" (eternal rest). Three of the four soloists (mezzo, tenor, and bass) come together in a harmonically intricate, unac?companied trio to praise God for His mercy {quia pius es).
The "Libera me" movement (the one Verdi had written for the aborted Messa per Rossini and later revised for the Manzoni Requiem) returns to the intense contrasts that characterized earlier movements, espe?cially the first two. This movement is for nj_ soprano solo (spared in the previous move?ment) and chorus. Like the opening of the entire Requiem, the "Libera me" begins with some speech-like recitation, with nothing distracting from the dark words of the litur?gy. The judging of the world by fire soon prompts an impassioned outburst, and the
trembling of the terrified soul is rendered by a very unsettling motion in descending half-steps. Since the text repeats the words "Dies irae" here, it was logical for Verdi, in the 1874 revision, to bring back, once more, the dramatic theme with the unforgettable drum strokes that has already been heard several times. The final evocation of the Judgment is followed by a varied repeat of ' the first movement {"Requiem aeternam"), scored here for a cappella voices (without instrumental accompaniment). A brilliant and fiery fugue crowns the movement, but , the last word, like the first, is barely whis pered: the last word belongs to introspec tion rather than to grand gestures. . ?.
I' The contrast between the extreme high drama and personal lyricism pervades the entire Requiem, yet Verdi took great care to : ensure that his work had sufficient musical ? coherence, something that was evidently of great importance to him. Attentive listeners, will discover that many of the work's IE melodies are intimately related through the use of recurrent melodic and rhythmic ele, ments; the literal repeats of earlier move'? ments in the "Libera me" forge even stronger links within the different sections of the work. This is why this monumental work seems so much of a piece, its unfold? ing from the opening "Requiem aeternam" to the final "Libera me," a single, bold musi?cal arch, with a vast array of emotions-indeed, life in its totality--portrayed during the intervening hour-and-a-half. '?
Program note by Peter Laki.

1. Requiem and Kyrier
(Chorus) "i
Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.
Te decet hymnus, Deus in Sion,
et tibi reddetur votum in Jerusalem.
Exaudi orationem meam,
ad te omnis caro veniet.
Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.
Kyrie eleison. ,--1. Christe eleison. ; Kyrie eleison.1
2. Dies irae ',
(Chorus)
Dies irae, dies ilia, ''Self solvet saeclum in favilla, teste David cum Sibylla. !
Quantus tremor est futurusdffi quando judex est venturus, cuncta stride discussurus. ,
C&W&vwS
Tuba mirum spargens sonum, per sepulchra regionum, . coget omnes ante thronuio.j
(Mr. Relyea) '
Mors stupebit et natura, cum resurget creatura,; judicandi responsura.
(Ms. Michael and Chorus) Liber scriptus proferetur, i in quo totum continetur, '. unde mundus judicetur. .??
Judex ergo cum sedebif, .i quidquid latet apparebit, ;_ nil inultum remanebit.
Dies irae, dies ilia, solvet saeclum in favilla, teste David cum Sibylla.
(Ms. Mescheriakova, Ms. Michael, Mr. Berti) Quid sum miser tune dicturus Quern patronum rogaturus. cum vix Justus sit securus ""
1. Requiem and Kyrie . ...
Give them eternal rest, O Lord,
and let perpetual light shine upon them.
A hymn, O God, becomes You in Zion, and a
vow shall be paid to You in Jerusalem. Hear my prayer, all flesh shall come to You. Give them eternal rest, O Lord, and let perpetual light shine upon them.
Lord, have mercy on us. Christ, have mercy on us. Lord, have mercy on us.
2. Dies irae
The day of wrath, that dreadful day,
will dissolve the world in ashes,
as prophesied by David and the Sibyl.
How great a trembling there shall be when the Judge shall appear and separate everything strictly.
The trumpet, sending its wondrous sound throughout the tombs of every land, will summon everyone before the throne.
Death and Nature will be stupefied, when all creation rises again to answer Him who judges.
A book will be brought forth
in which everything will be contained,
by which the world will be judged.
When the Judge takes His place, anything hidden will be revealed, nothing will remain unavenged.
?I,.,,., The day of wrath, that day, " "Sj
will dissolve the world in ashes, ,{ as prophesied by David and the Sibyl!
What can a wretch like me say '; What patron shall 1 ask for help' when the just are scarcely protected
(Ms. Mescheriakova, Ms. Michael, Mr. Berti,
Mr. Relyea and Chorus) $j?L'Rex tremendae majestatis, ; qui salvandos salvas gratis,
salva me, fons pietatis.
(Ms. Mescheriakova, Ms. Michael) Recordare, Jesu pie, quod sum cause tuae viae, ne me perdas ilia die.
Quaerens me sedisti lassus, .. J
'$ redemisti crucem passus, g? tantus labor non sit cassus. '
Juste judex ultionis, donum fac remissionis, ante diem rationis.
(Mr. Berti) ?
Ingemisco tamquam reus, culpa rubet vultus meus, supplicanti parce, Deus. V
Qui Mariam absolvisti,
et latronem exaudisti,
mihi quoque spem dedisti.
Preces meae non sunt dignae, sed tu, bonus, fac benigne, ne perenni cremer igne.
Inter oves locum praesta, et ab hoedis me sequestra, statuens in parte dextra.
(Mr. Relyea and Chorus) Confutatis maledictis, flammis acribus addictis, voca me cum benedictis.
Oro supplex et acclinis, cor contritum quasi cinis, gere curam mei finis.
Dies irae, dies ilia, " solvet saeclum in favilla, teste David cum Sibylla.
King of terrible majesty, ??
who freely saves those worthy of redemption, save me, Source of Mercy!
Remember, sweet Jesus,
that I am the cause of your suffering, ,
do not forsake me on that day. .''
Seeking me, you descended wearily,
You redeemed me by suffering on the cross,
such great effort should not have been in vain.
Just Judge of Vengeance,
grant the gift of remission j
before the day of reckoning. ? i:-i'
I groan like a criminal, . . my face blushes with guilt, '? God, spare a supplicant. a
You who absolved Mary [Magdalene] and inclined your ear to the thief, have also given me hope. :C
My prayers are unworthy,
but, Good One, have mercy,
that I may not burn in everlasting fire.
Grant me a place among the sheep, and separate me from the goats, -: keeping me at your right hand.
When the damned are dismayed.....
and assigned to the burning flames, call me among the blessed. v5 ?L--
I pray, suppliant and kneelin"
my heart contrite as ashes,
care for me when my time is at an end.
The day of wrath, that day, '---?
will dissolve the world in ashes,
as prophesied by David and the Sibyl.'
-?&, kk
(Ms. Mescheriakova, Ms. Michael, Mr. Be
Mr. Relyea and Chorus) Lacrymosa dies ilia, qua resurget ex favilla, judicandus homo reus. Huic ergo parce .? -? -?? .x-.-i.-.--.,
Deus,
dona eis requier Amen. ,; ....
? . . ?
3. Offertorio XMs. Mescheriakova, Ms. Michael, Mr:Berti, Mr. Relyea)
'?
Domine Jesu Christe, rex gloriae, ?
libera animas omnium fidelium defunctorum xde poenis inferni et de profundo lacu[ ___L_
Libera eas de ore leonis, ne absorbeat eas Tartarus, i ne cadant in obscurum,
Sed signifer sanctus Michael representet eas in lucem sanctam, ..-. ....
quam olim Abrahae promisisti et semini ejus..Kjjk-'-: ' ' f
'''Hostias et preces tibi, Domine,. laudis offerimus. Tu suscipe pro animabus illis,
quarum hodie memoriam facimus: ----,
fac eas, Domine, de morte transire ad
vitam, quam olim Abrahae promisisti J
et semini ejus. . ???A
Libera animas omnium fidelfum"3erurictorurn
de poenis inferni,
fac eas de morte transire ad vitam. ,' '--
(Chorus) .
Sanctus, Sanctus, Sanctus, -1 Dominus Deus Sabaoth. Pleni sunt caeli et terra gloria tua. Hosanna in excelsis! 1
Benedictus qui venit in nominej Domini. 1
Hosanna in pxrplsis! f -J

What weeping that day will bring, when from the ashes shall arise all humanity to be judged. But spare me, God,
Merciful Lord Jesus, grant them eternal rest. Amen.
@@@@3. Offertory
O Lord Jesus Christ, King of Glory, deliver the souls of all the faithful departed from the pains of hell and from the deep pit;
deliver them from the lion's mouth don't let them be swallowed by hell, don't let them fall into darkness.
But have the holy standard-bearer, Michael, lead them into the holy light which you once promised to Abraham and his seed.
Sacrifices and prayers of praise,
Lord, we offer to you.
Receive them today for the souls
of those we commemorate this day;
make them, O Lord, pass from death to the
life which you once promised to Abraham and
his seed. ? .? .
Deliver the souls of all the faithful departed
from the pains of hell,
make them pass from death to life'"""""'
4. Sanctus
T if w I
Holy, holy, holy,
Lord God of Hosts. ..........."?
Heaven and earth are full of your glory;--j Hosanna in the highest! J
Blessed is he who comes in the name of the -j Lord, 1
Hosanna in the highest! ''SSSWW
i
5. Agnus Dei
(Ms. Mescheriakova, Ms. Michael and Chorus)
Agnus Dei,
qui tollis peccata mundi,
dona eis requiem.
Agnus Dei,
qui tollis peccata mundi,
dona eis requiem sempiternam.
6. Lux aeterna (Communion)
(Ms. Michael, Mr. Berti and Mr. Relyea)
Lux aeterna luceat eis, Domine, : cum sanctis tuis in aeternum, ;
quia pius es. '
Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. cum sanctis tuis in aeternum, quia pius es.
, 7. Libera me
(Ms. Mescheriakova and Chorus)
Libera me, Domine, de morte aeterna, in die ilia tremenda, quando coeli movendi sunt et terra, dum veneris judicare saeculum per ignem.
Tremens factus sum ego et timeo
dum discussio venerit atque ventura ira;
quando coeli movendi sunt et terra.
Dies irae, dies ilia, calamitatis et miseriae, dies magna et amara valde.
Requiem aeternam dona eis, Domine, . . et lux perpetua luceat eis.
Libera me, Domine, de morte aeterna, in die ilia tremenda. ,
Libera me, quando coeli movendi sunt et V terra,
dum veneris judicare saeculum per ignem. Libera me, Domine, de morte aeterna, in die ilia tremenda. ,------
Libera me! . . .
Lamb of God,
you who take away the sins of the world,
grant them rest.
Lamb of God,
you who take away the sins of the world,
grant them eternal rest.. ' ? ??'??v
6. Lux aeterna (Communion) ---.
May eternal light shine upon them, O Lor with your saints in eternity, for you _ are merciful. ?
Give them eternal rest, O Lord, ' and let perpetual light shine upon them, with your saints in eternity, for you . ... are merciful. W
7. Libera me'
Deliver me, O Lord, from eternal death
on that dreadful day
when the heavens and the earth shall be moved
and You shall come to judge the world by fire.
I am seized with fear and trembling . ,,. . at the judgement that shall come and at thej
coming of Your wrath, '??'?
when the heavens and the earth shall be moved.
The day of wrath, that day, of calamity and misery, dread day of bitter sorrow.
Give them eternal rest, O Lord,
and let perpetual light shine upon them.
Deliver me, O Lord, from eternal death on that dreadful day.
Deliver me when the heavens and the earth . shall be moved H$&f
and You shal come to judge the world by fire Deliver me, O Lord, from eternal death on that dreadful day. J Deliver me!
orri in Austria In 1958, Manfred Honeck is much sought after today by well-known orchestras throughout the world. He studied at the academy of music in Vienna, and is best known for his wide musical experience gained as a musician with the Vienna Philharmonic Orchestra and the orchestra of the Vienna State Opera.
As an assistant to Claudio Abbado in the Gustav Mahler Youth Orchestra, Manfred Honeck's conducting breakthrough came at the first Gustav Mahler Festival in Kassel, Germany, 1989. That same year he made his debut at the Vienna Volksoper and soon afterwards at the Vienna State Opera and Berlin State Opera.
Of the many highlights of his career, one in particular was his debut with the ? ?
Vienna Philharmonic, during Mozart week in Salzburg, 1994. The fol?lowing year Maestro Honeck made his debu' with the Staatskapelle Dresden, the Chicago Symphony Orchestra and the BBC Symphony
Orchestra in London, which has since led to several appearances at the Proms.
In 1996 Manfred Honeck was a guest M with La Scala in Milan for a program of J Brahms and Berio. He was soon invited ? back to Milan for additional engagements.! After this, concerts followed with the _ orchestra of Leipzig's Gewandhaus, the Vienna Philharmonic Orchestra and the ,. s Houston Symphony Orchestra.
Between 1992-1996, Manfred Honeck was Principal Conductor at the Zurich Opera House, and in 1996 he became one of three principal conductors connected with the MDR Sinfonieorchester in Leipzig, a position that he held until the summer of 1999. After a guest period with Den Norske Opera for tfaee performances of Connew in
1995, Maestro Honeck was appointed the Opera's Director of Music. Maestro Honeck continued his ties with the theatre as a guest conductor until the year 2000.
Manfred Honeck first visited the Swedish Radio Symphony Orchestra in 1997 and took up the post of Music Director with the Orchestra in the autumn of 2000. In September 1999, Maestro Honeck took up the post of Principal Guest Conductor with the Oslo Philharmonic Orchestra, which he has regularly conducted since 1995. Elsewhere in the Nordic region, he is a regu?lar guest with the Gothenburg Symphony Orchestra, the Danish Radio Symphony Orchestra and Der Kongelige Kapel.
Tonight's performance marks Maestro Honeck's UMS debut.
n a short period of time, Russian soprano Marina Mescheriakova has
established herself as one of the most exciting new voices in the opera and
____concert world. A recent performance
of Luisa Miller led one critic to write, "The soft, pure tones Mescheriakova floated in the Act I finale were ravishing to behold. Throughout the opera she sang with an ease, j accuracy and musical intelligence many a 4 citizen of Italy might envy (Toronto Star, I April 1997)."
Marina Mescheriakova began the 20002001 season with her debut with Sweden's Royal Stockholm Opera in her first performances of the title role in Maria Stuarda. The soprano then crosses the Atlantic for her return tothe Metropolitan Opera for a new production of trovatore. Further performances in this season of the centennial of Verdi's death include her return to the Opera de Paris and the Vienna Staatsoper as Elisabetta in Don Carlos; Helene in Jerusalem, again with the Vienna Staatsoper and under the direction of Zubin
Mehta as well as a series of performances of Verdi's Messa di Requiem in Copenhagen with the Danish Radio Symphony; Stockholm, New York and Washington, DC, all with the Olso Philharmonic;
and Monte-Carlo with the Opera di Monte-Carlo. Additional concert performances in ' this season include Beethoven's Symphony No. 9 with the BBC Symphony and Rachmaninoff's The Bells with the Berlin Philharmonic. . "' ?.,
Marina Mescheriakova is well known to audiences throughout North America and Europe. Her debut with the Metropolitan Opera was as Elisabetta in Don Carlos. Her success there led to her immediate re-engagement as Amelia in Simon Boccanegra, opposite Placido Domingo, and in three ' new productions of Verdi's operas. San Francisco Opera audiences first heard her as Elisabetta. Her debut in North America was in the title role of Luisa Miller with the Canadian Opera Company in Toronto, and she has since returned there for the title roles in Madame Butterfly and Norma.
Marina Mescheriakova has made a number of recordings including Glinka's ; A Life for the Tzar for the National Video! Corporation; Dvorak's Te deum for Chandos; Rubinstein's Demon, recorded live . at the Wexford and Bregenz Festivals; Verdi's Jerusalem and Alzira for Philips Classics; and Beethoven's Symphony No. 9 with the Czech Philharmonic. ,fl
Marina Mescheriakova was born in j Volgograd, Russia and studied at the 1 Tchaikovsky Conservatory in Moscow. She continued her vocal studies with Licia Albanese in New York. After her debut at the Bolshoi in Moscow she won several presti?gious competitions including the Belvedere Competition in Vienna as well as I Cestelli in Berlin and Hamburg.
Ms.' Mesdieriaicbva currently resides ifi Vienna, Austria.
Tonight's performance marks Marina Mescheriakova's UMS debut.
he young mezzo-soprano Nadja Michael is establishing herself as one of the most exciting singers to emerge in recent times.
Born and raised in Leipzig, she$H fled to the West soon after leaving school. She later continued her vocal studies in Stuttgart and at the University of Indiana, Bloomington.
She soon appeared on the stages of the Dresden Semperoper, the Berlin Staatsoper, the Bavarian Staatsoper in Munich, the Teatro di San Carlo in Naples, the Royal Opera House, Covent Garden, and has sung at the Festivals of Glyndebourne and Salzburg. She recently sang her first Dalila in Samson and _____________ Dalila at La Fenice in
Venice, and Carmen at La Monnaie, Brussels. Future plans include Magdalena in Die Meistersinger and Pauline in Pique Dame at Covent Garden, Venus in Tannhauser in Toulouse and also at the Bayerische
Staatsoper, Eboli in Don Carlos at the Bayerische Staatsoper, and Carmen at the Vienna Staatsoper.
Amongst Nadja Michael's successes are the roles of Varvara (Katya Kabanova), Amastris (Xerxes), Dulcinee {Don Quichotte), Fricka (Das Rheingold), Charlotte in Werther, and Ottavia ( Coronazione di Poppea). She was especially acclaimed in her favorite role of Eboli in Don Carlos during recent perfor?mances in St. Gallen. One Munich newspa?per described her as the very embodiment of erotic temptation with a "dark, alluring
She has sung under Maestros Rilling, Nagano, Sir John Eliot Gardiner, Masur and Haitink. Ms. Michael's work on the concert platform is also very important to her-Bach, Handel and Verdi are all part of her repertoire. However, above all she has a par?ticular affinity with the late romantics--she
[ has performed Mahler's Das Lied von der Erde, the Riickert and Kindertotenlieder and
' Symphony No. 2 in Naples, London and Zurich. 4" "? ??-'?? . . ?..
Tonight's performance marks Nadja Michael's VMS debut. ----'?'-??--
arco Berti received his degree in singing from the Conservatorio Giuseppe Verdi in Milan and j made his professional debut in i Cosenza, Italy, singing Pinkerton if in Madame Butterfly. This was followed by engagements in the lyric Italian tenor reper-Ltoire throughout Europe: Berlin Staatsoper, : the Frankfurt Opera, Vienna Staatsoper, Dresden Semperoper and Stockholm. i In his native Italy, Mr. Berti has per-i formed La Boheme (Rodolfo), La Rondine
(Ruggiero), and Macbeth (Macduff) at the Teatro alia Scala. He has also appeared at the Teatro Comunale in Florence, the Teatro Comunale in Bologna, Teatro La Fenice in Venice and the Torino Opera with conductors JK
such as Muti, Mehta, Eschenbach, Marriner, Gavazzeni and Maazel. This season, Mr. Berti made his debut in the United Kingdom singing Macduff in Luc Bondy's new produc-i tion of Macbeth for Scottish Opera and sang. Ismaele in a new production of Nabucco at i the Deutsche Oper Berlin.
In upcoming seasons, Mr. Berti will debut at the Royal Opera House, Covent 1
Garden (Macbeth and Madame Butterfly) and return to the Paris Opera (Nabucco, Macbeth). He will also debut at the Theatre Royal de la Monnaie in two new produc?tions (Macbeth and La Boheme) and return to the Teatro Comunale in Florence (Attila).
Tonight's performance marks Marco Berti's UMS debut.
ohn Relyea is rapidly establishing: himself as one of the finest bass-baritones of today.
Mr. Relyea returned to the Metropolitan Opera in this season's opening production of Don Giovanni con?ducted by James Levine in the role of Masetto that was nationally televised. He made a sensational debut in February 2000 singing the role of Alidoro in La Cenerentola.
The winner of the San Francisco Opera's 1995 Merola Grand Finals, he continues his relationship with the San Francisco Opera, this season singing performances of Semele (Cadmus and Somnus) conducted by Sir Charles Mackerras. Mr. Relyea made his acclaimed debut with the company in the summer of 1996 as Colline in La Boheme, and has since returned as Figaro in Le Nozze di Figaro, and Raimondo in Lucia di Lammermoor.
This season marks debuts for John Relyea with the Monnaie Orchestra in Brussels in Verdi's Requiem conducted by Antonio Pappano, the New York Philharmonic (Dream of Gerontius under the baton of Sir Colin Davis) and his New York recital debut which takes place at Weill Recital Hall, Carnegie Hall in May 2001. He is also performing Verdi's Requiem on this tour with the Swedish Radio Symphony Orchestra in Stockholm, New York (Avery Fisher Hall) Washington DC (Kennedy Center), Chicago and here in Ann Arbor. Mr. Relyea returns this season to Carnegie Hall as bass soloist in the Rossini
Stabat Mater conducted by Sir Neville Marriner, Atlanta Symphony Orchestra in the Verdi Requiem, and to the Pittsburgh Symphony in Beethoven's Symphony No. 9. He also returns to the Minnesota Orchestra
twice this season in Mozart's Requiem and then again in Beethoven's Symphony No. 9; he has most recently been seen there per?forming in Verdi's Requiem, Beethoven's Missa Solemnis, and Haydn's The Creation.
