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UMS Concert Program, Thursday Mar. 22 To 31: University Musical Society: Winter 2001 - Thursday Mar. 22 To 31 --

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Day
22
Month
March
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
University of Michigan Ann Arbor
UMS leadership
UMSservices
UMSannals
UMSexperience
UMSsupport
Letter from the President
Letter from the Chair
Corporate LeadersFoundations
UMS Board of Directors
UMS Senate
Advisory Committee
UMS Staff
UMS Teacher Advisory Committee
General Information 1
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
Membership
UMS Advertisers
Frant Cver: Mark Htrris Oance Gwup {Marc Rtyce), Charles Minfus, Ficna Sell performs the lack ever: Pilblus {H.wt Shati). Murray Penhia (Nigel Perry), Swedish nj? (Crbis).
tf Jn f Arc nt Queen Margaret in the Rtyal Shakespeare Company's History flays.
U MS leadership
JjETTER FROM THE PRESIDEJ
I 'm delighted to welcome you to this performance presented by the University Musical Society (UMS) of the University of Michigan. Thank you for supporting the performing arts in our community by your attendance at this event. Please consider coming to some of our other performances this season. You'll find a complete listing beginning on page 29.
I am particularly excited about the three-week residency of the Royal Shakespeare Company in March 2001. Three years in development, the RSC residency represents the largest international project ever under?taken by UMS in our 122-year history. UMS is especially grateful for the personal interest and involvement of University of Michigan President Lee C. Bollinger and for the leading financial support of the University of Michigan and the State of Michigan in this historic project. The presentation of William Shakespeare's History Plays, along with the extensive educational programs that sur?round the performances, takes place only in Ann Arbor and in Stratford-upon-Avon and London in England. We are pleased to welcome theater lovers from all over North America who are taking advantage of this exclusive 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, ?j 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. :S
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.
Sincerely, ;
Kenneth C. Fischer President
w
n behalf of the UMS Board of Directors, I am delighted to welcome you to the Winter 2001 , season. With world-renowned
performers bringing their artistry to our stages, new community partnerships enhancing our programs, and our ever-
expanding educational activities serving thou?sands of students and teachers throughout southeastern Michigan, it is the most exciting and comprehensive season in our 122-year history.
As we enjoy tonight s performance, we want to recognize and thank the many indi?viduals, companies, organizations and foun?dations whose support makes this extraordi?nary season possible. In contributing to UMS, these donors, including the corporate leaders listed on the following pages, have publicly recognized the importance of the arts in our community. They have demon?strated their commitment to the quality of life in our area, and helped create new educa?tional opportunities for students and audi?ences of all ages and backgrounds.
So, as we applaud tonight's performers, please join all of us at UMS in applauding our many generous contributors. They are playing an important role in the artistic life of our community, and we are truly grateful for their support. $&ij&j?SE
Sincerely,
Beverley Geltner SftiiilSiiifri Chair, UMS Board of Directors
CORPORATE LEADERS FOUNDATIONS
Don Macmillan President Alcan Global Automotive Solutions 'For 122 years, the University Musical Society has engaged and enriched our community with the very best in performing arts and educational programs. Alcan salutes your quality and creativity, and your devotion to our youth."
Douglass R. Fox President Ann Arbor Acura, Hyundai, Mitsubishi
"We at Ann Arbor Acura are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
Larry Weis President AutoCom Associates "AutoCom Associates is a strong supporter of the University Musical Society one of North America's leading presenters of
the performing arts. Along with our corpo?rate public-relations
clients, we're proud to partner with UMS in bringing the arts to appreciative audiences in southeastern Michigan."
William Broucek
President and CEO Bank of Ann Arbor "As Ann Arbor's community bank, we are glad and honored to be a supporter of the cultural enrichment that the University Musical Society brings to our community."
Jorge A. Solis
Senior Vice President Bank One, Michigan "Bank One, Michigan is honored to share in the University Musical Society's proud tradi?tion of musical excellence and artistic diversity."
Habte Dadi Manager Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organi?zation that provides such an R 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 H_____
McKinley Associates, Inc. 'The arts make our community a vibrant place to live and work. No one contributes more to that than UMS, with its innova?tive cultural offerings and i 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." r-----
Phillip R. Duryea
Community President National City Bank 'National City Bank is pleased to continue our historical support of the University Musical Society, which plays such an important role in the richness of our w
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 6. Corr, Ph.D. Senior Vice President, Pfizer, Inc.; Executive Vice President, Pfizer Global Research & Development; President, Worldwide Development 'The University Musical Society is a cornerstone upon which the Ann Arbor community is based: excellence, diversity and quality. Pfizer is proud to support the University Musical Society for our community and our Pfizer colleagues."
Kathleen G. Charla Consultant
Russian Matters
'Russian Matters is pleased and
honored to support UMS and
its great cultural offerings to the
community."