Though not yet thirty-years old, John Relyea's extensive engagements with major symphony orchestras include debuts in the past few seasons with the San Francisco Symphony Orchestra with Sir Roger Norrington singing the title role of Elijah; Cleveland Orchestra in Bach's b minor Mass conducted by Christoph von Dohnanyi, Philadelphia Orchestra in Bach's Magnificat under Wolfgang Sawallisch, Blossom Festival in Mozart's Requiem, Tanglewood Festival I under the baton of Seiji Ozawa in Mozart's c-minor Mass, Atlanta Symphony Orchestra in La Damnation de Faust with Yoel Levi,-JL with the Houston Symphony Orchestra in Beethoven Symphony No. 9 with Christoph Eschenbach; and with the Pittsburgh Symphony Orchestra in Messiah conducted by Sir Neville Marriner.
In May 1997 Mr. Relyea made his San Francisco recital debut as part of the presti?gious Schwabacher Recital Series.
John Relyea began studying voice with his father, renowned Canadian bass-baritone Gary Relyea, and now continues his studies with legendary bass Jerome Hines. In 1998 he was honored with a prestigious ARIA award.
Tonight's performance marks John Relyea's UMS debut. Mr. Relyea will be presented in recital with pianist Warren Jones on Saturday, April 14,2001 at Lydia Mendelssohn Theatre as part of UMS' Sixth Annual Song Recital Series.
he Swedish Radio Symphony Orchestra has become a major presence in many parts of the world. Its combination of elegant musicianship and enlightened programming has been widely appreciated throughout Europe, Japan and the US.
Although founded in the late 1930s, only with the arrival of Sergiu Celibidache in 1962 did the Orchestra's position at the forefront of Swedish musical life begin to be reflected internationally. In 1979, during Herbert Blomstedt's term as principal con?ductor, it moved into the award-winning Berwaldhallen, its first permanent home in Stockholm. The Swedish Radio Symphony Orchestra has enjoyed a long tradition of collaboration with distinguished artists: the 1950s and 1960s saw visits from Hindemith, Stravinsky, Barbirolli, Solti, Colin Davis and Giulini. In later years, the list of guest con?ductors and soloists has included de Burgos, Jochum, Kubelik, Muti, Ehrling, Oistrakh, Rostropovich and Ashkenazy. This has con?tinued into the present with return visits from Sanderling, Blomstedt and Myung-Whun Chung.
As confirmation of his long and fruitful relationship with the Orchestra, in 1996 Carlo Maria Giulini accepted the post of Conductor Laureate. Under the baton of Esa-Pekka Salonen, principal conductor between 1985 and 1995, the Orchestra developed their touring activities and estab?lished their worldwide reputation. The out?standing partnership with Maestro Salonen also resulted in well-received recordings on the Sony Classical label, including the com?plete cycle of the Nielsen Symphonies and Dallapiccola's Prigioniero and Canti di Prigionia, which won the Cecilia award in Belgium. Their recording of Nielsen's Violin Concerto with Cho-Liang Lin won a 1989 Gramophone award, and a new Nielsen recording and Stravinsky's Oedipus Rex, both with the Swedish Radio Chorus, have
been widely praised.
The 199899 season saw a large number of international engagements including vis?its to the Warsaw Autumn Festival with Joseph Swensen, concerts in Spain with Myung-Whun Chung and an appearance at the Vienna Konzerthaus with Esa-Pekka Salonen. In the summer of 1999, the Orchestra returned to the Edinburgh Festival and BBC Proms with Myung-Whun Chung. January and February 2000 saw a highly successful major UK tour with their out-going principal conductor, Yevgeny Svetlanov. In Autumn 2000, Manfred Honeck was appointed Music Director of the Orchestra, with this current tour mark?ing his first major tour with Swedish Radio Symphony Orchestra, Swedish Radio Choir and Eric Ericson Chamber Choir in the US.
Within Sweden, the Orchestra regularly plays to a radio audience of some 200,000 listeners. Since 1948, under the leadership Oi Sten Frykberg followed by Stig Westerberg, the performance of new Swedish music has been a priority for the Orchestra. This tradi-j tion of the interpretation of twentieth-cen.1 tury music continues under the Orchestra's J current Principal Guest Conductor, Mark Wigglesworth, and will be developed further under Music Director Manfred Honeck, who first visited the Orchestra in 1997. In addition to his work with Swedish Radio Symphony Orchestra, Manfred Honeck makes regular guest appearances with other Scandinavian Orchestras. ;
The Swedish Radio Symphony Orchestra tours by arrangement with Van Walsum Management Ltd.
Tonight's performance marks the Swedish Radio Symphony Orchestra's UMS debut.
he Swedish Radio Choir is current?ly one of the world's leading a capella ensembles and the only pro?fessional choir of its type in Sweden. The Choir contains thirty-three singers, all of whom have extensive experience in both choral and solo singing, with most members having graduated from music academies.
The Swedish Radio Choir was founded! in 1925 making it one of Europe's oldest I radio choirs. The current form of the Choir dates back to 1952, when a young Eric Ericson became its leader. Through his inter?est in new music, his own musical qualities and his belief in the choir as a professional instrument, he was able to form an ensemble that quickly gained worldwide recognition. The Swedish Radio Choir performed works that no one else had or could perform. They also made several classic recordings of choral music that stand as benchmark recordings of the literature, even today.
Since the time of Ericson, the Choir has, in several ways, reinforced and strengthened its position in the choral world. The tradi?tion of performing highly demanding music has continued. Collaboration between Swedish and foreign composers has resulted in many works being written specifically for the Swedish Radio Choir. But it is for the performance of newly written Swedish music that the Choir has a particular role.
For many years the Swedish Radio Choir has collaborated with foreign orches?tras and conductors including La Scala Philharmonic Orchestra with Riccardo Muti, the Leipzig Gewandhaus Orchestra with Herbert Blomstedt and, perhaps most notably, the Berlin Philharmonic under Claudio Abbado. This collaboration has, amongst other things, resulted in many joint recordings.
Extensive touring throughout Europe, America and Japan has contributed greatly to the Swedish Radio Choir's reputation as
one of the world's leading choirs. SM&fiUfrhe Swedish Radio Choir has, since the departure of Ericson, been led by two of Sweden's most notable choral conductors, Anders Ohrwall and Gustav Sjokvist. Since 1994, Tonu Kaljuste has been Principal = Conductor. ?. a
d by Kaljuste, the Choir was awarded the 1998 ABC Music Award (ABC Music Foundation in Japan) after a highly . :t
acclaimed appearance in Osaka. Most ''i recently, in January 2000, the Choir and Kaljuste were awarded the prestigious Cannes Classical Award for their recording of Schnittke's Psalms of Repentance--?
Tonight's performance marks the Swedish Radio Choir's debut under UMS auspices. Tomorrow evening, Saturday, February 17, at 8 p.m., the choir will perform a special a cappella performance with their founder, choral conducting master Eric Ericson at Ann Arbor's St. Francis ofAssisi Catholic Church.]
1 he Eric Ericson Chamber Choir
was founded in 1945 by Eric Ericson and has held a central posi tion in the Swedish and interna-tional music scene ever since. The specific aims of the choir and its leader, to constantly seek out new music and new r$B? areas of work, has today resulted in an ? j extensive repertoire spanning from the Renaissance to the latest avant-garde. The Chamber Choir, with its characteristic g Nordic sound and wide-ranging virtuosity,1'; has been an ideal vehicle for several genera-1 tions of Swedish composers.
Internationally, the Eric Ericson Chamber Choir ranks amongst the highest levels of professional choirs and it has received many international awards includ?ing the Deutsche Schallplattenpreis and the.-! Edison Price. The Choir undertakes several, tours each year throughout Europe, the US
and Canada and has made numerous recordings of a capella repertoire on a num?ber of different recording labels.
Together with the Swedish Radio Choir, the Eric Ericson Chamber Choir has made several recordings with the Berlin ??
Philharmonic Orchestra, including Verdi'sjj Quattro Pezzi Sacri and Mozart's Requiem g with Riccardo Muti, and Haydn's Die Schb'pfung and Beethoven's Missa Solemnis under the baton of James Levine. The Choir has made several appearances at La Scala, Milan under the direction of Riccardo Muti. The Choir has also worked on several occa?sions with Nicolaus Harnoncourt and his _ Orchestra, Concentus Musicus, Vienna, " "" resulting in a recording of Handel's Messiah.
Over the last few years the Eric Ericson Chamber Choir and the Swedish Radio Choir have been frequent guests of the M Berlin Philharmonic where they have per?formed concerts resulting in recordings of Brahms' Ein Deutsches Requiem, Schumann's Szenen aus Goethes Faust and Stravinsky's Oedipus Rex under Claudio Abbado.
Besides their extensive a capella projects, the Eric Ericson Chamber Choir frequently collaborates with the Drottningholm Baroque Ensemble. The Eric Ericson 3 Chamber Choir regularly performs on ;J Swedish Radio and Television and has for many years worked on a part-time basis for Swedish National Radio. ;
Tonight's performance marks the Eric Ericson Chamber Choir's debut under UMS auspices. Tomorrow evening, Saturday, February 17, at 8 p.m., the choir will perform a special Ir a cappella performance with their founder, choral conducting master Eric Ericson at Ann , Arbor's St. Francis of Assist Catholic Church.
Berwaldhallen, the national venue for Swedish music, is named after one of Sweden's best-known composers, Franz Berwald (1796-1868). It is a national venue for Swedish music and has been the home of both the Swedish Radio Symphony Orchestra and the Swedish Radio Choir since 1979.
The Swedish Radio Symphony Orchestra and the Swedish Radio Choir are two of the most important ensembles in contemporary music. Since most concerts are performed live on Swedish Radio P2, their music is broadcast across the entire country, and therefore they act as an inspiration to all r., , areas of Swedish musical life.
Berwaldhallen, as part of Swedish National Radio, views its responsibility ; towards Swedish music as one of the more important obligations of public service radio.
Swedish Radio Symphony Orchestra rij ,
and Swedish Radio Choir Management
Michael Tydfn, General Manager Karin Adolfsson, Marketing Manager
Gunnar Andersson, SRC Artist & Program Manager; Gerd Bjornung, Manager
Enno Jiirgens, Financial Manager . ?.
Elsa Ranff-Stromberg, Human Resource Manager j Lennart Stenkvist, SRSO Artist & Program Manager!] Caroline Johansson, Tour Manager '
Mi Karlsson Bergkvist, SRSO Personnel Assistant 1 Jan B. Larsson, Producer j
Mikael Berg, Stage Manager ' '?'
Dennis Bergquist, Road Manager
Swedish Radio Symphony Orchestra appears by arrangement with Konzertdirektion Hans Ulrich Schmid and Van Walsum Management. -.-;
Harold Clarkson Joeske van Walsum Roderick"' Thomson Kathryn Aldersea
Tour Managers: Ann M. P. Woodruff Jeen
Travel services provided by Maestro Travel Inc. London-New York '.'?.?
Swedish Radio Symphony Orchestra Manfred Honeck Music Director
First Violin
Bernt Lysell, Leader Jannica Gustafsson ; Ulf Forsberg :
Ulrika Jansson Lars Stegenberg Christian Bergqvist Per Sporrong Alexandra Kramer Aleksander Migdal Olle Markstrom Gunnar Eklund ..
Torbjorn Bernhardsson Lena Rojder
Asa Hallerback Thedienj Hanna Goran Per Hammarstrom Svein-Harald Martinsen Frida Hallen
Second Violin 'tT
PerSandklef
Torsten Nilsson
Tore JohnserU
Anders Nyman '???
Bo Soderstrom ',
Tomas Andersson
Jan Isaksson ;
Ann-Marie Lysell
Veneta Zaharieva Blendulf
Roland Kress
Renate Klavina 1-v ._,
Martin Stensson .1
Paul Waltman
Dag Alin i
Elisabet Boden
Kerstin Svensson
Viola
Lars Arvinder ? ???? ? HSkan Olsson Mikael Sjogren Leopold Rapoport' ,., HSkan Roos Hans Akeson Elisabeth Arnberg Ranmo Tony Bauer Annette Maxe Karin Dungel.' Asa Karlsson t Pascal Siffert " ""
Cello
Ola Karlsson Ulrika Edstrom Helena Nilsson Olle Gustafsson ; Kjell Bjurling Peter Molander Johanna Sjunnesson Jana Boutani Miroslav Jovic ;' Gunnar Ostling
Double Bass
Entcho Radoukanov Ingalill Hillerud -Martin Bergstrand -1 Jan Dahlkvist Maria Johansson . Barbro Hansson Asa Normell ; Torsten Ljungqvist
Flute
Tobias Carron jj Susanne Horberg Anu Jamsa
Per-OlofSkold ?
Oboe '"?
Bengt Rosengren UlfBjurenhed ' Bo Eriksson . : Bjorn Udd6ffr ' "
,:
Clarinet
Kjell-Inge Stevenson Niklas Andersson Dag Henriksson Mats Wallin
Bassoon
Henrik Blixt Olle Eriksson Maj Widding ' Birgitta Winland W
French Horn
Hans Larsson IvarOlse "" Tom Skog ?: Rolf Nyqui ' Bengt Ny ;
Pelle Pettersson '
Trumpet ;:-.
Mark Schrello
Joakim Agnas
Torben Rehnberg ' Lars Gerdt ?'. Per G Larsson i
Trombone
Mikael Oskarsson Christer Torge Goran Brink Mikael Lundqui!
Tuba
Aldo Johansson , DesWard
8&ms&
@@@@Timpani & Percussion
Tomas Nilsson Seppo Asikainen Mats Nilsson Jan Huss .!
Swedish Radio Choir and Eric Ericson Chamber Choir'
Soprano '.,)
Helena Algesten . Christina Billing J-Ulla-Carin vwgtM
Borjesdotter SBfei Susanne Carlstrom Ingrid Henriksson-
Seim 5 LenaHillSs-
Soderstrom i Pernilla Ingvarsdbtter Annelie Korsfeldt Barbro Larsson Margareta Ljunggren Monika Mannerstrom Maria Nilsson
Uusijarvi , Johanna NystrSni" . Jenny Ohlson Helena Olsson , ' -Asa Olsson Maud Olsson ? Marika Scheelei Ulla Sjoblom '; Helena Stroberg ?''"?
Alto
BoelAdler Birgitta AntonssorH
Lazarz
Asa Bergqvist-HS?l Helena Bjarnle Charlotte Bjorkvall ' Ingrid Femstrom Gabriella Gullin i Charlotta Hedberg Inger Kindlund-Stark Ulrika Kyhle-Hagg Kristina Larsson , Helena Liden )
Helena Mann Marie Olhans Maria Sanner Brita Theren Madeleine Wallvide 1 Eva Vedin Christina Ostman
Tenor
Per-Gunnar Alpadfe", Gunnar Andersson i Bengt Arwen -?-? Per Bjorsund -y . Johan Christenss Jerker Dahlin . . :? Niklas Enqvist Greger Erdos Niclas Hedman'i Petter Hoglund.S Nils Hdgman Mats Karlsson Per Korsfeldt " Fredrik Mattsson Roland Mohle Mikael Stenbaek ;j Eric Thorslund Johan Uusijarvi Mikael Wedar Magnus Wennerberg
Bass
Arne Almroth'.' Hans Anianssor Sven-Anders
Benktsson ,
Michael Bergstrom "i Dag Bergvist Gunnar Birgersson :;] Rickard Collin -I Balcarras Craaford ?.?; Bengt Eklund ?.&!. Per Furumo :) Johan Jem Johan Lilja ' Vigo Lofcrantz Lars Martinsson ,. Johan Pejler Ove Pettersson ? ? Carl-Henrik Quafort Jaan Seim ;1 Osten Wall Lage Vedin .;,
w & Swedish Radio Choir and Kathleen charia Eric Ericson Chamber Choir
Eric Ericson Conductor
Gyorgy Ltgeti
Richard Strauss
Ingvar Lidholm
?iP
Saturday Evening, February 17,2001 at 8:00 "? . { .
St. Francis of Assisi Catholic Church, Ann Arbor, Michigan
Lux aeterna (Sostenuto, motto catmo, "from afar") . Ein Deutsche Motet, Op. 62 WSBSfft '
i Pernilla Ingvarsdotter, Soprano' '"Maria Sanner, Alto ..,..,1 Jerker Dahlin, Tenor Lage Wedin, Bass -?'
Libera me
Alfred Schnittke
m'gj&
3r
oncerto for Mixed Chorus
"O pavelitel' suscheva fsevo" (O Master of all living
"Sabran" je pesen sikh, gde kazhdyj stikh" (I, an expert in human passions)
"Fsem tem, kto vniknet fsushchnast" V (God grant deliverance from sin)
"Sej trud, shto nachinal ja supavan' jem" '???? (Complete this work which I Began in Hope)

@@@Fifty-third Performance of the 122nd Season
Sixth Annual .i Divine Expressions Series , ...;'J
The photographing of sound recording of this concert or possession of any device for such photographing or sound recording is prohibited
This performance is presented with the generous support of Kathleen Charla
The Swedish Radio Choir and Eric Ericson Chamber Choir appear by arrangement with Konzertdirektion Hans Ulrich Schmid and VanWalsum Management. 'S'JSSB
@@@@iii, -' ''
Large print programs are available upon reque
Lux aeterna (Sostenuto, molto calmo, "from afar")
Gyorgy Ligeti
Born May 28, 1923 in Dicsoszentmdrton, Transylvania
Contemporary Hungarian composer Gyorgy Ligeti is very conscious of the Hungarian choral tradition when he composes a capella choral works. Though he admits to having had a very poor voice in his youth, he often sang in choirs with his colleagues, where the repertoire ranged from Renaissance polyphony to newer works by Hungarian composers. After the Soviet-imposed ??? Socialist Realism became the dominant aes-;' thetic standard in Hungary during the post?war years, Ligeti returned to choral compo. sition as a form of rebellion, and folksong , arrangements form much of Ligeti's choral output during the early 1950s. After escap?ing in the wake of the failed Hungarian ? -? uprising in 1956, Ligeti turned more to ',, instrumental composition, earning a reputa-' tion among the avant-garde for his manipu?lations of massive clusters of sound. In composing Lux aeterna for unac?companied mixed chorus in 1966, Ligeti sig-1 naled something of a change in direction for his music. Not only was the text--from the Latin Requiem Mass--outside of his own j religious tradition (Ligeti's heritage is pre?dominantly Jewish), he also experimented with a new method of composition that is derived to some degree from the Renaissance polyphonic works he had sung as a youth. While his earlier works such as '. Atmospheres and the Requiem achieve their ? effect through sustained chromatic tone : clusters, Lux aeterna introduces a technique that the composer describes as microp-olyphony: "a polyphonic texture so thickly woven that the individual voices become.--' indistinguishable, and only the resulting harmonies, blending seamlessly one into another, can be clearly perceived." In prac-
tice, it is a type of klangfarbenmelodie or tone-color melody, characterized by gradual changes in harmony and timbre. There are very few points of articulation in this work, so that any change in register or sound color stands out as an important formal signpost.
Ligeti seems to treat the text ironically in this setting. This is not the reassuring, warming light of heavenly rest, but the painful, piercing light of a nuclear flash, a brilliance that scorches rather than com?forts.
The Lux aeterna was propelled into popular consciousness when Stanley Kubrick used it (without the composer's permission) in his 1968 science-fiction clas?sic 2001: A Space Odyssey. Though Ligeti did not endorse the use of his music in that film, it did give him substantial free publici?ty, and he consequently allowed Kubrick to use his music in later films such as Tife, Shining and Eyes Wide Shut. .... .
Ein Deutsche Motet, Op. 62
Richard Strauss
Born June 11, 1864 in Munich, Germany
Died September 8, 1949 in Garmisch-
r ? _.. Partenkirchen, Bavaria ...,., .?
Richard Strauss is not widely known for his choral music, his reputation resting largely on his richly-scored and intensely Romantic operas, symphonic poems, and orchestral -w lieder. But Strauss occasionally ventured :" into choral writing, and although these works are rarely considered central either to his oeuvre or to the choral tradition in gen?eral, they exhibit the same lush textures and orchestral conceptions that typify his major compositions.
Strauss' first attempts at unaccompa?nied choral writing were his Op. 34 settings of poems by the early German Romantic poet Friedrich Riickert. These works are for sixteen-part chorus, an especially rich scor-
ing that allowed for a tremendous variety of I textures and colors. Ruckert's poetry '
appealed to Strauss, and he set several other Riickert poems in his solo lieder as well. Strauss turned again to Riickert in his Op. 62 choral work, Ein Deutsche Motet, from ') 1913, a setting of Ruckert's poem "Die
Schopfung ist zur Ruh gegangen" (All ere.; ation is at rest). Again, the composer used a sixteen-part unaccompanied chorus, though ' with four added soloists that even further expand the textural, dynamic, and timbral ' possibilities. i
Throughout his career, Strauss entirely '. avoided religious or sacred composition, at j least in the traditional sense of setting litur; gical texts. Though he excelled in bold ;
philosophical statements, couched in the i powerful language of late Romanticism, ,' there is almost nothing in his oeuvre that ,' speaks directly of religious devotion. The t spellbound intensity of Ein Deutsche Motet is perhaps as close as he ever came.
Ein Deutsche Motet dates from around '; the same period as the Alpine Symphony and ' the ballet Josephslegende, and was begun just ; after the premiere of Ariadne aufNaxos. Strauss' approach to choral writing in this : work owes much to the orchestral ideas found in these other compositions, with ; instrumentally conceived motifs and tech? niques that are unidiomatic for the voice. It i is formidably difficult music for a large choir, with its intense chromaticism and complex harmonic shifts. Strauss also ]
extends the vocal ranges to an extreme
degree: the basses are required to sing a low ] 'B-flat' (below the bass clef) while the '
sopranos go up to a high 'D-flat.'
This work follows a form that Strauss had used earlier in his Op. 34 choral works: i the antiphonal effects of the opening are followed by a contrapuntal central passage building to a climax in which the two lines combine. Choral writing was perhaps not h Strauss' favorite idiom, yet the closing sec;
L_________
tion of Ein Deutsche Motet has a ravishing eloquence that equals in beauty the most memorable passages of Ariadne and y Rosenkavalier. ,?
Libera me :
Ingvar Lidholm
Born February 24, 1921 in Jonkoping, Sweden
Ingvar Lidholm is one of the leading '
Swedish composers of this century, perhaps vying only with Hugo Alfven (1872-1960) for the honor of being Sweden's most important composer of all time. Early in his career, Lidholm was a member of the influ?ential "Monday Group," a gathering of young composers at the Royal Swedish ' Academy of Music in the immediate post-J war era who looked to Hindemith, Nielsen,' and Stravinsky as their models. In the late 1940s, however, Lidholm was persuaded toMj abandon the neoclassicism of the S
Hindemith style and take up serialism. In JB more recent years he has tempered his expressionist serialism with a return to clear" textures and emotional discipline.
Though Lidholm has been prolific in ! the composition of both instrumental andn vocal forms--counting operas, concertos, m and chamber works among his major coma positions--he has become known most $ widely outside of Sweden for his choral 9 music. Lidholm's interest in early vocal a polyphony was manifest in his Laudi (1947) for chorus. In 1956, he began a series of pedagogical choral works, graded by diffi,&$( culty in a manner similar to Bartok's Mikrokosmos for piano, called the A cappella bok, in which all the pieces are based on a .lH? single twelve-note series. But even through this serial period he retained a sensitivity to ., the lyricism of choral scoring. His deep sense of music's essential vocality influenced even his instrumental works; Lidholm's most performed piece is the orchestral jj?
Kontakion (1979), an instrumental requiem,; based on an old Russian Orthodox hymn.
In addition to the requiem-like charac-; ter of Kontakion, Lidholm has on several occasions written independent choral move-v ments that allude to the Requiem mass. His opera Ett dromspel (A Dream Play, 1978-89), to a libretto by Strindberg, concludes with an a cappella De profundis that was excerpt?ed and published separately in 1983. The Libera me, composed in 1994 also for unac?companied chorus, uses the traditional text from the Requiem.
Concerto for Mixed Chorus
Born November 24, 1934 in EngeU, near Saratov, Russia , ri
Died 1998 in Hamburg $??
Alfred Schnittke was born in Russia as a German Jew (he observed later that he has not a single drop of Russian blood in him), , was raised in Vienna, and then moved with , his family back to Russia as a teenager in 1948. Throughout his life, Schnittke found himself in a position similar to Mahler, who had remarked at one point that he was SHU thrice homeless--as a Bohemian in Vienna,.. an Austrian in Germany, and a Jew every-where, "always an outsider, never at home." , In Russia, Schnittke had been labeled a Jew since his teenage years, but in Germany he was a "Russian composer." He never felt truly "at home" in either country. -ift
This duality perhaps explains in part ; why Schnittke turned to polystylism in so many of his works--a mercurial blend of past musical styles and traditions that are juxtaposed in often alarming ways. Though .' this places Schnittke in the same generals realm as the post-modernists and neoRomantics, his recalling of past styles is "... more Mahlerian, as it nostalgically seeks reo? onciliation out of this cultural dissonance.
Sch'nittke's crisis of identity was as much religious as it was national. Because of his father's intense atheism, and his parents' absolute commitment to communism, he was not baptized as a child. He admitted .-that he "looks like a typical Jew," but-f3" Schnittke felt little allegiance to the Jewish faith of his paternal grandparents. When, as an adult, he sought to affiliate himself with organized religion, he faced a Stravinskian choice: Catholicism or Russian Orthodoxy. In the end he combined the two, and was baptized a Catholic in 1982, but made ; confession to an Orthodox priest.
This anxiety of religious and national identity is central to Schnittke's music. He! quotes Gregorian chant in his Symphony No. 1 and No. 2 and in the Requiem (1975). The four instrumental Hymns from the 1970s and his String Quartet No. 2 (1980) borrow Orthodox melodies. In 1984 he composed Three Sacred Hymns in one night, works that are very close in style and mood to genuine Orthodox Church music. And in Symphony No. 4 (1984), he reconciled his . personal religious pluralism by using .4 melodies from Catholic, Protestant, v Orthodox, and Jewish liturgical traditions.!
The Concerto for Mixed Chorus, com?pleted in the first half of 1985, is in some ' . respects a product of this internal rapproche?ment of faith. It is one of Schnittke's deepest, most profound, and stylistically consistent works, without even a hint of the nervous ' polystylism of his earlier music--the music of a man who has found peace in his faith. The Concerto is written very much in the manner of Russian church music of the late nineteenth and early twentieth centuries. It recalls the sacred and liturgical works of Stravinsky, Tchaikovsky, Rachmaninov, Mussorgsky, and Gretchaninov, and yet it is unmistakably Schnittke. .'ilWBT
The lengthy text is from the Book of Lamentations by the tenth-century Armenian poet Gregory of Narek (Grigor Narekatsi).
The text of the first movement pays rever?ence to an omnipotent and omniscient God, while imploring Him for mercy. Schnittke's jgj predominantly low, dark textures periodical?ly move upwards with the addition of higher voices, signifying the struggle of the humble mortal's prayer to reach the heights of heaven, while the repetition of short figures JI recalls the practice of liturgical chant. :?5p
The second movement focuses on the g failings of mortality, and is a message of ? hope to those who read them: "May these ? verses, full of my suffering, become a guidM ance to someone." The obsessive melodic circling around a central pitch, against a static background, mimics the plodding tread of a sinner burdened with world-weariness. A favorite device of Schnittke's is to have many voice parts gradually converge onto one pitch; it is used in this movement perhaps to rep?resent the common suffering that is the lot of all mortals. The tempo quickens toward the end, an intensification of effect, and concludes mystically with the gradual fading of women's
voices in the manner of the "Neptune" m----?
movement from Hoist's The Planets.
Though men's voices predominate in the supplicative third movement, the sopra?no's two-note motif from the previous , !; movement returns as a background ?? leitmotif. The fourth movement sets the3 shortest of the four texts, and through music effects the reconciliation and healing that has been sought throughout the work: "Complete this work which I began in hope, and with Your name, so that my singing may become healing, curing the wounds of body and soul." Schnittke employs slow tempi and consonant major-key harmonies significantly more in this movement than in the previous three movements, giving it a steadfastness and serenity that culminates in the repetition of the affirming benedictory "Amen." ., ? ' " ?? ?
Program notes by Luke Howard. 'tjg
ric Ericson, born in 1918, is, for' the great majority of choral con?ductors and choral singers . throughout the world, the unsurl! . passed master in the field of choral conducting. His entire career has been ? devoted to choral music; his work has not ' only brought great acclaim to his own choirs but has significantly contributed to a breakthrough in establishing the status and merit of choral music and singing in choirs as a highly valuable form of music-making. Through his dedication to the field of choirs and choral music, an extraordinary develop, ment of skill in interpretation and vocal '4KJ standards and an interest in the medium from contemporary composers has arisen,. not only in Sweden, but from all over the -??h world where Ericson has been concert-tour?ing or giving master classes.
Eric Ericson formed the Stockholm m$j Chamber Choir in 1945 (renamed in 1988 1 as the "Eric Ericson Chamber Choir"). This ensemble has remained his main instrument for developing the art of a capella singing fjfljm ever since. Alongside his work with the '
Chamber Choir he has been Conductor and Artistic Director of the Swedish Radio Choir (1951-1982) and Orphei Drangar (1951J 1991). For many years Eric Ericson was a m legendary figure as Professor of Choral "ty Conducting at the Royal University College '
of Music in Stockholm. Over the years his international commitments have become steadily more extensive. Not only has he appeared as a guest conductor with all of -: the world's major choirs, but also in a series of approximately ten master classes world?wide every year, he is appreciated as a par?ticularly valued and stimulating teacher.
Since his retirement from the post of Principal Conductor of the Swedish Radio Choir in 1982, Professor Ericson has been giving numerous master classes all over the i world. He has also guest-conducted many leading vocal groups, including the Netherlands Chamber Choir, Groupe Vocal-de France, BBC Singers, RIAS Kammerchor, and the Vienna State Opera Choir. He has also conducted numerous performances of' major works with leading orchestras and choirs in Europe, Australia, Japan, Hong Kong, and in the US. He frequently collabo?rates with conductors such as Nicolaus M Harnoncourt, Claudio Abbado, James ? Levine, Riccardo Muti and Pierre Boulez. ?
In 1988, Eric Ericson received the Swedish Choral Conductors' Prize and in lJ[fl991 the Danish Sonning Music Prize. In 1995, he was awarded the Swedish Academy-Royal Prize and the Nordic Council Music Prize. In 1997, he was the recipient of the prestigious Polar Music Price. He became an Honorary Doctor at Uppsala University in 1983 and at the University of Alberta, U Canada in 1996. Professor Ericson is a member of the Swedish Royal Academy of Music and the Honorary President of the ? International Federation for Choral Music.
JfTonight's performance marks Eric Ericson's MflMS debut. a
Please refer to page 16, for biographical ' -. information on the Swedish Radio Choir.
Hi
Tonight's performance marks the Swedish Radio Choir's second appearance under UMS auspices.
Please refer to page 17, for biographical information on the Eric Ericson Chambe Choir.
Tonight's performance marks the Eric Ericsi Chamber Choir's second appearance under t UMS auspices.
Please refer to page 20, for the combined choir roster of the Swedish Radio Choir and Eric Ericson Chamber Choir.
presents
Manuel Barrueco
Guitar
"til
Program
Sunday Afternoon, February 18,2001 at 4:00 Rackham Auditorium, Ann Arbor, Michigan
Johatm Sebastian Bach, Chaconne in d minor, BWV 1004 (from Violin Partita No. 2) Arr. M. Barrueco
Johann Sebastian Bach, Lute Suite in E Major, BWV 1006a
Arr. M. Barrueco Prelude
Loure [' Gavotte en Rondeau
Menuet I and II .--?:--'
Bourree Gigue
INTERMISSION

@@@Chick Corea
Heitor Villa-Lobos
Joaquin Rodrigo
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Children's Songs Nos. 7, 4, 14, 18, 3, 6, and 20
Choros No. 1
Tres Piezas Espanolas (Three Spanish Pieces)
Fandango
Passacaglia
Zapateado
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Fifty-fourth ..
Performance
of the 122nd Season ...;.
Seventh Annual ; Six Strings 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 estate of William R.
Kinney' wmmt :M8m&
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Manuel Barruecoap'pears by arrangement with Arts Management Group, Inc. and records for AngelEMI Records.
arge print programs are available upon request.
Chaconne in d minor, BWV 1004 ,
(from Violin Partita No. 2)
Johann Sebastian Bach .!
Born March 21, 1685 in Eisenach Died July 28, 1750 in Leipzig
i
Marc Pincherle, the noted French musicolo?gist and historian on the violin, wrote a very convincing letter on behalf of Andres Segovia's first performance (Paris, June 4,1935) of his arrangement of the "Chaconne." Knowing that Bach had arranged many of his works for other instruments, Pincherle pursued the possibility that "...a direct connection with the guitar may yet be brought to light. The very key of'd' in which the 'Chaconne' is written, is the perfect tonality for the guitar....the Iberian origin of the 'Chaconne' might have Sljf suggested to Bach the idea of assigning it to ailS a Spanish instrument..." Because of Segovia's persistence and the support he received from such musicians as Pincherle, the Bach "Chaconne" has become an important , '-J addition to the guitar repertoire. . -.;
j,' Both the zarabanda and the chaconne were discovered by the Spanish in their con quest of the Americas during the sixteenth ' Hll century. Both were originally considered to
I be sensual dances, eventually losing their ; wanton ways in the European courts. Closely related to the passacaitle, the basic musical structure of the chaconne, consisting of an ostinato (repeated pattern) either in chords or bass line, became another vehicle for extemporization. The work is shaped into three major sections: the first, in d minor, opens with an eight-measure theme stated in a chordal progression and proceeds into a series of figural variations ending with the opening statement; the second sec tion begins in the parallel major and again proceeds into another series of variations ; " closing with a figural statement of the -. theme; the final section returns to the minor key, contrasting all previous variations with another series of variations, tying the whole
work together with a slightly altered version of the opening statement, bringing the work to a grand finale.
Bach's creative skills in this highest of jj musical art forms--improvisation--is con-j firmed in many anecdotes written during his lifetime and immediately after his death. One such story, written by Friedrich W. :i Marpurg (1718-1795), a German music his?torian, tells of the visiting organ virtuoso who is challenged by the very capable townpi organist to "lead each other astray" pera forming all sorts of fantasies, duets, trios, and quartets, fugued or unfugued. The con?test goes on for some time and eventually the visitor began to employ the more hida den arts of counterpoint and modulation. He made use of augmentation, diminution, combined several subjects, put them into contrary motion and began to modulate into remote regions. The town organist began to feel his way around but found ? himself inextricably lost. "So he arose from his keyboard, ran to his opponent, whom he acknowledged to have won the contest, entreated him to continue his intricate organ playing as long as he cared to, admired him, embraced him, and said that.... he must be either Sebastian Bach or an 1 angel from Heaven. It was indeed Sebastian Bach, with whom the organist would not have matched talents if he had recognized "
Suite No. 4 in E Major, BWV 1006a
J.S.Bach .-?.?? ??
The lute was a delicate, fragile, plucked : instrument that was popular in Europe for centuries until "improvements" made it so complex and cumbersome that it was given up in favor of the harpsichord, whose key?board makes it, in effect, a mechanized lute. In Bach's time, the lute was very nearly obsolete, though kept alive, in Germany, by
a small number of virtuoso players, some of whom were his pupils. In our time, Bach's lute music is, more often than not, played M on the guitar. W.
The Suite No. 4 in E Major was adapted by the composer from his third partita (a word then almost interchangeable with "suite") for unaccompanied violin. It opens with a brilliant "Prelude" that is followed by five dance movements. The first of them is "Loure," a slowly rocking rustic or pastoral 3 dance that originated in France in the seven teenth century and probably took its name from the bagpipes that accompanied it. Next is "Gavotte en Rondeau." The "Gavotte" is a seventeenth-century French dance whose melodies and phrases characteristically begin in mid-measure. "Gavotte" is "in rondo," a musical structure in which the opening theme recurs in alternation with contrasting material. This movement is followed by a w pair of minuets. When the second has been played, the first is repeated. A lively "Bourree" follows, with the piece ending in a final spir?ited "Gigue," a stylized Anglo-Irish jig. .. .
Children's Songs
Chick Corea
Born June 12, 1941 in Chelsea, Massachusetts
Born Armando Anthony Corea in 1941, in Jl Chelsea, Massachusetts, Chick began his ? piano career at the age of four. Through the recordings of such artists as Bud Powell, Horace Silver, and Charlie Parker, he developed an interest in jazz and performed with such groups as Mongo Santamaria, Herbie Mann, and Miles Davis. His compositional palette moves through a wide range of ( styles--from lyrical solo pieces to contem-' porary compositions utilizing techniques derived from rock and jazz performance. Mr. Barrueco is performing this afternoon a selection of the thirteen Children's Songs which he transcribed and recorded on his S
recording Sometime Ago.
Mr. Corea says this about his Children's Songs:
The Children's Songs are the first collec?tion of music I've written specifically for, solo keyboard. I wrote the first song in j 1971 to convey simplicity as beauty, as represented in the spirit of a child. Songs
fl through 15 were composed for the jr Fender Rhodes [electric keyboard] andj i 16 through 20 for the acoustic piano, S ' although any of the songs can be played on either instrument. Songs 17 through , 20 were composed during a one-month
period in 1980, completing the series. The ? songs lend themselves nicely to various ... forms of expansion with orchestration.
Choro No. 1
Heitor Villa-Lobos ?]
Born March 5, 1887 in Rio de Janeiro, Brazil Died November 17, 1959 in Rio de Janeiro
Heitor Villa-Lobos first studied under the guidance of his father, with whom he learned to play cello and clarinet. Early on, he rejected his father's conventional meth?ods of teaching music, but he never denied their relevance. During his adolescence, Rio de Janeiro was the political and cultural capital of Brazil and received a great deal of foreign influence. At the time, one could hear small orchestras in the noble "salons" perform tangos from Argentina, and valses, polkas, and schottishes from Europe. Street musicians reproduced these styles, mixing them with African rhythms, resulting in a new musical style named "choro'' ffijjj Villa-Lobos was himself a choro player and regularly attended the musical meetings ; promoted by musicians like Catulo da Paixao Caerense, Anacleto de Medeiros, and 1 Joao Pernambuco. These gatherings helped i him shape his guitar-playing skills, and later, .3 to create his own original guitar music. ir'-
Tres Piezas Espanolas (Three Spanish Pieces)
Joaquin Rodrigo
Born November 22, 1901 in Sagunto,
Valencia, Spain ?,
Died July 6, 1999 in Madrid
Spanish composer Joaquin Rodrigo, whose life spanned the twentieth century, died in July of 1999 at the age of ninety-eight. Blind since the age of three, Rodrigo became a pupil of the Frenchman Paul Dukas in his ; twenties. A French refinement and sensitivi?ty to color mingles with the more promi?nent Spanish influences in his music. Hejj lived in exile in Paris during the Spanish Revolution, but soon returned to become the dean of Spanish composers
The outer movements of the three ""; Spanish Pieces--a "Fandango" full of '-.. opalescent discords and a "Zapateado," ' breathless in its almost constant unison character--frame a brilliantly composed "Passacaglia," whose twelve variations on a bass sequence that consists of steps of thirds, end with a polyphonic fandango coda. Here, Rodrigo manages convincingly to fill old forms with newly illuminated ?" ?musical substance. ??.?..??,.
Program notes courtesy of Arts Management
Group, Inc. ;,..,,?.::-. ,;.. .."'
anuel Barrueco has firmly established himself as one of the most important guitarists in the world today. Since his i dazzling debut recital at Carnegie Hall in 1974, his artistry has con?tinually been described as that of a superb instrumentalist and an elegant musician, with a seductive sound and uncommon lyri?cal gifts.
His extensive discography on EMIAngel also demonstrates his outstanding versatility with commanding performances of the works of Bach and Mozart, to the great Spanish masters, to the music of jazz greats Chick Corea and Keith Jarrett. ;Cuba!, his most recent recording, was called "an extra?ordinary musical achievement" by the San Francisco Chronicle, while his recording of Joaquin Rodrigo's Concierto deAranjuez ?'? with conductortenor Placido Domingo and the Philharmonia Orchestra was called the, best recording of that piece in Classical CD Magazine. Other recent recordings are Cantos y Danzas, which includes collabora?tions with soprano Barbara Hendricks and flutist Emmanuel Pahud, and Three Solo me Sonatas by J.S. Bach. ?
Manuel Barrueco has played under the batons of conductors such as Seiji Ozawa, j Esa-Pekka Salonen, Franz Welser Most and David Zinman, and his commitment to the expansion of the guitar repertoire has led -j him to collaborations with contemporary composers such as Arvo Part, Toru Takemitsu, Roberto Sierra and Steven Stucky. 8813""
His performances have been broadcast on NHK Television in Japan and Bayerischer Rundfunk Television in Germany, while in the US he has been featured on CBS Sunday Morning as well as appearing in a Lexus car commercial.
Two highlights of the 19981999 season included a performance at the Hollywood Bowl Opening Night Gala with famed Beatles producer Sir George Martin, and a perfor-
mance of the Concierto de Aranjuez in : Joaquin Rodrigo's native Valencia in a 'S memorial concert commemorating the ': composer's recent death. Other appearances included performances with the Milwaukee '. Symphony and the Baltimore Symphony j Orchestras. He is also currently involved in . an ongoing residency with San Francisco ? Performances, which brings him regularly to that city for recital and community outreach programs. '1K3S?M '
Appearances abroad included concerts' in England, Germany, Italy, Spain, Iceland, Turkey, the Czech Republic and Mexico. i The 19992000 season brought him back to many of those countries, in addition to Austria, Holland, Slovenia, China, Japan JS Korea and Taiwan. jc
Manuel Barrueco began to play the -.,.,_ guitar at the age of eight and attended the
Esteban Salas Conservatory in his native Santiago de Cuba. He moved with his family to the US in 1967, later completing his advanced studies at the Peabody :
Conservatory in Baltimore, Maryland, ,
where he now teaches.
Tonight's recital marks Manuel Barrueco's second appearance under UMS auspices.
Ballet Preljocaj
Angelin Preljocaj Artistic Director
Dancers
Nathalie Aveillan Berengere Chasseray Celina Chaulvin Philippe Combes
Craig Dawson Sergio Diaz Gomez Sebastien Durand Soleil Koster
Karine Mommessin Loi'c Noisette Tommy Pascal Stephanie Pons
Student Dancers from the University of Michigan and Wayne State University
Jodi Leigh Allen Eric Blair Megan Brunke Darren DeWitt Darren Dunn
Mary Farris Jim Flannery Angela Gallo Deborah Karp David Knapp
Courtney Patton Michael Woodberry-Means
Wednesday Evening, February 21, 2001 at 8:00
Power Center, Ann Arbor, Michigan ,
Paysage apres la Bataille (Landscape after the Battle) Creation 19961997
(70 minutes)
For thirteen dancers
Choreography Angelin Preljocaj
Decor and Costumes Adrien Chalgard
Assistant to Costume Designing Sylvie Meyniel
Lighting Jacques Chatelet
Music Goran Vejvoda
Costume Production
Sylvie Meyniel, Sabine Richaud, and Catherine San Nicolas 'ij
Fifty-fifth 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.
Support for this performance is provided by media sponsor, Metro Times.
Special thanks to Kate Remen-Wait for leading this evening's Pre-perfor-mance Educational Presentation (PREP).
Ballet Preljocaj appears by arrangement with Rena Shagan Associates, Inc.
Large print programs are available upon request. ?
ChoreologistRehearsal Assistant
Rehearsal Assistant
Technical Manager and Sound Engineer
Lighting Director
Stage Manager
Wardrobe Mistress
Dany Leveque Youri Van Den Bosch Jacques Michelou Patrick Riou Michel Carbuccia Sylvie Meyniel
Co-produced by "Danse a Aix" and Ballet Preljocaj.
Ballet Preljocaj, National Choreographic Center of the Provence-Alpes-C6te d'Azur Region, the City of Aix-en-Provence, and Bouches du Rh6ne Country Council.
Ballet Preljocaj is subsidized by the Fondation BNP Paribas and receives overseas travel grants from the Ministry of Foreign Affairs Association Franchise d'Action Artistique.
US Representation by Rena Shagan Associates.
The first part of Paysage apr&s la Bataille was created and performed at the Theatre des Salins--Scene nationale of Martigues on December 7,1996. ?']
Paysage apres la Bataille was premiered in July 1997 at the Festival d'Avignon.
Paysage apres la Bataille
(Landscape after the Battle)
aysage apr&s la Bataille ponders the mystery of human creativity. How . much of great art, Angelin Preljocaj wonders, is intelligence, how much instinct His inspirations are the artisttheoristiconoclast Marcel Duchamp
the writer Joseph Conrad. : The curtain rises on a stage set with a neon-hued faux animal fur backdrop; at each wing are three gaudily festooned cur-: tained booths-entranceways for the per-i formers. The stage is an arena, a clearing I where men and women confront their frank 5 desires and test their sharp wits. Hi' The dancers execute a seamless blend of R? classical and modern techniques with fero-g cious intensity. The choreography alternates 8jp.' languid passages of slowed down dancing Si with space-eating, brutally blunt and physi-
t-cally incisive movement. The work is dark and bleak, savage, erotic, playful, unpre-jv: dictable and extreme. MUnprovoked violence breaks out in a a? dance hall from the smoky encounters of
cioseiy neia coupies. uancers ooey a screamed signal to change positions and freeze. Men in gorilla-suites learn a dance sequence by "aping" the moves of an anthropoid choreographer, then shed their animal skins and emerce stark
naked to lie prone. Inert, vulnerable, they are fondled by a half naked woman. Six men execute a gymnas?tic game of musical chairs, linked by the rising momentum of physical virtuosity and split-second timing. A drop-dead shoot-out escalates into a stylized round-robin of brutal mur?ders. Bodies are flung into a head like so much scrap. Two polar bears interrupt a love due and snatch the lovers apart.
Goran Vejvoda's computer score
is a montage of interviews with Duchamp, commentary in several languages, popular songs of yesterday, snippets of "ready made" radio music and voice-overs.
Is Paysage a quest for the secret of art itself--where impulse and thought intersect Is it perhaps a parable about our tumultuous century--its ubiquitous violence and its intellectual prowess In Duchamp's words: "the picture is made as much by the person looking at it as by the artist."
--Sali Ann Kriegsman January 1999
Angelin Preljocaj's Dance ?}
by Dominique Fretard
---i hen he left the company of Dominique Bagouet, Angelin Preljocaj was surprised with his choice of dance subjects: the statutory tribute to the dead in A nos heros (1988), the heroism of Jeanne d'Arc in Hallali Romee (1987), and the solitude of sex in Liqueurs de Chair (1988). Previously, he had won the Competition Bagnolet with Marche Noir, a satirical title with which he gave his opinion about competitions in general. As for Larmes Blanches in 1985, his writing camel
into1 its'own:' musical, abstract,'sure of itself.'
Then he wanted to take a risk: that of -inscribing his dance into the history of choreography since its creation in the seven?teenth century. He was open to all historical influences. j_
So, he choreographed Romeo et Juliette (1990) for the "Ballet de l'Opera National de Lyon" with scenery by Enki Bilal, then Le Pare (1994) for the "Ballet de l'Opera de Paris," a complex voyage in the country of tenderness. With the same spirit, he present?ed a "re-visitation" of Noces of Parade, of Spectre de la Rose, an undertaking that he entitled Hommage aux Ballets Russes (1993).i,
At the Festival of Chateauvallon, and then in Avignon, he created a ballet from a book by the writer Pascal Guignard: a suc?cessful musical tragedy, the audacious -L'Anoure (1995).
In ten years, Preljocaj has traced his ow. singular and original path. Today, he is amon a handful of European choreographers who are remarkably well respected in their native,, countries as well as internationally.
Excerpt from "La Danse en France 1996"Jf Chronicle of the AFAA ??
allet Preljocaj was founded L: I December 1984 at the Centre ;j Choregraphique National de Champigny-sur-Marne and is
___ now established at the "Cite du' '
Livre" in Aix-en-Provence.
Since the founding of his company, now composed of twenty-two dancers, Angelin Preljocaj has created more than ? twenty works, seven of which are currently .:, in the Ballet's active repertory. Preljocaj's work has been hailed in the US through its tours of Romeo and Juliet and the Diaghilev Program. His work La Stravaganza created for New York City ballet was a huge success and he received a "Bessie" (New York Dance!
and Performance Award) for his duet, The Annunciation. The next work he will be creating is The Rite of Spring, scheduled to premiere this summer.
Tonight's performance marks Ballet Preljocaj's UMS debut.
The Company
Nathalie Aveillan was born in Toulouse in 1967. She has worked with the Matt Ma Hox Company (1984-1985), the Ballet Actuel in Toulouse (1985-1986) and the Rich Odums Company (1986-1991). She has been with Ballet Preljocaj since 1991.
Berengere Chasseray was born in Paris in 1975. She studied classical ballet from 1984 to 1990 with Max Bozzoni, Alin Davesne, Raymond Pranchetti and Daniel Franck. She also trained at the Paris Opera School of Dance (1988) and studied contemporary dance at the Shool of Music and Dance at the Paris Conservatoire (1990-1994). Performances include Le Concours by Maurice Bejart at the Chatelet Theatre, Paris' (1985) as well as on tour in Belgium; the rerun of Le Concours in Paris at the Palais des Congres and the Paris Conservatoire; les Petites Pieces de Berlin by Dominique ,,. Bagouet; Contrasts by Maguy Marin; Les jj) Amants Gris with Claude Brumachon; and ' City by Jennifer Muller (1986).
Ceiina Chaulvin was born on April 29, 1972 in Angers, France. Celina studied at the Conservatoire National in Nantes between 1992 to 1993. Concurrently, she entered the company of Claude Brumachon as a trainee (Centre Choregraphique National de Caen) and from 1993 to 1995, she continued her dance studies at the Martha Graham School of Contemporay Dance in New York and danced in the Martha Graham Company.
She later became part of the Momix Company in New York and joined Ballet Preljocaj in 1996.
Prior to joining Ballet Preljocaj in 1992, Philippe Combes danced with Regine Chopinot Company in La Rochelle in 1989. From 1986 to 1989 he worked with Joseph Russillo Ballet Theater and danced with Louvre Ballet for the 198586 season. Philippe graduated from National ?.Conservatoire of Dijon Region in 1984.
Craig Dawson trained at the West Street School of Ballet London (1988-1991). He danced with London City Ballet (1991) in... the productions Inlets II by Merce Cunningham, Mercuric Tiding by Paul Taylor, Overboard by Karol Armitage, Half 3a Wrong by Stephen Petronio, 8 Letters from 8 by Yoshiko Chuma, Danse Suit by Adriana r Bordello and The Fall of Icarus, Titanic, Ex Machina and Moving Target by Frederick Flamand--all with Charleroi Danses Company, Belgium (1991-1996). He joined Ballet Preljocaj in 1996.
SjppSergio Diaz Gomez was born on April 4, ' H 1981 in Boston. From 1994 to 1996, Sergio p studied at the Academie de Danse "Creation 1 Danse" Annie Oggero in Grasse. He contin-. llptued his dance studies at the Ecole Superieure de Danse Rosella Hightower de ] 1 Cannes until 1999. After that, he danced 8s such pieces as Aubade by Serge Lifar, '?-
$!J!kVariation Sous la Blafarde by Dominique Bagouet and Larmes Blanches by Angelin Preljocaj. He has been a dancer with Ballet lip Preljocaj since 1999.
jfe; Selatien Durand was born in France in ; 1975. He studied at the Rick Odums School f of Formation in Paris (1992-1993) and the f$w School of Music and Dance at the Paris i. Conservatoire (1993-1995). He danced with W$; the Junior Ballet at the Paris Conservatoire
(1993-1994) where he performed in Ice by; Carolyn Carlson at the Festival of r
Chateauvallon. He also danced in M'Bira by Richard Alston, City by Jennifer Muller and Garden ofVillandry by Felix Blaska.
Soleil Koster was born in Amsterdam in 1975. Her training was undertaken at the Conservatoire Marius Petipa (1990-1991), in contemporary dance at the School of Music and Dance at the Paris Conservatoire (19911
1994) and with Ohad Naharin's Ensemble } Batsheva Company in Tel Aviv where teach. ers included Noemie Perlov and Jay Augen (1994-1995). She has danced in Les Amants Gris by Claude Brumachon and Les Petites , Pieces de Berlin by Dominique Bagouet j (1994); Anaphase, Dancing Party, Sinking of the Titanic by Ohad Naharin (1994-1995); and Larmes Blanches by Angelin Preljocaj ,1 and Six Dances by Jiri Kylian (1994-1995). 1 Since 1995, Soleil has been with Ballet } Preljocaj in Aix-en-Provence.
Karine Mommessin studied classical balleW with Rene Bon and Pascale Courdioux in S Lyon and modern dance with Bruno Agati. Her professional experience includes work with the Noel Cadadgiani Company (1994-
1995) and Bruno Agati's Why Not Company (1994-1995). She joined Ballet Preljocaj in 1995.
Born in Rouen in 1976, Loi'c Noisette trained in contemporary and classical dance at the School of Music and Dance at the Paris Conservatoire. He performed with the Junior Ballet of the Paris Conservatoire (1993-1995). Performances include M'Bira by Richard Altson, Garden ofVillandry by Trio Crownest, Ice by Carolyn Carlson, City by Jennifer Muller, Whimsicalities by Nils Chrisla for the Aix-en-Provence Dance Festival, Les Petites pieces de Berlin by Dominique Bagouet and Contrastes for MaguyMarin (1994-1995).
Tommy Pascal was born on July 29,1975 in Paris. After his beginnings at Rosella Hightower's, he continued his professional training at the Ecole de Danse Vandelli (Vandelli Dance School) then Ecole-Atelier Rudra Bejart (Rudra Bejart Dance Studio). He worked in the Bejart Ballet Lausanne Company from 1997 to 1999. He obtained silver medals for a professional solo and duo in the international jazz competition in Paris in 1994. He joined Ballet Preljocaj in 1999.
Stephanie Pons began her study of dance at Montpellier Region National Conservatoire (1985-1989) where she received the gold medal in classical dance. In 1990, she joined the French Ballet Junior and performing both classical and contemporary repertory. She was with the Redha Company (1992-1997) where she danced Les Gens d'Orphalese, Lune de Fonds and Baignade interdite. She then became the assistant choreographer and worked closely with Michel Sebban and Mylenen Riou. In 1997, she danced for the Companie Blanca Li in Nana et Lila, Stress and Salome, and shortly thereafter joined Ballet Preljocaj.
Dany Leveque (Specialist of Choreographic Notation) was a student of Solanges Golovine. Dany Leveque first got a DEUG in dance (Associates of Arts) at the Sorbonne in Paris. She then went on to be awarded the Benesh Institut in London's diploma in choreographic notation. In the same year she was able to put her studies into practice with the notation of Appassionato by the choreographer Herve Robbe. As a result of being the assistant to Jean-Christophe Maillot in the organization of the parade for the arrival of the Olympic Flame Bearer in Paris in December 1991, she was presented with Villa Medicis prize Hors les Murs for ?
her study of the relationship between video and notation. She has, since 1992, been Angelin Preljocaj choreographic chronicler and assistant for whom she has executed the notation of a number of pieces; she recon?structed Sand Skin; a shortened version of La Peau du Monde, for the London Contemporary Dance Theatre in 1993; Le Spectre de la Rose for the Monte Carlo Ballet, in 1995; and I'Annonciation for the Paris Opera.
Youri Van Den Bosch was born July 11, 1967 in Dendermonde (Belgium). After studying at the Ecole Jacques Sausin in Brussels, he started his career as a profes.,.' sional dancer. He first danced for the Ballc, Royal de Wallonie from 1987 to 1991. He then danced in various companies including the Red Notes, the Andy Degroat Company and the Gigi Calciuleanu Company for sev?eral years. In 1998, he created his own com?pany, Virtus Fluens and choregraphed Wandelen (1998) and Mura-Iki (1999) at the Maison de UNESCO of Paris, commis?sioned by the Japanses Association of the United Nations, City of Kyoto. Holder of a State Diploma as Dance Professor at the IFEDEM (Current CND), he directs classes for professionals (for the preparation of the State Diploma), workshops and classes for amateurs as well as carrying out many pro?jects for promoting dance awareness in schools. He discovered and studied writing and analysis of the Benesh movement at the Conservatoire Superieur de Musique de Paris from 1997 to 1999. In September 1999, he became assistant to Angelin Preljocaj and coach of his Ballet.
Exclusive North American Tour Representation: Rena Shagan Associates, Inc. www.shaganarts.com
CFI Group, Inc.
presents
Prague Chamber Orchestra
Ondrej Kukal Artistic Leader and Concertmaster
with the
Beaux Arts Trio
Menahem Pressler Piano Young Uck Kim Violin Antonio Meneses Cello
Gioachino Rossini
Wednesday Evening, March 7,2001 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Overture to L'ltaliana in Algeri
(The Italian Woman in Algiers)
Ludwig van Beethoven Concerto in C Major for Piano, Violin, Cello
and Orchestra, Op. 56
Allegro Largo--
Rondo alia polaca (Mvts. II and III performed attacca--without pause)
Beaux Arts Trio
Milan Laj6ik, Concertmaster
INTERMISSION
Leos Jandcek
Suite for Strings
Moderato
Adagio
Andante con moto
Presto ..,..,
Adagio
Andante
Felix Mendelssohn
Symphony No. 4 in A Major, Op. 90
Allegro vivace Andante con moto Con moto moderato Saltarello: Presto
Fifty-sixth Performance of the 122nd Season
122nd Annual Choral Union Series
Thirty-eighth Annual Chamber Arts Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by CFI Group, Inc., with additional support from Hella North America, Inc.
Special thanks to Claes Fornell and Clayton Wilhite of CFI Group, Inc. for their generous support of the University Musical Society.
Additional support provided by media sponsor, WGTE. '---,?-.---:.-;
The piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan. ---'
The Prague Chamber Orchestra and the Beaux Arts Trio appear by arrange?ment with Columbia Artists Management, Inc..
Large print programs are available upon request.
Overture to L'ltaliana in Algeri
(The Italian Woman in Algiers)
Gioachino Rossini
Born February 29, 1792 in Pesaro, Italy
Died November 13, 1868 in Paris
?i
Written when Gioachino Rossini was only twenty-one years old, L'ltaliana in Algeri was preceded by no fewer than ten operas written in four years. It was his greatest success to date, and it is the first of his operas to have entered the standard repertory. (It was first performed in North America in 1832.)
L'ltaliana in Algeri came three years before Rossini's greatest hit, The Barber of Seville. In The Barber of Seville, Rossini took on a subject that had been previously treated' in Giovanni Paisiello's opera of the same name, raising more than a few eyebrows. In L'ltaliana in Algeri, the young Rossini was similarly audacious, setting a libretto that had been used by Luigi Mosca, a composer forgotten now but popular in his own day. Mosca's version was played with great success at La Scala in Milan just five years earlier, in 1808.
The story is about a young woman named Isabella, whose lover Lindoro was captured by Mustafa, the Bey of Algiers, and she arrives on the shores of North Africa to rescue him. It is one of Rossini's great col?oratura mezzo-soprano parts, like Rosina in the original version of the Barber of Seville or the title role in Cenerentola.
The overture begins with eight mea?sures of soft string pizzicato (plucked) notes interrupted by a sudden orchestral forte not unlike the one that gave Haydn's Surprise Symphony (1791) its name. The pizzicato section now becomes the accompaniment to a graceful oboe theme. A short transition leads to the allegro section that bursts with rhythmic energy. Rossini's uncanny ability to be simple without being banal is evident throughout, as one magnificent melody fol?lows another, culminating in the obligatory Rossini crescendo at the end.
Concerto in C Major for Piano, Violin, Cello and Orchestra, Op. 56
Ludwig van Beethoven
Born December 16, 1770 in Bonn, Germany.
Died March 26, 1827 in Vienna 1
Musicologists have searched far and wide and have not found another concerto with . piano, violin, and cello. How fortunate foHS us that the only composer to have tried this combination, and thus to have provided an opportunity for touring piano trios to appear with orchestras, was none other than Ludwig van Beethoven! Concertos for mul-..., tiple solo instruments, such as Mozart's H Sinfonia concertante for violin and viola, or Haydn's for violin, cello, oboe and bassoon, usually feature winds and string instru3J ments. The keyboard, with its all-encomM passing harmonic possibilities, and its cotvM plete range covering all the registers from 9 the highest to the lowest, seemed in most 9 cases to be self-sufficient and to demand M undivided attention. X
Was it that the Archduke Rudolph, jg Beethoven's talented pupil, was not quite ready to take on a solo piano concerto The youngest son of Emperor Leopold II, K Rudolph was for many years one of . JB Beethoven's most ardent supporters who ""8 received the dedication of more works by J the master than anyone else. It has long been thought that the "Triple" Concerto was written with his participation in mind, even though in the end, he did not play in the _, first performance. (The technical demands of the piano part are much lighter than those of Beethoven's solo piano concertos.) The "Triple" Concerto comes at the heels of the "Eroica" Symphony and stylistically j? belongs to Beethoven's "middle" period, yet it doesn't conform to the image of Beethoven, the heaven-storming hero, that was so dear to critics from the Romantic era down to the present day. The unusual instrumenta?tion and the deceptively "unproblematic"
nature of the music have caused some critics to regard the "Triple" Concerto as a lesser work, yet the quality of the writing is wor?thy of Beethoven in every bar.
The very beginning of the work is unique, with its unaccompanied cello-and-bass melody. After the orchestra has suc?cinctly presented the first movement's the?matic material, the solo section begins. The first solo instrument to enter is the cello, followed by the violin and, lastly, by the piano. The cello part, written for the promi?nent virtuoso Anton Kraft, remains the leader much of the time. It often moves in a high register, so that it is never overshad?owed by the other soloists or the orchestra. (This also causes the solo violin to move to its extreme high register, to keep the two timbres separate.) In multiple concertos, each theme is normally played by each solo . instrument in turn, which results in fre?quent repeats and in a musical form that is j less goal-oriented than what we see in most ' middle-period works of Beethoven. Mozart ; and Haydn had written "collective cadenzas"! in their respective symphonies concertantes; Beethoven did not do so, but instead pro?vided plenty of virtuosic opportunities for ? his players throughout the movement. ;
The cello, once more, begins the sec'i ond-movement, "Largo." The key is A-flat ' Major, rather distant from the main key of ,? C Major, but Beethoven provides a subtle i link by emphasizing the note 'C,' which, as the third of the chord, plays an important " part in A-flat Major as well. As in the Piano : Sonata Op. 53 in C Major ("Waldstein"), written around the same time, the slow '? movement is relatively short and functions., mainly as a transition to the ensuing ' "Rondo alia Polacca." The rhythm of the Polacca (or Polonaise) dance dominates the entire movement, ensuring its light-hearted nature. Before the end, the meter unexpect?edly changes to 24, and the Polacca melody , briefly takes on the character of a wild chase between the three instruments. The stately !
Polacca rhythm is restored, however, to con?clude the piece.
Suite for Strings
Leos Janacek
Born July 3, 1854 in Hukvaldy, Moravia '"
(Austrian Empire)
Died August 12, 1928 in Moravskd Ostrava
Czechoslovakia
Since Janacek wrote most of his greatest . music after his sixtieth birthday (in the 1910s and '20s), he is usually thought of as a twentieth-century composer. His early work is still insufficiently known, and it may j ''": come as a surprise to some that his first ''?'--'?a instrumental composition, the Suite for Strings, actually predates the Brahms Violin Concerto by one year.
The twenty-three-year-old Janacek had just returned to Brno, the capital of his .j ' native province of Moravia, after a stint at the Prague Organ School. He still considered his studies to be incomplete, and in 1879-80 he travelled to Leipzig and Vienna for fur?ther instruction. The Suite for Strings was written while Janacek was serving as a young music teacher in Brno; there was as yet no telling how far he would eventually go.
Inevitably, the six-movement Suite shows echoes of Smetana and Dvorak, the two greatest Czech composers of the day (though one must remember that even Dvorak hadn't written many of his greatest works at this point!). Yet Janacek did not follow his models slavishly; in particular, he took a different path than Dvorak had in his popular Serenade for Strings (1875), which Janacek conducted shortly before composing his Suite. Whereas Dvorak kept to a light serenade style, avoiding dramatic passion and great harmonic or structural complexi?ties, Janacek did not eschew more intense or serious moments (as at the very beginning of the work). Yet, side by side with studies in Wagnerian chromaticism, there are also
episodes of utter simplicity, evoking the dance suites of the Baroque period.
The first movement ("Moderato") opens with an austere introduction, fol?lowed by long, sweeping melodies and lan?guid harmonies. The second-movement "Adagio," scored only for violins and violas, is deceptively simple with unexpected har?monic twists. The third movement, mas?querading as a Baroque bourree, neverthe?less strikes a "Slavonic" note, as one Czech commentator has pointed out. (Janacek had this movement performed independently by a string quartet at his school.) The fourth movement, the most substantial of the work, is a scherzo, apparently inspired by Schubert and Beethoven, but also heavily "Slavicized." It is followed by a brooding "Adagio," dominated by the cellos and bass?es, and a gentle finale in an unusually slow andante tempo and in a different key than the opening movement, which was almost unheard of in 1877. The absence of a fast ending and a failure to return to the initial key leave the suite curiously open-ended. A sign of experimentation or inexperience Probably both. It is significant that Janacek did not publish this work until 1926, almost fifty years after it had been written, but he did agree to release it as an important, if somewhat immature, stage in his evolution "as a composer."
Symphony No. 4 in A Major, Op. 90
Felix Mendelssohn
Born February 3, 1809 in Hamburg, Germany
Died November 4, 1847 in Leipzig
Although traditionally designated as Symphony No. 4, the "Italian" Symphony was actually completed third of Mendelssohn's five symphonies for full orchestra. The numbering reflects the order of publication, rather than the order of composition.
During his stay in Italy in 1830-31, Mendelssohn worked on two symphonies
simultaneously. One was intended to cap?ture the composer's current impressions of Italy, the other to reflect on his journey to Scotland back in 1829. The Roman climate being hardly conducive to work on a Northern subject, it is no wonder that Mendelssohn finished the "Italian" Symphony first (he himself referred to it by that name). The "Scottish" Symphony was not completed until much later, in 1842.
The two symphonies seem to comple?ment one another in several ways. Not only were they inspired by two completely differ?ent landscapes, some of their musical char?acteristics are also in contrast. The "Scottish" Symphony is in a minor with a last move' ment ending in A Major, while the "Italian" Symphony is in A Major with an a-minor finale (it is much more unusual to end a major-key symphony with a finale in the minor than the other way around). "i
Without any introduction, the first movement of the "Italian" Syhpony begins with an exuberant wind fanfare, immediate?ly followed by a violin melody bursting with youthful energy. The movement is in regular } sonata form, with contrasting second theme, development and recapitulation. The devel?opment section contains a scherzo-like new theme in minor, which returns in the move?ment's coda.
& The second-movement, "Andante con moto," is usually said to have been inspired by a processional song and is occasionally dubbed "March of the Pilgrims." Eric Werner, in his book on Mendelssohn, proposed a different interpretation, noting the strong resemblance between the first theme of the i movement and the song "Es war ein Konig jj in Thule" (There was a King in Thule) by J Mendelssohn's teacher Carl Friedrich Zelter. This song is an excerpt from Goethe's Faust, q where Gretchen sings it as a ballad about a i king in a distant land who has lost his
beloved. The minor-mode melody, whose j undeniable hymn-like flavor is emphasized jj by contrapuntal treatment, is followed by an J
easily flowing second theme in major; a short motto, consisting of only two different notes, opens and closes the movement.
The third movement, "Con moto mod-erato," is really a minuet with Trio, although Mendelssohn didn't designate it as such. The minuet section looks back on the days of Haydn and Mozart with a touch of nos?talgia; the Trio, with its Romantic horn sonorities and puckish violin-and-flute theme, is more distinctly Mendelssohnian. After the recapitulation of the minuet, the Trio theme is hinted at once more, but instead of a full reprise of the Trio, the movement ends suddenly in a hushed pianissimo.
if The presto finale is titled "Saltarello" after an Italian folk dance. Of its two main melodies, the first one is indeed a bouncing saltarello; the other is a ceaselessly running tarantella. The dance character dominates the entire finale. It is only near the end that a more lyrical and slower-moving motif appears, but it is soon swept away by the returning saltarello rhythm......... .,..-?'.
Program notes by Peter Laki.
ach musician is a maestro," herald?ed an American critic during the first North American tour of the Prague Chamber Orchestra
_____Without Conductor (translation of
its full Czech title). An ensemble of thirty-six musicians, the Orchestra plays without a conductor, sustained instead by the superb musicianship of each player, and is renowned for its exquisite precision, intona?tion and balance. In rehearsal and perfor?mance, each individual contributes as an interpreter, similar to more intimate cham?ber music ensembles. The Orchestra's reper?toire ranges from Baroque to the twentieth century and often includes compositions of today's leading and active composers.
The Prague Chamber Orchestra holds a
5H8K
unique and leading place among the orches?tras of the Czech Republic. In 1951, first-desk players of the Czech Radio Symphony Orchestra in Prague came together to find a smaller orchestra suitable for performing ? works of Bohemian composers of the classical period.
The Orchestra's quality received imme?diate recognition at home, when on June 14, 1952 it appeared at the Prague Spring Festival. The advent of the Orchestra came at a time when there was a move away from large symphony orchestras playing Baroque and early Classical period music, so its pio?neering excellence in this field was well received. Due to the growth of its activities, it became increasingly difficult for the members to also continue their work with Czech Radio Symphony Orchestra. By 1965, the Prague Chamber Orchestra became a state-funded independent body. After the ' collapse of the Communist system in 1989, it was necessary to look for a new status for the Orchestra, and in 1991 the members m took over the management of the orchestra and set up their own concert agency. '
The Prague Chamber Orchestra is made up of twelve violins, four violas, four cellos, and two double basses, along with double wind and brass of flutes, oboes, clar?inets, bassoons, horns, trumpets, and tim?pani. The repertoire of the Orchestra is j based first and foremost on the major Classical works of Haydn, Mozart, and J Beethoven. It reaches back to the High j Baroque period with the music of Bach, j?j_ Handel, and Vivaldi, as well as forward into the early Romantic period with works by Schubert and Mendelssohn. S
The Orchestra's repertoire also includes music of the twentieth century, such as the. neoclassical works of Britten, Honegger, S Prokofiev, and Stravinsky. Alongside these works is a repertoire from Czech composers including the Benda family, Dusek, Jirovec, Kozeluh, Rejcha, Michna, Myslivecek, the Stamic family, Vanhal, Vorisck, the Vranicky
brothers, and Zelenka. Compositions by' Dvorak, Janacek, and Martinii are naturally".. included from the later period, as are those of later Czech composers, many of whom have written works especially for the Prague Chamber Orchestra.
The New York Times characterized the Orchestra as a "marvelous precision instru?ment." The Washington Post described the ensemble's musical sound as "light, clear, perfectly articulated and fresh as a spring gust of wind." Rome's Giornale d'ltalia wrote: "They demonstrated the highest form of artistic discipline, not blind and passive discipline to a conductor but an ,.,. enlightened and conscious one." "I
Tonight's performance marks the Prague Chamber Orchestra's sixth appearance under UMS auspices.
----ecognized for over forty years as
having set the standard for perfori mance of piano trio literature, the ; Beaux Arts Trio continues to ignite i overwhelming enthusiasm from audiences around the world. From the US to :. Russia, from Japan to Germany, from Israel to Brazil, this renowned ensemble's extensive, engagements have brought it the highest j praise. The Trio has received ovations from ; all of the world's major music centers , ' including New York, Boston, Chicago, jj Washington DC, London, Paris, Berlin, "j Munich, Vienna, Amsterdam, Moscow, Tel Aviv, Tokyo, Hong Kong and Sydney. Chosen as Musical America's "Ensemble of the Year" in 1997, the Trio has been invited and re; invited by these centers for over 100 concerts; and master classes each year. The Beaux Arts .j Trio's superb musicians, distinguished histo-; ry, comprehensive repertoire and expansive discography, contribute to its reputation as a hallmark of chamber music. ir
The Beaux Arts Trio, comprised of pianist Menahem Pressler, violinist Young
Uck Kim and cellist Antonio Meneses, con-i tinues the musical tradition which saw its ; official public debut at the 1955 Berkshire Music Festival, known today as the JBjjf Tanglewood Festival. Each member of the' Trio brings a highly acclaimed and exem' plary musical career to this ensemble, form?ing one of chamber music's most powerful collaborations. '-'.
JHP: Through the years, the Beaux Arts Trio has maintained its freshness, while preserv?ing its distinctive musical heritage. Founded by Menahem Pressler, Daniel Guilet, and J5_ Bernard Greenhouse, the Trio has evolved from the replacement of Guilet in 1969 with violinist Isidore Cohen, and the replacement of Greenhouse with cellist Peter Wiley in 1987. In June 1992, the Trio made its debut with violinist Ida Kavafian, in two extraordi?nary performances of Beethoven's "Triple" Concerto with the Gewandhaus Orchestra of Leipzig under Maestro Kurt Masur. The Beaux Arts Trio's mark in American culture is far-reaching. The ensemble has played a major and ongoing I role in the programs of important cultural'! and educational centers throughout North America, with annual concert series at such revered institutions as the Metropolitan q Museum of Art in New York, the Celebrity ' Series of Boston, and the Library of Congress, where the Trio is in residence. Its repeated annual engagements extend to numerous
associations and chamber music series. The Trio's regular university performances include appearances at Harvard, Princeton, Yale, Johns Hopkins, Berkley, the University of Illinois at Urbana-Champaign, and the University of Michigan.
The Beaux Arts Trio's many landmark projects include its participation in the "December Evenings" Festival in Moscow, at the invitation of Maestro Sviatoslav Richter, and a performance at the 1988 Summer Olympics in Seoul, South Korea. Several contemporary composers have written pieces for the Trio. Among the Trio's recent premieres are Ned Rorem's Spring Music, commissioned by Carnegie Hall as part of . Carnegie's Centennial Celebration; George ?! Rochberg's Summer, 1990, commissioned byj the Philadelphia Chamber Music Society;
and David N. Baker's Roots II, commis?sioned by the McKim Foundation.
The Beaux Arts Trio's extensive discogra-phy on Philips Records encompasses the entire piano trio literature. The Trio's record?ings have brought several coveted awards. The Beaux Arts Trio continues its exclusive relationship with Philips, and its last record?ing of music by Spanish composers was nominated for a Grammy in 1998.
Tonight's performance marks the Beaux Arts Trio's tenth appearance under UMS auspices. The ensemble made its UMS debut on February 25, 1962 and last appeared together in Ann Arbor on March 26, 2000 at Rackham Auditorium. Tonight's performance marks Menahem Pressler's twelfth appearance under UMS auspices.
Prague Chamber Orchestra
First Violin -m Ondfej Kukal' 3
Milan Lajcik, Concertmaster' for Beethoven Concerto David Sroubek , _ _,_. $ Otomar Klimaneki Libor Meisl ;
Boris Chomca ?
Second Violin
Libor Kaiika i___
Zdenek PechoiiSek" Karel Vidimsky Ksenia Dohnalova ; Zoe Victoria Vobofilovi Zdenek JirouSek Pavel Kutman
Viola
Zdenek Zindel Jan Stippl Marek Jificek Petr Janovsky
Cello
Pavel BelouSek Jaroslav Ondracek ? Ivo Laniar Barbora Soukupova
Double Bass Tonias Vybiral Stanislav Zoul Vaclav Hoskovec ;_
Flute V l::
Vaclav Kunt ?'" ?, -i TomaS Kalous ! Vladimir Petr .1
Oboe -
Jan Kolaf {.-Vratislav Vina ; Monika BouSkova ?
Clarinet
Milan Polak "' Zdenek Belina Karel Dohnal
Bassoon
Radek Oliva LukaS Kofinek Radek Dostal
Horn
Jan Vobofil Zdenek Vasina Jan Karas
Trumpet
Svatopluk Zaal Marek Vajo Jifi Sedivy
Timpani
Jifi Krob '
Manager Jaraslav Manda
Technician Petr Smolik
experience
MS SEASON.
1 11 educational activities
are free and open to the public unless otherwise noted ($). Many events with artists are yet to be planned--please call the UMS Education Office at 734.647.6712 or the UMS Box Office at 734.764. 2538 for more informa?tion. Activities are also
posted on the UMS ____
website at www.ums.
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, the 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 Kimberli 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 J Arbor Public Schools.
Moses Hogan Singers .
Moses Hogan, conductor ' . , .? Wednesday, January 10, 8 p.m. St. Francis of Assisi Catholic Church
Community Choir Workshop with Moses Hogan Featuring Ann Arbor's Our Own Thing Chorale and U-M vocal choirs. Tuesday, January 9,7:30 p.m., Bethel A.M.E. Church, 900 John A. Woods Drive, Ann Arbor. Call 734.647.6712 for more information. Media sponsor WEMU. 'JHJJSfKBirt
Vermeer Quartet
Saturday, January 13, 8 p.m. Rackham Auditorium PREP by Inna Naroditskaya, Professor, Northwestern University. A discussion of the evening's repertoire. Saturday, January 13,7:00 p.m., Rackham Auditorium, U-M Assembly Hall (4th Floor).
Mingus Big Band Blues and Politics
with Kevin Mahogany, vocals Monday, January 15, 8 p.m. Hill Auditorium Pre-performance Interview with Sue Mingus "This Aint's No $@ Ghost Band!" by Michael Jewett, Host of "Afternoon Jazz," WEMU 89.1 FM. Monday, January 15,6:00 p.m., Michigan League, Hussey Room (2nd Floor).
Sponsored by the Detroit Edison Foundation.
Presented with support from the Wallace-Reader's Digest Funds and 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, WDET and Metro Times.
Michigan Chamber Players
Sunday, January 21,4 p.m. Rackham Auditorium
Complimentary Admission
UMS Kennedy Center Workshop
"Songs ot the Underground Railroad" by Kim and Reggie Harris. Monday, January 29,4:30-7:30 p.m., Washtenaw Intermediate School, 1819 S. Wagner, Ann Arbor. Contact the UMS Youth Education Department at 734.615.0122 or e-mail 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, idSPSSlH
Brentano String Quartet
Sunday, February 4,4 p.m. Rackham Auditorium
Presented in partnership with the Chamber Music Society of Detroit.
Hubbard Street Dance Chicago
James F. Vincent, artistic director Friday, February 9, 8 p.m. Saturday, February 10, 8 p.m. Power Center Friday performance sponsored by Personnel Systems, Inc.Arbor Technical StaffingArbor Temporaries, Inc. Saturday performance presented with the generous support of Susan B. Ullrich. Additional support provided by GKN Sinter Metals. Media sponsors WDET and Metro Times.
Dubravka Tomsic, piano
Sunday, February 11,4 p.m.
Hill Auditorium
This performance is made possible by
the H. Gardner Ackley Endowment
Fund, established by Bonnie Ackley in
memory of her husband.
Media sponsor WGTE.
Dairakudakan Kaiin No Uma
(Sea-Dappled Horse) Akaji Maro, artistic director Wednesday, February 14, 8 p.m. Power Center
PREP "Humor and the Grotesque: Inhabiting the Far Reaches of the Butoh Continuum" by Kate Remen-Wait, UMS Dance Education Specialist. Wednesday, February 14, 7:00 p.m., Michigan League, Hussey Room (2nd Floor). Media Sponsor Metro Times.
Swedish Radio Symphony Orchestra and Choir
Manfred Honeck, conductor Marina Mescheriakova, soprano Nadja Michael, mezzo-soprano Marco Berti, tenor John Relyea, bass-baritone Friday, February 16, 8 p.m. Hill Auditorium Sponsored by KeyBank. Additional support provided by Alcan Global Automotive Solutions. Media sponsor WGTE.
Swedish Radio Choir and Eric Ericson Chamber Choir
Eric Ericson, conductor
Saturday, February 17, 8 p.m.
St. Francis of Assisi Catholic
Church
PREP by Naomi Andre, Assistant
Professor, U-M School of Music.
Friday, February 16, 7:00 p.m.,
Michigan League, Henderson Room
(3rd Floor).
Presented with the generous support
of Kathleen G. Charla.
Manuel Barrueco, guitar
Sunday, February 18, 4 p.m. Rackham Auditorium &
Ballet Preljocaj Paysage apres la Bataille
Angelin Preljocaj, artistic director Wednesday, February 21,8 p.m. Power Center
PREP "Angelin Preljocaj and the Legacy of Dance-Theater" by Kate Remen-Wait, UMS Dance Education Specialist.
Wednesday, February 21,7:00 p.m., Michigan League, Vandenberg Room (2nd Floor). Media Sponsor Metro Times.
Texaco Sphinx Competition Concerts
Junior Division Honors Concert Friday, February 23, 12 noon Hill Auditorium Complimentary Admission
Senior Division Finals Concert Sunday, February 25, 3 p.m. Orchestra Hall Detroit The Sphinx Competition is generously presented by the Texaco Foundation.
Prague Chamber Orchestra with the Beaux Arts Trio
Wednesday, March 7, 8 p.m. Hill Auditorium Sponsored by CFI Group, Inc. Additional support provided by Hella North America. Media sponsor WGTE.
Royal Shakespeare Company Shakespeare's History Cycle Henry 17, Parts I, II and J77 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 umsyouth(5u mich.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, I January 24, 7:00 p.m., Ann Arbor I 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 V7, 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.J 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 j 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. t
Media sponsor Michigan Radio,
Les Violons du Roy
Bernard Labadie, conductor , David Daniels, countertenor Thursday, March 22, 8 p.m. St. Francis of Assisi Catholic Church
Presented with the generous support of Maurice and Linda Binkow. Media sponsor WGTE.
Academy of
St. Martin-in-the-Fields
Murray Perahia, conductor
and piano
Saturday, March 24, 8 p.m.
Hill Auditorium
Sponsored by Pfizer.
Media sponsor WGTE.
Chamber Music Society of Lincoln Center
David Shifrin, artistic director Heidi Grant Murphy, soprano Ida Kavafian, violin Heidi Lehwalder, harp Paul Neubauer, viola Fred Sherry, cello Ransom Wilson, flute with cellists from the U-M School of Music Wednesday, March 28, 8 p.m. Lydia Mendelssohn Theatre Support provided by 77 Group , "'
Automotive Systems. '?
Media sponsor WGTE.
Brass Band of Battle Creek Paul W. Smith, emcee___
Friday, March 30, 8 p.m. Hill Auditorium
Sponsored by Ideation, Inc.
Ronald K. BrownEvidence
Ronald K. Brown, artistic director
Saturday, March 31,8 p.m.
Power Center
Meet the Artist post-performance
dialogue from the stage.
Funded in part by the National Dance
Project of the Neiv 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 Roscnthal.
Royal Concertgebouw Orchestra Amsterdam
Riccardo Chailly, conductor Matthias Goerne, baritone Wednesday, April 4, 8 p.m. Hill Auditorium Sponsored by Forest Health Sen'ices. Media sponsor WGTE.
Emerson String Quartet
Friday, April 6, 8 p.m. Rackham Auditorium
Sponsored by Bank of Ami Arbor.
John Relyea, bass-baritone
Warren Jones, piano Saturday, April 14, 8 p.m. Lydia Mendelssohn Theatre PREP "John Relyea: An Introduction To His Art" by Richard LeSueur, Music Specialist, Ann Arbor District Library. Saturday, April 14,7:00 p.m., Michigan League, Koessler Library (3rd Floor). Sponsored by Miller, Canfield, Paddock and Stone, P.LC. Media sponsor WGTE.
Mark Morris Dance Group
Mark Morris, artistic director with The Detroit Symphony Orchestra Neeme Jarvi, music director and The Ann Arbor Cantata Singers William Boggs, music director Friday, April 20, 8 p.m. Saturday, April 21, 8 p.m. Power Center Friday performance sponsored by McKinley Associates, Inc. Saturday performance sponsored by The Shiffman Foundation, Sigrid Christiansen and Richard Levey. Funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from the National Endowment for the Arts and the Doris Duke Charitable Foundation. Additional funding provided by the Andrew W. Mellon Foundation and the Philip Morris Companies Inc. Media sponsors WDET and Metro Times.
Berlioz7 Requiem
UMS Choral Union
Greater Lansing Symphony Orchestra
U-M Symphony Band
Thomas Sheets, conductor
Sunday, April 22, 4 p.m. c.
Hill Auditorium
Sponsored by Jim and Millie Irwin.
UMS Co-Commission &? World Premiere Curse of the Gold: Myths from the Icelandic Edda
Conceived and directed by Benjamin Bagby and Ping Chong
Performed by Sequentia in association with Ping Chong and Company Wednesday, April 25, 8 p.m. Thursday, April 26, 8 p.m. Lydia Mendelssohn Theatre Presented with the generous support of Robert and Pearson Macek, with additional funding from the Wallace-Reader's Digest Funds and the National Endowment for the Arts. Presented in collaboration with the U-M Institute for the Humanities. Media sponsor Michigan Radio.
Peter Sparling Dance Company Orfeo Open Rehearsal Satuil.iv, April 28,1:00-3:00 p.m., Peter Sparling Dance Gallery Studio, 111 Third Street, Ann Arbor.
Work-in-Progress Preview of Orfeo
with the U-M School of Music. Saturday, May 19, 8:00 p.m., Michigan Theater, Ann Arbor. For more infor?mation call Peter SparlingDance Gallery Studio at 734.747.8885 or visit Peter Sparling Dance Company at www.comnet.orgdancegallery.
Liz Lerman Dance Exchange will be in residency for several weeks this spring in preparation for their Hallelujah! project premiering Fall 2001. If you would like more information about upcoming residency activities, please contact the UMS Education Department at 734.615.6739.
he Ford Honors Program is made possible by a generous grant from the Ford Motor Company Fund and benefits the UMS Education Program.
Each year, UMS honors a world-renowned artist or ensemble with whom we have maintained a long-standing and signifi?cant relationship. In one evening, UMS pays tribute to and presents the artist with the UMS Distinguished Artist Award, and hosts a dinner and party in the artist's honor. Van Cliburn was the first artist so honored, with subsequent honorees being Jessye Norman, Garrick Ohlsson, The Canadian Brass, and Isaac Stern.
This season's Ford Honors Program will be held on Saturday, May 12, 2001. The recipient of the 2001 UMS Distinguished Artist Award will be announced in February 2001.
Ford Honoi Program Honoict -
1996
Van Cliburn
1997
Jessye Norman
1998
Garrick Ohlsson
1999
The
Canadian Brass
2000
Isaac Stern
UION & AUDI DEVELOPMEN
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:
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 L opportunity to showcase and engage the choreographers in academic, yet informal, dialogues about their art form, their body of work and their upcoming performances.
PREPs (Performance-Related Educational Presentations)
This series of pre-performance presentations features talks, demonstrations and workshops designed to provide context and insight into the performance. All PREPs are free and open to the public and usually begin one hour before curtain time.
Meet the Artists: Post-Performance Dialogues
The Meet the Artist Series provides a special opportunity for patrons who attend perform?ances to gain additional understanding about the artist, the performance they've just seen and the artistic process. Each Meet the Artist event occurs immediately after the perform?ance, and the question-and-answer session takes place from the stage.
Artist Residency Activities
UMS residencies cover a diverse spectrum of artistic interaction, providing more insight and greater contact with the artists. Residency activities include interviews, open rehearsals, lecturedemonstrations, in-class visits, master classes, participatory workshops, clinics, visiting scholars, seminars, communi?ty projects, symposia, panel discussions, art installations and exhibits. Most activities are free and open to the public and occur around the date of the artist's performance.
Major residencies for the 2001 Winter Season are with:
Alvin Ailey American Dance Theater
Royal Shakespeare Company
Ping ChongBenjamin Bagby
Youth Performances
These performances are hour-long or full length, specially designed, teacherand stu?dent-friendly live matinee performances.
The 2001 Youth Performance Series includes:
Mingus Big Band: Blues and Politics
Alvin Ailey American Dance Theater
Hubbard Street Dance Chicago
' Royal Shakespeare Company: Richard III
' Ronald K. BrownEvidence
' '? r I
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 t Students to Public Performances
UMS offers special discounts to school groups attending our world-class evening and weekend performances. Please call the Group Sales hotline at 734.763.3100 for more infor?mation about discounts for student and youth groups.
UMS Camerata Dinners
Now in their fifth season, Camerata Dinners are a delicious and convenient beginning to your UMS concert evening. Our dinner buffet is open from 6:00 to 7:30 p.m., offering you the perfect opportunity to arrive early, park with ease, and dine in a relaxed setting with friends and fellow patrons. Catered this year by the very popular Food Art, our Camerata Dinners will be held prior to the Choral Union Series performances listed below. All upcoming dinners will be held in the Alumni Center. Dinner is $35 per person. UMS members at the Benefactor level ($500) and above are entitled to a discounted dinner price of $30 per person. All members receive 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 ?
Wednesday, March 7
Prague Chamber Orchestra ;
Saturday, March 24
Academy of St. Martin-in-the-Fields
Wednesday, April 4
Royal Concertgebouw Orchestra 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't on p. 39
UMS is pleased to announce its cooperative ventures with the following local establish-
The Artful Lodger Bed & Breakfast
1547 Washtenaw Avenue Call 734.769.0653 for reservations Join Ann Arbor's most theatrical host and hostess, Fred & Edith Leavis Bookstein, for a weekend in their massive stone house built in the mid-1800s for U-M President Henry Simmons Frieze. This historic house, located just minutes from the performance halls, has been comfortably restored and furnished with contemporary art and performance memorabilia. The Bed & Breakfast for Music and Theater Lovers!
The Bell Tower Hotel & Escoffier Restaurant
300 South Thayer
734.769.3010 for reservations and prices ? Fine dining and elegant accommodations, along with priority seating to see some of the world's most distinguished performing artists, add up to a perfect overnight holiday. Reserve space now for a European-style guest -room within walking distance of the per?formance halls and downtown shopping, a special performance dinner menu at the Escoffier restaurant located within the Bell Tower Hotel, and priority reserved "A" seats to the show. All events are at 8 p.m. with din?ner prior to the performance.
Package includes valet parking at the hotel, overnight accommodations in a European-style guest room, a continental breakfast, pre-show dinner reservations at Escoffier restaurant in the Bell Tower Hotel, and two performance tickets with preferred seating reservations.
Package price is $228 per couple.
Gratzi Restaurant
326 South Main Street
888.456.DINE for reservations
Pre-performance Dinner
Package includes guaranteed reservations
for a preor post-performance dinner (any
selection from the special package menu plus
a non-alcoholic beverage) and reserved
"A" seats on the main floor at the performance.
Packages are available for select perform?ances. Call 734.763.5555 for details.
Vitosha Guest Haus
1917 Washtenaw Avenue Call 734.741.4969 for reservations Join proprietors Christian and Kei Constantinov for afternoon tea, feather duvets and owls in the rafters in their expan?sive stone chalet home. Catering to "scholars, artists and the world-weary," this historic complex features old English style decor, ten guest rooms, each with their own private bath and many with a gas fireplace, a neo-Gothic parsonage, coach house tearoom, and a Frank Lloyd Wright-inspired church. The Vitosha Guest Haus also offers group dis?count rates and can accommodate confer?ences, musical and performing arts events, weddings and family celebrations. Call 734.741.4969 for reservations or to inquire about special package prices.
isit and enjoy these fine area restaurants. Join us in thanking them for their gener?ous support of UMS. ggsjjgi
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 "1-------------r
221 East Washington Street 734.998.4746 Join us for an authentic dining adventure to be shared and long remembered. Specializing in poultry, beef, lamb and vegetarian special?ties. Outstanding wine and beer list. http:annarbor.orgpagesbluenile.html
Cafe 303
303 Detroit Street 734.665.0700 Modern American cooking, daily eclectic specials, seafood, pasta & steaks. Full bar, wines by-the-glass, and courtyard dining. Open 7 days at 11:00 a.m., weekend brunch. Meetings, banquets, and parties easily accommodated. Coming soon: live entertainment and other exciting surprises.
Cafe Marie
1759 Plymouth Road 734.662.2272 Distinct and delicious breakfast and lunch dishes, creative weekly specials. Fresh-squeezed juice and captivating cappuccinos! A sunny, casual, smoke-free atmosphere. Take out available. ,
The Chop House
322 South Main Street 888.456.DINE Ann Arbor's newest taste temptation. An elite American Chop House featuring U.S.D.A. prime beef, the finest in Midwestern grain-fed meat, and exceptional premium wines in a refined, elegant setting. Open nightly, call for reservations.
The Original Cottage Inn
512 East William 734.663.3379 An Ann Arbor tradition for more than fifty years. Featuring Ann Arbor's favorite pizza, a full Italian menu, banquet facilities and catering services.
D'Amato's Neighborhood Restaurant
102 South First Street 734.623.7400 World class Italian cuisine and thirty-five wines by the glass in sleek atmosphere. Entrees changed daily, private meeting area. Rated 'four stars' by the Detroit Free Press. Lunch weekdays, dinner every night. Reservations welcome.
Gandy Dancer
401 Depot Street 734.769.0592 Located in the historic 1886 railroad depot. Specializing in fresh seafood. Lunches Monday-Friday 11:30-3:30. Dinners Monday-Saturday 4:30-10:00, Sunday 3:30-9:00.
Award-winning Sunday brunch 10:00-2:00. Reservations recommended.
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 i atmosphere. Hours vary, reservations accepted.!
La Dolce Vita , &
322 South Main Street 734.669.9977 i Offering the finest in after dinner pleasures. Indulge in the delightful sophistication of s 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 I
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. j
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 g pastries. Award-winning wine list. Ports, 1 cognacs, entertainment nightly. 'M
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.
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 Si brochure or for more information.
x0UMS support
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 c request more information. f
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 i or sponsoring UMS performances enables you to reach 130,000 of southeastern Michigan's most loyal concertgoers.
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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. v&_____.___--
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
? Targeting messages to specific demographic groups
Making highly visible links with arts
and education programs_______________
? Recognizing employees
? Showing appreciation for loyal customers
For more information, please call 734.647.1176.
nternships with UMS provide experience in performing arts administration, mar?keting, publicity, promotion, production and arts education. Semesterand year-long internships are available in many of UMS' departments. For more information, please call 734.764.9187.
'tudents working for UMS as part of the College Work-Study program gain valu?able experience in all facets of arts manage?ment including concert promotion and marketing, fundraising, event planning and production. If you are a University of Michigan student who receives work-study financial aid and who is interested in working at UMS, please call 734.764.9187.
, ithout the dedicated service of UMS' Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing program books and pro?viding that personal touch which sets UMS events above others.
The UMS Usher Corps comprises over 300 individuals who volunteer their time to make your concert going experience more pleasant and efficient. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill, Power Center, or Rackham) for the entire concert season.
If you would like information about s 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, f 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. i 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
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 a
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 j
Detroit Edison Foundation Elizabeth E. Kennedy Fund Mid-America Arts Alliance
Heartland Arts Fund New England Foundation
for the Arts, Inc. 'BBtJI Shiftman Foundation Trust
(Richard Levey and Sigrid
Christiansen) The Texaco Foundation
VIRTUOSI
Individuals
David Eklund and Jeff Green Prudence and Amnon Rosenthal
Businesses ___
Bank of Ann Arbor CFI Group
CONCERTMASTERS
Individuals
Maurice and Linda Binkow Barbara Everitt Bryant Douglas D. Crary j
Ken and Penny Fischer Beverley and Gerson Geltner David and Phyllis Herzig Lawrence and Rebecca Lohr. Robert and Pearson Macek ' Robert and Ann Meredith Joe and Karen Koykka O'Neal Loretta M. Skewes Dr. Isaac Thomas III and
Dr. Toni Hoover Don and Carol Van Curler Marina and Robert Whitman Ann and Clayton Wilhite Roy Ziegler ;
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
America
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 yp$p
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 S
AAA Michigan
Blue Nile Restaurant
Dennis A. Dahlmann Inc.
Ideation, Inc.
Joseph Curtin Studios
Masco Corporation
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. Brokaw Jeannine and Robert Buchanan Robert and Victoria Buckler Lawrence and Valerie Bullen Mr. and Mrs. Richard J. Burstein Letitia J. Byrd Betty Byrne Jim and Priscilla Carlson
Jean and Kenneth Casey -------
Janet and Bill Cassebaum
Anne Chase
Don and Betts Chisholm
Mr. and Mrs. John Alden Clark j
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 i
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 :f David and Jo-Anna Fcatherman i Adrienne and Robert Z. Feldstein i Ray and Patricia Fitzgerald David C. and Linda L. Flanigan Bob and Sally Fleming Ilene H. Forsyth Michael and Sara Frank Marilyn G. Gallatin James and Cathie Gibson William and Ruth Gilkey Drs. Sid Gilman and Carol Barbour Alvia G. Golden and
Carroll Smith-Rosenberg Norm Gottlieb and '?,;.?
Vivian Sosna Gottlieb
Principals, continued
Victoria Green and
Matthew Toschlog Linda and Richard Greene Frances Greer John and Helen Griffith David and
Pamela Colburn Haron Taraneh and Carl Haske Anne and Harold Haugh Bertram Herzog Julian and Diane Hoff Janet Woods Hoobler Robert M. and Joan F. Howe Sun-Chien and Betty Hsiao John and Patricia Huntington Stuart and Maureen Isaac Lennart and
Karin Johansson Elizabeth Judson Johnson Robert L. and
Beatrice H. Kahn Robert and Gloria Kerry Amy Sheon and
Marvin Krislov ' Bud and Justine Kulka Barbara and Michael Kusisto Lenore Lamont Jill Latta and David S. Bach Leo and Kathy Legatski Evie and Allen Lichter Carolyn and Paul Lichter Richard and Stephanie Lorrl Dean and Gwen Louis Virginia and Eric Lundquist John and Cheryl MacKrell . Natalie Matovinovic t Margaret W. Maurer Joseph McCune and
Georgiana Sanders Rebecca McGowan and
Michael B. Staebler Dr. H. Dean and
Dolores Millard Andy and Candice Mitchell Lester and Jeanne Monts Grant W. Moore Julia S. Morris Eva L. Mueller M. Haskell and
Jan Barney Newman William and
Deanna Newman Dr. and Mrs.
William J. Oliver Mark and Susan Orringer Elizabeth C. Overberger Mr. and Mrs.
William B. Palmer William C. Parkinson Dory and John D. Paul John M. Paulson Maxine Pierpont Elaine and Bertram Pitt Eleanor and Peter Pollack Stephen and Agnes Reading
Donald H. Regan and
Elizabeth Axelson Kenneth J. Robinson Mrs. Irving Rose Victor Strecher and
Jeri Rosenberg Gustave and
Jacqueline Rosseels Dr. Nathaniel H. Rowe Mr. and Mrs.
Charles H. Rubin Maya Savarino Mrs. Richard C. Schneider Rosalie and
David Schottenfeld Dr. John J. H. Schwarz Robert Sears and
Lisa M. Waits Joseph and Patricia Settimi Janet and Michael Shatusky Helen and George Siedel J. Barry and Barbara M. Sloat Tim Sparling and
Lynne Tobin
Steve and Cynny Spencer Gus and Andrea Stager James and Nancy Stanley Mrs. Ralph L. Steffek Mr. and Mrs.
John C. Stegeman Victor and
Marlene Stoeffler Bengt L. and
Elaine M. Swenson James L. and Ann S. Telfer Susan B. Ullrich Bryan and Suzette Ungard Jerrold G. Utsler Charlotte Van Curler Mary Vanden Belt Elly Wagner "---
John Wagner ' Gregory and
Annette Walker Barry and Sybil Wayburn Willes and Kathleen Weber Elise and Jerry Weisbach Robert O. and
Darragh H.Weisman Roy and JoAn Wetzel Max Wicha and
Sheila Crowley Dr. and Mrs. Clyde Wu Paul and Elizabeth Yhouse Ed and Signe Young Gerald B. and
Mary Kay Zelenock Nancy and Martin
Zimmerman
Businesses
Charles Reinhart
Company Realtors Shar Products Company
Foundations
Harold and Jean
Grossman Family w
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 Michael Allemang and
Denise Boulange Dr. and Mrs. Rudi Ansbacher Janet and Arnold AronofF Max K. Aupperle Gary and Cheryl Balint Norman E. Barnett Mason and Helen Barr Astrid B. Beck and
David Noel Freedman Kathleen Beck Harry and Betty Benford John Blankley and
Maureen Foley Tom and Cathie Bloem lane M. Bloom Ron and Mimi Bogdasarian Charles and Linda Borgsdorf David and Sharon Brooks June and Donald R. Brown Virginia Sory Brown Douglas and
Marilyn Campbell Jean W. Campbell Michael and Patricia Campbell Bruce and 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 [ay 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. Sieve 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 Hum Ronald R. and
Gaye H. Humphrey Eileen and Saul Hymans : Wallie and Janet Jeffries 2E-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 ?(K Herbert Katz
Richard and Sylvia Kaufman John B. and Joanne Kennard Richard L. Kennedy Emily and Ted Kennedy Howard King and
Elizabeth Sayre-King Dick and Pat King Hermine R. Klingler Bethany and Bill Klinke Philip and Kathryn Klintworth Jim and Carolyn Knake Joseph and Marilynn Kokoszka Samuel and Marilyn Krimm Lee and Teddi Landes David and Maxine Larrouy John K. Lawrence Ted and Wendy Lawrence Laurie and Robert LaZebnik Ann M. Leidy Leslie and Susan Loomans
Charles and Judy Lucas Brigitte and Paul Maassen Edwin and Catherine Marcus Nancy and Philip Margolis Claude and Marie Martin Irwin and Fran Martin Sally and Bill Martin Marilyn Mason Chandler and Mary Matthews Elaine J. McFadden Eileen Mclntosh and
Charles Schaldenbrand Richard and
Elizabeth McLeary Ted and Barbara Meadows Dr. Gerlinda Melchiori Walter and Ruth Metzger Valerie Meyer Leo and Sally Miedler Myrna and Newell Miller Melinda and Bob Morris Brian and Jacqueline Morton Cyril and Rona Moscow Hillary Murt and
Bruce A. Friedman Martin Neuliep and
Patricia Pancioli "
Mrs. Marvin Niehuss Gene Nissen
Marylen and Harold Oberman Dr. and Mrs.
Frederick C. O'Dell Constance L. and
David W. Osier Mitchel Osman, M.D. Shirley and Ara Paul Lorraine B. Phillips Murray and Ina Pitt Stephen and Bettina Pollock Richard H. and
Mary B. Price Mrs. Gardner C. Quarton Mrs. Joseph S. Radom Jeanne Raisler and
Jonathan Allen Cohn Jim and leva Rasmussen im and Bonnie Reece Rudolph and Sue Reichert Ray and Ginny Reilly Maria and Rusty Restuccia Dr. Susan M. Rose Mrs. Doris E. Rowan James and Adrienne Rudolph Ina and Terry Sandalow Sheldon Sandweiss Ronald and Donna Santo Drs. Edward and
Virginia Sayles Peter C. Schaberg and
Norma J. Amrhein Meeyung and
Charles Schmitter Sue Schroeder Howard and Aliza Shevrin Dr. and Mrs.
Martin Shinedling Frances U. and i
Scott K. Simonds Dr. Elaine R. Soller Kate and Philip Soper Cynthia J. Sorensen 1
Mr. and Mrs. Neil J. Sosin Juanita and Joseph Spallina Stephen and Gayle Stewart Wolfgang Stolper
Nancy Bielby Sudia Charlotte B. Sundelson Ronna and Kent Talcott Bob and Betsy Teeter Mrs. E. Thurston Thieme Christina and
Thomas Thoburn Dr. and Mrs.
Merlin C. Townley Joan Lowenstein and
Jonathan Trobe Marilyn Tsao and Steve Gao Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger Jack and
Marilyn van der Velde Kate and Chris Vaughan Florence S. Wagner Bruce and Raven Wallace Charles R. and
Barbara H. Wallgren Dana M. Warnez Joyce L. Watson Robin and Harvey Wax Karl and Karen Weick Raoul Weisman and
Ann Friedman Dr. Steven W. Werns Harry C. White and
Esther R. Redmount Clara G. Whiting Brymer Williams J. D. and Joyce Woods Mr. and Mrs. A. C. Wooll David and April Wright Don and Charlotte Wyche
Businesses
The Barfield Company
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 Alexiou
Christine Webb Alvey
Dr. and Mrs. David G. Anderson
David and Katie Andrea
Harlene and Henry Appelman
Patricia and Bruce Arden
Jeff and Deborah Ash
Mr. and Mrs. Arthur J. Ashe, III
Dwight Ashley
Dan and Monica Atkins
Jonathan and Marlene Ayers
Robert L. Baird
John R. Barcham
Cy and Anne Barnes
Associates, cotttinuetl
Victoria and Robin Baron Lois and David Baru Gary Beck nun and Karla Taylor Srirammohan S. and
Sham a I Bcltangady Erling and
Mcrcte Blondal Bengtsson Linda and Ronald Benson Robert Hunt Berry Sheldon and Barbara Berry Dan and Irene Biber Roger and Polly Bookwalter James and Ian ice Stevens Botsford Mr. Joel Bregman and
Ms. Elaine Pomeranz Allen and Veronica Britton Mrs. A. Joseph Brough Morton B. and Raya Brown Sue and Noel Buckner Trudy and Jonathan Bulkley Arthur W. and Alice R. Burks Bob Caldwell and
Terry Hirth Caldwell Susan and Oliver Cameron Margot Campos Charles F. Cannell Nancy Cantor
Marshall F. and Janice L. Carr Jcannette 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 J Constance Crump and
Jay Simrod Sunit and Merial Das '--
Charles and Kathleen Davenport Ed and Ellic Davidson Peter and Norma Davis Ronald and Dolores Dawson John and Jean Debbink Elena and Nicholas Delbanco Ellwood and Michele Derr Elizabeth Dexter Martha and Ron DiCecco Bill and Peggy Dixon Jean Dolega
Heather and Stuart Dombey Dr. and Mrs. Edward F. Domino Thomas and Esther Donahue Eugene and Elizabeth Douvan Mr. and Mrs. Daniel G. Dow Phillip Duryea Jane E. Dutton Martin and Rosalie Edwards Judge and Mrs. S. J. Elden Ethel and Sheldon Ellis Mackenzie and Marcia Endo Joan and Emil Engel Patricia Enns
Dr. and Mrs. James Ferrara Yi-tsi M. and
Albert Feuerwerker Karl and Sara Fiegenschuh
Dr. James F. Filgas Carol Finerman Hcrschcl 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 Guillcrmo Flores Mr. and Mrs. George W. Ford Doris E. Foss Paula L. Bockenstedt and
David A. Fox
Howard and Margaret Fox Betsy Foxman and
Michael Boehnkc Andrew and Deirdrc Freiberg Lcla J. Fuester
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld Bernard and Enid Galler Eugene and Mary Anne Gargaro David and Marian Gates Wood and Rosemary Geist Mr. and Mrs. Michael Gillis James and Janet Gilsdorf Maureen and David Ginsburg Albert and Almeda Girod Edward and Ellen Goldberg Irwin Goldstein and
Martha Mayo Charles Goss
James W. and Maria J. Gousseff Elizabeth Needham Graham Maryanna and
Dr. William H. Graves, III Jerry M. and Mary K. Gray Dr. John and Renee M. Gredcn Lila and Bob Green Bill and Louise Gregory Lauretta and Jim Gribble Carleton and Mary Lou Griffin Mark and Susan Griffin Werner H. Grilk David and Kay Gugala Ken and Margaret Guire Arthur W.Gulick.M.D. John and Susan Halloran Yoshiko 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 Hcrshenson Peter G. Hinman and
Elizabeth A. Young Frances C. Hoffman ,t
Matthew C. Hoffmann and .
Kerry McNulty Carol and Dieter Hohnke Ronald and Ann Holz Drs. Linda Samuelson and
Joel Howell Jane H. Hughes Ann D. Hungerman Thomas and Kathryn Huntzicker Susan and Martin Hunvitz 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 Kinnear
Rhea and Leslie Kish
James and Jane Kister
Beverly Klciber
Shira and Steve Klein ]
Laura Klcm :
Clyde and Anne Kloack 1
Ruth and Thomas Knoll [
Nick Knuth j
Dr. and Mrs. Melvyn Korobkin :
Michael and Phyllis Korybalski i
Ron and Barbara Kramer
Bert and Catherine La Du
Mr. and Mrs. Henry M. Lapeza j
Neal and Anne Laura nee
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 ). and
Carolyn Dana Lewis Jacqueline H. Lewis Earl Lewis
Leons and Vija Liepa ??-J-L-
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 t Edward and Barbara Lynn Donald and Doni Lystra '
Jeffrey Mackic-Mason i
Pamela J. MacKintosh Steve and Ginger Maggio Virginia Mahle Mcfvin and Jean Manis Marcovitz Family Sheldon and Gcraldine Market Peter Marshall Jim and Ann Mattson Melissa McBrienBaks Family Margaret E. McCarthy Ernest and Adele McCarus W. Bruce McCuaig Griff and Pat McDonald Mr. and Mrs. Ernest Merlanti Bernice and Herman Merte : Henry D. Messer Carl A. House Helen Mctzner Deanna Relyea and
Piotr Michalowski M Jeanette and Jack Miller lohn Mills Thomas and Doris Miree Kathleen and James Mitchincr Dr. and Mrs.
William G. Moller, Jr. Jane and Kenneth Moriarty Frederick C. Neidhardt and
Germaine Chipault Laura Nitzberg and , '
Thomas Carli Donna Parmclee and
William Nolting Marysia Ostafin and
George Smillie Julie and Dave Owens David and Andrea Page Drs. Sujit and Uma Pandit , William and Hedda Panzer Rene and Hino Papo Elizabeth M. Payne [
Zoc and Joe Pearson Margaret and Jack Petcrsen jj Joyce H. and Daniel M. Phillips
William and Barbara Pierce Frank and Sharon Pienanclli 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 J. Thomas and Kathleen Pustell Lcland and
Elizabeth Quackcnbush Patricia Randle and lames Eng Anthony L. Reffells and
Elaine A. Bennett Glenda Rcnwick Janet L. Repp
Molly Resnik 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 Rosenwald 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-BIack David and Marcia Schmidt Monica and David E. Schteingart Suzanne Selig Harriet Selin Erik and Carol Serr Ruth and Jay Shanberge Hollis and Martha A. Showalter Ned Shure and Jan Onder Sandy and Dick Simon Robert and Elaine Sims Scott and Joan Singer John and Anne Griffin Sloan Tim and Marie Slottow Alene M. Smith Carl and Jari Smith Mrs. Robert W. Smith Susan M. Smith Jorge and Nancy Solis Yoram and Eliana Sorokin Tom Sparks Jeffrey D. Spindler Allen and Mary Spivey Curt and Gus Stager Barbara Stark-Nemon and
Barry Nemon
Dr. and Mrs. Stanley Strasius Brian and Lee Talbot Eva and Sam Taylor Dr. Paul and Jane Thielking Catherine Thoburn Edwin J. Thomas Bettc M. Thompson Mr. and Mrs. W. Paul Tippett Patricia and Tcrril Tompkins Paul and Frcdda Unangst Dr. and Mrs. Samuel C. Ursu Jim and F.milie 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. Vasscll Shirley Verrctt Carolyn and Jerry Voight John and Maureen Voorhecs
Wendy L. Wahl and
William R. I.ee J Mrs. Norman Wait ' Robert D. and Liina M. Wallih Dr. and Mrs. Jon M. Wardner Mr. and Mrs. Robert M. Warner Deborah Webster and
George Miller John and Joanne Werner Susan and Peter Westerman B. Joseph and Mary White Iris and Fred Whitchousc Reverend Francis F.. Williams Christine and Park Willis Thomas and Iva Wilson Charles Witkc and
Aileen Gattcn 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.
Atlas 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 Adler Thomas Aider
Michael and Hiroko Akivama Gordon and Carol Allardycc lames 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 Joseph and Annette Anderson Timothy and Caroline Andrcsen 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 Austgcn ,. . Shirley and Donald Axon Virginia and Jerald Bachman Drs. ohn 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 Barer Maria Kardas Barna Joan W. Barth Robert and Carolyn Bartle Leslie and Anita Bassctt Mrs. Jcrc Bauer James and Margaret Bean Mr. and Mrs. John C. Bcatty
Mr. and Mrs. Steven R. Beckcrt Robert Beckley and Judy Dinesen Mr. and Mrs. Bruce Beicr Steve and Judy Bemis Walter and Antje Bcnenson Bruce Benncr and
Hcly Merle-Benner Linda Bennett and Bob Bagramian Mr. and Mrs. Ib Bentzen-Bilkvist Dr. Rosemary R. Berardi Mr. and Mrs. Joel S. Berger Barbara Levin Bergman Jim Bergman and Penny Hommel Marie and Gerald Berlin Abraham and Thelma Berman Susan A. Bernard Pearl Bernstein Steven Bernstein Michel and Dominique Bcrny Gene and Kay Berrodin Andrew H. Berry, D.O. .1
Mark Bert J
R. Beak and R. Halstead m Naren and Nishta Bhatia John and Marge Bianckc Eric and Doris Billes John E. Billie and Sheryl Hirsch Sara Billmann and Jeffrey Kuras William and Ilene Birge Elizabeth S. Bishop Martin and Mary Black Barbara O. Black Art and Betty Blair Donald and Roberta Blitz Marshall and Laurie Blondy Dennis Blubaugh
Mr. and Mrs. Ralph O. Boehnl
Beverly J. Bole
Mark and Lisa Bomia
Dr. and Mrs. Frank P. Bongiorno
Harold W. and Rebecca S. Bonnell
Edward and Luciana Borbely
Lola J. Borchardt
Morris and Reva Bornstein
Jeanne and David Bostian !
Victoria C. Botek and :
William M. Edwards Bob and Jan Bower Dean Paul C. Boylan Marvin J. and Maureen A. Boyle Dr. and Mrs. Ralph Bozell Stacy P. Brackens Dr. and Mrs. C. Paul Bradley Melvin W. and Ethel F. Brandt William R. Brashear Enoch and Liz Brater Mr. and Mrs. Gerald Bright Paul A. Bringer Amy and Clifford Broman .: Razclle Brooks Olin L. and Alccta Browdcr Linda Brown and Joel Goldbe Cindy Browne Molly and John Brueger Mrs. Webster Brumbaugh Phil Bucksbaum and
Roberta Morris Dr. Frances E. Bull Margaret E. Bunge Ml Bh
Marilyn Burhop
Tony and Jane Burton
Barbara II. Busch
Joanne Cage --=--
Barbara and Albert Cain -
Louis and Janet Callaway
H. D. Cameron
Mrs. Darrcll A. Campbell
James II. (Campbell .
Valerie and Brent Carey
Barbara (Carpenter
James and Jennifer Carpenter
Deborah S, Carr
James and Mary Lou Carru ?
Margaret P. Carrigan
Dennis B. and Margaret W. Carroll
Dean Carter and
Dr. Petra Schindler Carter Joseph and Nancy Cavamumh K. M.Chan
Bill and Susan Chandler J. WchrIcy and Patricia Chapnt.in Dr. Carey Charlc-Angelo
Barry and Marjoric Checkoway
loan and Mark Chester
Felix and Ann Chow
Catherine Christen
Edward and Rebecca Chudacoflf
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 Cojone
Gordon and Marjorie Comfort
Wendy and Mark Comstock
Carqlvn and L. Thomas Conlin
Patrick and Anncward 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 Bette Cotzin
Marjorie A. Cramer
Dee Crawford
Richard and Penelope Crawford
Charles and Susan Cremin
Mary C. Crichlon
Mr. and Mrs. lames I. Crump
Peggy Cudkowicz
Richard J. Cunningham
Marcia A. Dalbey
Marylee Dalton
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. Davidgc 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 l:. Decker Rossanna and George DeGrood Mr. and Mrs. Roll'A. Deininger Pamela DeTullio and ---------------
Stephen Wiseman ? Don and Pam Devinc Sheryl Diamond Macdonald and Carotin Di Gordon and Elaine Didier Ruth I. Doane Patti Dobbs
Judy and Steve Dobson -
Ed and Betty Doezema Rev. Dr. Timothy I. Dombrowski Steven ami Paula Dunn IV.inn.i .uul Richard Corner Knlaiul .iihI DiatuDr.iyson Cecilia, ami Allan Prcyiuss John Dryden and Diana Raimi Gulshirin Dubash and
leremy Mislry
Mary P. Dubois ..------
Rosannc and Sandy Duncan Mary H. Dunham
Robert and Connie Dunlap
Dr. and Mrs. Theodore K. Dushanc George G, and Roberta R. luirl liliiine IXonniiiuii ami
Patrick Cnnliu Itichiird and My ma Kdgiir Morgan 11. and Sara O. EdwunK lulieiind Charles Ellli ,inuRllltand lean Uwlon It. MichnrI iiml Imllth I, I iulrc Mr, and Mrs. tred A. lib
lirb foundation Roger ?. Brlckwm Stcvt and Pamela In
Leonard and Madeline Eron Dorothy and Donald Eschman Salty Evaldson and John Posa Barbara Evans Don and Jeanette Faber Mr. and Mrs. Robert B. Fair, )r. Elly and Harvey Falit Dr. Chervl C. farmer Mike and Bonnie Fauman Inka and David Felbeck Reno and Nancv Feldkamp Phil and Phvllis'Fellin Ronda and Ron Fcrber 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 fames Fitzgerald Beth and Joe Fitzsimmons Rochelle Flumenbaum and
Paul Estcnson
Scott and Janet Fogler
George and Kathryn Foltz
Susan Goldsmith and Spencer Ford
Dr Linda K. Forsberg
Burke and Carol Fossee
Jason 1. Fox
William and Beatrice Fox
Dan and Jill Francis
Mark and Gloria Frank
Lynn A. Frccland
Lucia and Doug Frecth
Richard and Joann Frccthy
Sophia French
Marilyn L. Friedman
Esther and Pcretz Friedmann
Susan Froelich and Richard Ingram
Gail Frames
Jerry Frost
Philip and Renee Frost
lane Galantowicz
C. J. Gardiner and Cynthia Koch
C. Louise Garrison
Janet and Charles Garvin
Allan and Harriet Gelfond
Chuck and Rita Gel man
Ms. Jutta Gerbcr
W. Scot I Gerstenberger and
Elizabeth A. Sweet Leo and Ren ale Gerulaitis Beth Genne and Allan Gibbard Paul and Suzanne Gikas Matthew and Debra Gildca Dr. and Mrs. Gary Gillespic Zila and Wayne Gillis Beverly Jeanne (iillrow Albert and Barbara Glover Albert L Goldberg David and Shelley Goldberg Joyce and Janice Guiding Vm and Mon.i (roldman Arna and Michael J. Goldstein Beryl and David Goldsweig Mitch and Barb Goodkin Ann F. Goodman Sclma and Albert Gnrlin Hnid M. Gosling Jean and Bill Gosling Michael L. (towing Mr. and Mrs. Gordon J. Graham Mr. and Mrs. Robert C. Graham I'e.irl I:, (iraves Whiimore and Svea Gray Ivan Green
lewis K. and Mary A. Green Phyllis Green Sandra Grcgerman (i, Rtbinson ami Ann Gregory
K.iymnml .uul Daphne M. Grew MarOull !. .uul Ann C. (irimm Marguerite M, (iritcims Ijturic (irou Rlchurd mill Murion.
Advocates, continued
Frederick and Iris Gruhl Lionel and Carol Gurcgian Lorraine Gulierrez and
Robert Peyser Margaret Gutowski and
Michael Marietta Jeff and IxAnn Guyton Dr. Merle Haanes Caroline and Roger Hackett Margo Halstcd Sarah I. Hamcke David Hamilton Mrs. Frederick G. Hammitt Dora E. Hampel Dr. and Mrs. Carl T. Hanks Grace H. Hannenin Lourdes S. Bastos Hanscn Charlotte Hanson Mary C. Harms
Stephen G. and Mary Anna Harper Laurelynne Daniels and
George Harris Susan S. Harris Elizabeth C. Hassinen lames B. and Roberta Ha use 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. Henckcn and
George C. Collins Karl Henkel and Phyllis Mann Dr. and Mrs. Keith S. Henley Kathryn Dekoning Hentschel
and Rudi Hentschet 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 Hocrner 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 Johnl.Hritz.Jr.
Mrs.V.CHubbs ,i
Hubert and Helen Huebl i Jude and Ray Huetteman -v
Mr. and Mrs. William HufTord Joanne WinkJeman Hulce 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 Andree Joyaux and Fred Blanck
M.rv C-ilmtx; .inrt I iirrv Fn,-,lm.Tn
Paul Kantor and
Virginia Weckstrom Kantor Helen and Irving Kao Mr. and Mrs. Wilfred Kaplan Hans Peter and Carol Kappus Diana S. Karam Rosalie Brum Karunas Alex and Phyllis Kato Ann F. Katz Deborah and Ralph Katz
Julie and Phil Kearne
Mr. and Mrs. Robert Keiscr
Janice Keller
Linda Atkins and Thomas Kcnney
George L. Kenyon and
Lucy A. Waskell Paul and Leah Kitcny Jeanne M. Kin
Robert and Vicki Kiningham John and Carolyn Kirkcndall Leilani and Steven Killer Rosalie and Ron Koenig Michael J. Kondziolka Charles and Linda Koopmann Alan and Sandra Kortesoja Dimitri and Suzanne Kosacheff Sara Kring William G. Kring Alan and Jean Krisch
Syma and Phil Kroll f------
Bert and Geraldine Kruse Helen and Arnold Kuethe Danielle and George Kuper Alvin and Lia Kushner Dr. and Mrs. R. A. Kutcipal Tim and Kathy Laing I
Alvin and Susan [.ake !
Magdalene Lam pert Mr. and Mrs. Seymour Lampert Henry and Alice Landau Janet Landsberg Patricia M. Lang Mrs. David A. Lanius Lois H. Largo
Joan Larsen and Adam Pritchard Carl F. and Ann L. LaRue Beth and George Lavoie Judith and Jerold Lax i
Chuck and Linda Leahy
Francois and Julie Lebel Cyril and Ruth Leder ;
Fred and Ethel Lee '
Skip and Mary LeFauve I
Diane and Jeffrey Lehman : d
g
Margaret E. Leslie , ' David E. Lcvine Tom and Judy Lewis u
Margaret K. Liu and
Diarmaid M. O'Foighil i Jackie K. Livesay i
Julie M. Loftin
Jane Lombard _____
Ronald Longhofer and it
Norma McKenna Barbara R. and Michael Lott 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 t
Pankai Manku i
Pearl Manning ;
Lee and Greg Marks -1
Alice K. and Robert G. Marks -Rhoda and William Martel James E. and Barbara Martin i Wendy Massard Vincent and Margot Masscy Glenn D. Maxwell Helen Byrm May URuth C. McAfee Margaret and Harris McClamroch Dores M. McCree Neil and Suzanne McGinn , Michael G. McGuirc
Mary and Norman Mclver Bill and (iinny McKeachie Nancy and Robert Meader William and Marilyn Meadowcroft Marilyn J. Meeker Robert and Kathleen Mcgginson
Bob and Doris Melling Allen and Marilyn Menlo Warren and Hilda Merchant Hely Merle-Bcnner George R. and Brigette Merz Julie and Scott Merz Helen Mctzner Don and Lee Meyer Shirley and Bill Meyers Helen M. Michaels William and Joan Mikketscn JohnW.Milford Prof, and Mrs. Douglas Miller Carmen and Jack Miller James A. and Kathryn Miller Sonya R. Miller Bob and Carol Milstein Dr. and Mrs. fames B. Miner Olga Ann Moir Mary Jane Molesky Bruce and Ann Moln Jim and Jeanne Montic Mr. Erivan R. Morales and
Dr. Seico Nakao Arnold ana Gail Morawa Robert and Sophie Mordis Dr. and Mrs. George W. Morlcy A. A. Moroun Robert C. Morrow Muriel Moskowitz James and Sally Mueller J. Thomas and Carol Mullen Marci Mulligan and Katie Mulligan Gavin Eadie and Barbara Murphy Lora G. Myers
Dr. and Mrs. Gundcr A. Myran Drs. Louis and Julr ?'---' Rosemarie Nagel Eugene and Kathenne [apoutan Joan Nassauer Arthur and Dorothv Nesse Sharon and Chuck Newman John and Ann Nicklas Susan and Richard Nisbett Christer E. Nordman Caroline Norman Richard S. Nottingham Dr. Nicole Obregon John and Lexa O'Brien 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. Ondcy Karen Koykka O'Neal and
Joe O'Neal
Robert and Elizabeth Oneai Kathleen LOperhall 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 Paslcy Alka Patel Eszther Pattantyus and
Tibor Nagy Nancy K. Paul Robert and Arlene Paup Wade D. and Carol Peacock William and Susan Penncr Steven and Janet Pepe Don and Giannine Pcrigo Bradford Perkins Susan A. Perry Ncal W. Persky, M.D. Jeff Javowiaz and
Ann Marie Petach Roger and Takako Peterson
Rnhrrt C, .inH ni.ine I Prtit
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 Sucllen Pinch
Brenda Pontillo
Mr. and Mrs.
Jeffrey Michael Powers Robert and Mary Pratt Jacob M. Price John and Nancy Prince Yopie Prins and
Michael Daugherty 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 Raphclson Dr. and Mrs. Robert Rapp Mr. and Mrs. Robert H. Rasmussen Ruth Rattncr
Dr. and Mrs. Mark Rayport Maxwell and Marjorie Reade Sandra Reagan
Mr. and Mrs. Richard W. Redi 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 Duane and Katie Renken John and Nancy Reynolds Alice Rhodes ? .
Lou and Sheila Rice Mr. and Mrs. ------------,
Thomas p. Richardson Kurt and Lori Riegg Thomas and Ellen Riggs Lita Ristine
Kathleen Roclofs Roberts Dave and Joan Robinson H. lames and Kathleen Robinson Jonathan and Anala Rodgcrs Mary Ann and Willard Rodgers Joseph and Joan Rogers Leslie and Ann Rogers Mary F. Loefiler and
Richard K. Rohrer Michael J. and Yelena M. Romm Elizabeth A. Rose Edith and Raymond Rose Bernard and Barbara Rosen Dr. and Mrs. Gary R. Rosenblatt Richard Z. and Edie VV. 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 Reda Santinga Ed Sarath and Joan Harris Harry and Elaine Sargous Helga and Jochen Schacht Chuck and Gail Schartc Mary A. Schieve Courtland and Inga Schmidt Gary and Claudia Schnitker Susan G. Schooner Thomas H. Schopmcyer Yizhak Schottcn and
Kathcrine 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 Efvera Shappirio Ingrid and Cliff Sheldon Lorraine Sheppard Dr. and Mrs. Ivan Shcrick
Mr. and Mrs. Patrick M. Sherry
Rev. William I. Sherzer
Mary Alice Shulman
Dr. Douglas and Barbara Sidcrs
Dr. Bruce M. Siegan
Milton and Gloria Siegel
Alida and Gene Silverman
Carl Simon and Bobbi Low
Michael and Maria Simontc
Alice Simsar
Donald and Susan Sinta
Irma J. Sklenar
Beverly N. Slater
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Swedish Radio Choir and Eric Ericson Chamber Choir
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Lux aetema
Gyorgy Ligeti
t Lux aeterna luceat eis, Domine: [ Cum Sanctis tuis in aeternum, quia pius es. ?r: Requiem aeternam dona eis, Domine: Et lux perpetua luceat eis.
Let eternal light shine upon them, Lord, with Thy saints forever, for Thou art merciful. Grant them eternal rest, Lord; and let perpetual light shine upon them.
Ein Deutsche Motet, Op. 62
Richard Strauss (Friedrich Riickert)
Die Schopfung ist zur Ruh' gegangen,
o wach in mir! Es will der Schlaf mich befangcn,
o wach in mir! Du Auge, das am Himmel wacht mit
Sternenblick, Wenn mir die Augen zugegangcn,
o wach in mir! Du Licht, im Ather hoher strahlend
als Sonn' und Mond. Wenn Sonn und Mond ist ausgegangen,
o wach in mir! Wenn sich der Sinne Tor geschlossen
der Aufienwelt, So lafi die Seel' in sich nicht bangen,
o wach in mir! O lafi im feuchten Hauch der Nachte,
im Schattendunst Nicht sprossen stindiges Verlangen,
o wach in mir! LaS aus dem Duft von Edens Zwoigen,
lafi in meinen Traum. Die Frucht dcs Lebens miederhangen,
o wach in mir! O zeig mir, mich zu erquicken, im Traum
das Werk Vollendet, das ich angefangen,
o wach in mir! In deinem Schofie will ich schlummern, bis
neu mich weckt Die Morgenrote deiner Wangen,
o wach in mir!
All creation has settled to rest;
watch over me! Sleep is about to embrace me;
watch over me! O eye, watching in the heavens with
starry gaze, when my eyes have closed,
watch over me! 0 light, shining in the firmament brighter
than any sun or moon, when sun and moon have set,
watch over me! When the gates of the sense have closed
against the outside world keep my soul from becoming frightened;
watch over me!
0 let not sinful longing breed
the humid breath Of night in the shadowy haze;
watch over me! In my dreams let the fruit of life hang
under the scent of Eden's branches;
watch over me! Show me to refresh me in my dream
The work completed that I have begun; watch over me!
1 will slumber in your bosom until I am
woken
again by the morning blush upon your cheek; watch over me!
Libera me
Ingvar Lidholtn
Libera me, Domine,
de morte aeterna
in die ilia tremenda,
quando coeli movendi sunt et terra,
dum veneris judicare
saeculum per ignem.
Tremens factus sum ego
et timeo dum discussio venerit
atque venture ira,
quando coeli movendi sunt et terra
Dies irae, dies ilia, calamitatis et miseriae, dies magna et amara valde, dum veneris judicare saeculum per igncm.
Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. '
Deliver me, O Lord,
from eternal death
in that awful day,
when the heavens and the earth shall be shaken,
when thou shalt come to judge
the world by fire.
I am seized with fear and trembling,
until the trial shall be at hand,
and the wrath to come,
when the heavens and the earth shall be shaken.
That day, a day of wrath, of calamity and of misery, a great day and exceeding bitter, when thou shalt come to judge the world by fire.
Eternal rest grant unto them, O Lord, and let perpetual light shine upon them.
Concerto for Mixed Chorus
Alfred Schnittke (Grigos Narekatsi)
0 pavelitel' sushcheva fsevo, bestsennymi darami nas dar'ashchij, Gaspod', tvar'ashchij fs'o iz nichevo strashashchij, nevedamyj, vseznajushchiji
1 milaserdnyj i ncumalimyj, neizrechonnyj i nepastizhimyj, nevidimyj, izvechnyj, neob'jatnyj, i uzhasajushchij, i blagadatnyj nepranitsajam ty, neas'azajem
i beznachalah ty, i neskanchajem, ty to jedinstvennaje, shto bezmerna, shto v mire podlenna i dastaverna, ty tot, kto nam dajot blagaslaven'je, ty polden bez zakata,
svet bes teni,
jedinstvennyj dl'a nas radnik pakoja, shto prasvetl'ajet bytijo mirskoje, I bezgranichnyj ty, i vezdesushchij ty ty i sladchajshij m'od i khleb nasushchij ty, ncistashchimyj klad, prechistyj dozhd', vavek neiss'akajushchaja moshch. Ty i khranitel' nash i nastavitel' nedugi' nashi znajushchij tselitel', apora fsekh, vsevid'ashchejc zren'je, desnitsa blagadatnava darcn'ja, velichjem asijannyj, fsem ugodnyj, nash pastyr' neustannyj, tsar' bezzlobnyj, fs'ovid'ashchij, i dn'om i nochju bd'ashchuj sud'ja, pa spravedlivasti sud'ashchij, vzgl'ad negnetushchij, golas uteshen'ja, ty vest' nesushchaja uspakajen'je. Tvoj strogij perst, fscvid'ashcheje oka asteregajut smcrtnykh at paroka. Sud'ja tavo, shto prava i neprava, ne vyzyvajushchaja zavist' slava. Ty svetach nash, velichije bes
kraja.
nezrimaja daroga, no pr'amaja. Tvoj sled nevidim, vidima lish milast',
O Master of all living, Bestowing priceless gifts upon us, God creating all out of nothing, Mysterious, omniscient, frightening, Merciful and implacable, Ineffable and inscrutable, Invisible, eternal, boundless, Terrifying and beneficent. You are unfathomable, intangible, Without beginning and without end, You are the only one who is measureless, Who is true and real in the world, It is you who give us blessing, You are a noon without nightfall,
light without shadow, Our only fountain of peace That lightens our temporal existence. You are limitless and omnipresent, Our sweetest honey and daily bread, An inexhaustible treasure, purest rain, Forever plentiful might, You are a guardian and guide to us, A healer knowing our ills, Support to all, an all-seeing eye, A hand of abundant giving, Radiant with greatness, welcome to all, Our tireless shepherd, benevolent tsar, All-seeing, vigilant day and night, A judge dispensing fair judgement, A non-oppressive gaze, a voice of comfort, You are a message bringing peace. Your forbidding hand and all-seeing eye Warn mortals against vice, A judge of what is right and wrong, A glory that inspires no envy, You are a light to us, a greatness without
limit,
A path, invisible but straight. Your imprint is invisible, we can only see
Your favor,
Ona s nebes na zemru k nam spustilas'. Slava, shto ja izr'ok tebe va slavu, bledneje slof, katoryje by mog uslyshat' ty, o gospadi, pa pravu. kagdab ja ne byl rechju stol ubog.
Gaspod' blagaslavennyj, vaskhvalennyj, vasslavlennyj fsem sushchim va fselennaj, fs'o to, shto nam dastignut' suzhdeno, tvaim vnushen'jem mudrym razhdeno.
O gospadi darogu achishchen'ja ty mne vmaikh samnen'jakh ukazuj i, prived'a men'a k vratam spasen'ja udavletvaris' i vazlikuj. Tsel'psenapen'ja tvajevo raba-ne slavaslov'je, i ne vaskhvalen'je, mai slava nichtozhnyje--mal'ba, katoraj zhazhdu abresti spasen'je.
Sabran'je pesen sikh, gbe kazhdyj stikh napolnan skorb'ju chornaju
da kraja,
slazhil ja--vedotol 'strastej l'udskikh,-paskol'ku, shtob slava dajti magli da khristian va fsekh krajakh zemli, pisal dl'a tekh, kto v zhizn' jedva fstupajet, kak i dl'a tekh, kto pozhil i sazrel, dl'a tekh, kto put' zemnoj svoj
zavershajet
i prestupajet rakavoj predel. Dl'a pravednykh pisal ja i dl'a greshnykh, dl'a uteshajushchikh, i bezuteshnykh, i dl'a sud'ashchikh, i dl'a asuzhd'onnykh, dl'a kajushchikhs'a i grekhom plen'onnykh, dl'a dabradejatelej i zladejef, dl'a defstvenikaf i prel'ubadejef, dl'a fsekh dl'a radavitykh i bezboznykh, rabof zabitykh i kn'azej vel'mozhnykh. Pisal ja ravna dl'a muzhej i zhon, tekh, kto unizhen, tekh, kto vazncs'on dl'a pavclitelej i dl'a ugnet'onnykh dl'a askarbitelej i dl'a askarbl'onnkh, dl'a tekh, kto uteshal i byl uteshen.
It descends on us on earth from heaven, The words that I pronounce glorifying You Are poorer than those You should have heard, O God, by right, Had I not been so poor in speech.
God blessed, praised,
Glorified by all living in the universe,
All we are destined to achieve
Is born by Your wise inspiration.
O God, show me in my doubts
The path of purity
And, guiding me to the gates of salvation,
Be content and rejoice.
The purpose of Your slave's paean
Is not glorification or eulogy,
My worthless words are a supplication
By which I long to obtain salvation.
I, an expert in human passions, Composed this collection of songs, where
every verse
Is full to the brim with black sorrow, For I detest these passions in myself. I wrote so that my words could reach Christians in all corners of the earth, I wrote for those who only enter life As well as for those who have lived and
matured,
For those completing their earthly journey And stepping over the fateful limit. I wrote for the righteous and for sinners, For the comforting and the inconsolable, For the judging and the convicted, For the penitent and those enslaved by sin, For do-gooders and villains, For virgins and adulterers, For all: the high-born and the godless, Downtrodden slaves and grand princess. I wrote equally for husbands and wives, For the degraded and those risen high, For rulers and for the oppressed, For abusers and for the abused,
Pisal ravno dl'a konnykh i
dl'a peshikh, pisal ravno dl'a malykh i
velikikh,
dl'a garazhan i gortsef poludikikh, i dl'a tavo, kto vysshij vlastelin, katoramu sud'ja lish, bog adin,
dl'a sujetnykh l'udej i dl'a blagikh, dl'a inakaf, atshel'nikaf sv'atykh.
I stroki, polnyje maim stradan'jem, pust'stanut dl'a kavota nazidan'jem.
Pust' kajushchijs'a f chornam prefreshen'ji najd'ot v maikh pisan'jakh uteshen'je. Pust' abratit moj trud, majo userd'je sebe va blaga chelavek l'uboj. I stikh moj, staf malitvaj i
mal'boj, da vymalit gaspodne milaserd'je.
Fsem tern, kto vniknet fsushchnast'
skorbnyk slof, fsem kto pastignet sut' sevo
tvarjen'ja,
daj, bozhe, iskuplenija grekhof, asvabadi at t'agastnykh akof samnen'ja, a znachif, prestuplen'ja. Zhelannaje daruj im atpushchen'je, pust', sl'ozy ikh abil'hyje tekut, i golasam maim ani malen'je tebe ugodnaje da vaznesut. K tebe da vaznes'ots'a ikh mal'ba, i za men'a, za tvajevo raba. Pust', bozhc, na rabof tvaikh pakornykh, na fsekh raskajavashikhs'a, kto pracht'ot suchast'em knigu etikh pesen skorbnykh, tvoj svet i blagadat' da snizajdjot! I jesli primesh tekh, kto fsled za mnoj prid'ot k te'be smal'boj userdnaj, vrata svajej abiteli sv'atoj atkroj i mne, o bozhe milaserdnyj. I jesli sl'oznaja maja mal'ba
For those who give comfort and those who
are comforted, I wrote equally for those on horseback and
on foot,
For the insignificant and for the great, For city-dwellers and half-savages highlanders, And for him who is the supreme ruler,
whose judge is God alone, For people who are vain and those who
are pious, For monks and holy hermits.
May these verses, full of my suffering, Become a guidance to someone.
May he who repents a black transgression
Find comfort in my writings.
May someone turn to his good
My work, my zeal.
May my verse, turning into a prayer and
a supplication, Elicit God's mercy.
God, grant deliverance from sin
To all who grasp the meaning of these
mournful words,
All who comprehend the essence of this work. Free them from the baneful fetters Of doubt, which is the same as crime. Give them the absolution they long for, Let their abundant tears flow. May their supplication, raised in my voice, Please You.
May they also raise a prayer For me, Your slave,
God, may Your light and grace descend Upon You obedient slaves, All the repentant who read With sympathy this book of mournful songs! If You receive all those who in my wake Come to You with my zealous prayer, Open the fates of Your holy abode To me too, O merciful God. And if my tearful prayer
pral'jotsa, slovna dozhd, grekhi smyvaja, to i men'a, nichtozhnava raba, amojet pust jevo vada zhivaja.
I jesli ty spas'osh, o bozhe, fsekh,
saglasnykh smysl'ju mnoju izrechonnaj
ty i men'a, prastif moj' t'azhkij grekh,
spasi, o gospadi blagaslavennyj.
I jesli pesn' maja vdushe inoj
radit tebe ugodnyje pan'at'ja,
ty i men'a, atets nebesnyj moj,
ne abdeli svajeju blagadat'ju.
I jesli te, kto moj pastignet stikh,
vazdenut wys' drazhashchije desnitsy--
pust' bol' stennanij gorestnykh maikh
s malitvaj chistaj ikh sajedinitsa.
I jesli skazannyje f knige sej
tebe mai ugodny budet rechi,
to v mnagashchedraj milasti svajej
bud' milaserden i k maim predtccham.
I jesli pakalebletsa, skarb'a,
f sv'ashchennaj vere nekta dukham nishchij,
pust' on, vaspr'anuf, f knige sej atyshchet
aporu, upavaja na teb'a.
Kol' malaver adnazhdy ustrashits'a, shto khram jevo nadezhd ne ustait, pust' etat shatkij khram tvaja desnitsa strakami knigi skorb'naj ukrcput. Kagda nedugam muchimyj zhestoka pachti utratit ktota s zhizn'ju sv'az', pust' abret'ot on silu vetikh strokakh i vazraditsa vnof', tebe mal'as'.
I jesli smertnyj strakh ili sammen'je vdrug avladejut kemta iz l'udej, pust' f knige on najd'ot uspakajen'je, najd'ot pakoj po milosti tvaej.
I jesli gruz grekhof njeiskupl'on'nykh, patanet propast' greshnika, pust' on fsej sut'ju slof, taboju mne
vnushonnykh, spas'on naveki budjet i prashchon.
Falls, like rain, washing away sins, May this water of life also wash me, Your base slave.
O God, if You save all those
Agreeing with the thoughts that I express,
Forgive my grave sins
And save me too, O blessed God.
If my song inspires in some soul
Thoughts pleasing to You,
My heavenly Father,
Do not deprive me of Your grace,
If those who comprehend my verse
Raise their trembling hands--
May the pain of my sorrowful moans
Join their pure prayer,
And if the thoughts expressed in this book
Are pleasing to You,
Be merciful to my ancestors
In Your generous grace,
If someone poor in spirit
Wavers in the holy faith in a moment of grief,
May he find support in this book
And, taking heart, put his trust in You.
If someone weak in faith begins to fear That the temple of his hope will not hold out, May Your hand strengthen that unstable temple With the lines of this mournful book. When someone cruelly tormented by an illness Almost loses his bond with life, May he find strength in these lines And rise again, praying to You.
If deadly fear or doubt Suddenly seizes someone, May he find solace in this book, May he find peace by Your grace.
And if the burden of unredeemed sins
Pulls a sinner into the abyss, may he,
By the power of the words that You inspired
in me, Be saved and pardoned forever.
I jesli gdcta greshnik jest', katoryj ne minet sataninskaj zapadni,-dazvol', shtob trud moj byl jemu aporaj i sam bezumtsa svctam aseni.
I jesli ktota vglibel'naj gardyne slava sv'atykh malitv zabyd' gatof,-dazvol', shtob ja vcrnul jcvo k sv'atyne magushchestvam taboj vnushonnykh slof.
0 tem, kto f sataninskam aslcplen'ji uverujet f prczrcnnuju tshchctu,
mne knigaj skorbnykh ctikh pesnapenij dazvol' vernut' k prichast'ju i krcstu.
1 uragan neveri, vzmet'onnyj,
kak nad vadoj, nad dushami l'udaj, smiri majcj pesnej, vdakhnavl'onnaj bazhestvennaju milast'ju tvajej.
Sej trud, shto nachinal ja supavan'jem
i symenem tvaim,
ty zaverschi,
shtob pesnapen'jc stala vrachevan'jem,
tsel'ashchim rany tela i dushi.
I jesli trud, moj skromyj zavershitsa stvaim
pust' dukh gaspoden, vn'om sajedinitsa
sa skudnym vdakhnavenijem maim,
taboj darovannaje azaren'je
ne pagasi
moj razum ne pakin',
no vnof' prijemli vaskhvalen'ja
at tvajcvo
sluzhitel'a,
If somewhere there is a sinner
Who does not escape the Devil's trap--
Allow my work to be his support
And set the madman right with Your own light.
And if someone in fatal pride Is ready to forget the words of holy prayers. Allow me to bring him back to the sacred faith By the power of the words that You inspired.
Allow my book of sorrowful songs To bring back to the Eucharist and the Cross Those who persist in their contemptible vanity In satanic blindness. And let my song, Inspired by your divine mercy, Calm the storm of unbelief That rages, as over the water, over people's souls.
Complete this work
Which I began in hope
And with Your name,
So that my singing may become healing,
Curing the wounds of body and soul.
If my humble work is finished
With Your holy blessing--
May the divine spirit in it
Join with my meager inspiration,
Do not extinguish
The revelation You have granted,
Do not abandon my reason,
But, again and again, receive praise
From Your servant.

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