Joseph Sesi President Sesi Lincoln Mercury "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury team is delighted to sponsor such a fine organization."
Thomas B. McMullen President Thomas B. McMullen Co., Inc. "I used to feel that a U of M-Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational entertain-
James Davis President TI Group Automotive Systems "The University Musical Society and its diverse roster of terrific performances is one of the things that makes southeastern Michigan a great place to live and do business. TI Group Automotive Systems is proud to support it."
Dr. James R. Irwin
Chairman and CEO Wolverine Technical Staffing, Inc. 'For more than sixteen years our support of the University Musical Society has been in grateful appreciation of these UMS concepts: world-class programs, extremely dedicated volunteer involvement, and thoroughly committed profes?sional staff. Congratulations to UMS as it continues to enrich our wonderful Ann Arbor community."
UMS gratefully acknowledges the support of the following foundations and government agencies,
Ann Arbor Area Community
Foundation Arts Midwest Chamber Music America Community Foundation for
Southeastern Michigan Detroit Edison Foundation JazzNetDoris Duke Charitable
Foundation .,-------
Erb Foundation
3. F. Ervin Foundation
The Ford Foundation ?
Harold and Jean Grossman
Family Foundation The Heartland Arts Fund 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 i
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 i Timothy P. Slottow Peter Sparling James L. Telfer Clayton Wilhite Karen Wolff Elizabeth Yhouse
(former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Paul C. Boylan Carl A. Brauer Allen P. Britton Letitia J. Byrd Leon S. Cohan Jon Cosovich Douglas Crary Ronald M. Cresswell John D'Arms
Robert F. DiRomualdo James J. Duderstadt Robben W. Fleming David J. Flowers Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Howard Holmes Kay Hunt Stuart A. Isaac Thomas E. Kauper David B. Kennedy Richard L. Kennedy
Thomas C. Kinnear
F. Bruce Kulp ___
Earl Lewis Patrick B. Lon Judythe H. Maugh Paul W. McCracken Rebecca McGowan Alan G. Merten Joe E. O'Neal John D. Paul Wilbur K. Pierpont John Psarouthakis Gail W. Rector John W. Reed
Richard H. Rogel Ann Schriber Daniel H. Schurz Harold T. Shapiro George I. Shirley John O. Simpson Carol Shalita Smokier Lois U. Stegeman Edward D. Surovell Susan B. Ullrich Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker Marina v.N. Whitman Iva M. Wilson
UNIVERSITY MUSICAL SOCIETY
of the University of Michigan
UMS BOARD OF DIRECTORS
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,
Information Systems
Manager
Box Office
Michael L Gowing,
Manager
Laura Birnbryer, Staff Sally A. Cushing, Staff Ronald J. Reid, Assistant
Manager and Group
Sales
Choral Union
Thomas Sheets,
Conductor Andrew Kuster,
Associate Conductor Jean Schneider-Claytor,
Accompanist Kathleen Operhall,
Manager :
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
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 Dubash,
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 Gail Dybdahl Keisha Ferguson Doreen Fryling Brenda Gluth Louise Gruppen Vickey Holley Foster
Taylor Jacobsen Callie Jefferson Deborah Katz Deb Kirkland Rosalie Koenig David Leach Rebecca 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 Vandcven 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 I 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
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.
U MS annals
he goal of the University Musical Society (UMS) is to engage, edu?cate, and serve Michigan audiences by bringing to our community an ongoing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 121 years, strong leader-. ship coupled with a devoted community has placed UMS in a league of internationally_ recognized performing arts presenters. Indeed, Musical America selected UMS as one of the five most influential arts presenters in the United States in 1999. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, balanced by a commitment to dynamic and creative visions of where the performing arts will take us in the new millennium. Every day UMS seeks to cultivate, nurture and stimulate public interest and participation in every facet of the live arts. UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first performance of Handel's Messiah was in December of 1879, and this glorious oratorio has since been per?formed by the UMS Choral Union annually.
As a great number of Choral Union members also belonged to the University, the University
Musical Society was established in December 1880. UMS included the Choral Union and ; University Orchestra, and throughout the i year presented a series of concerts featuring i local and visiting artists and ensembles. ;
Since that first season in 1880, UMS has i 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 j! and innovation. UMS now hosts over eighty ;i performances and more than 150 educational i events each season. UMS has flourished with j 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 i 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. ?
UMS CHORAL UNION
f hroughout its 121-year history, the University Musical Society Choral Union has performed with many of the world's distinguished orchestras ? _ and conductors.
Based in Ann Arbor under the aegis of the 5 University Musical Society, the 150-voice I Choral Union is known for its definitive per-7 formances of large-scale works for chorus and orchestra. Seven years ago, the Choral fj Union further enriched that tradition when jj began appearing regularly with the Detroit y 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
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.
.1
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 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, and the reverberant sanctuary has i. made the church a gathering place for the enjoyment and contempla?tion of sacred a cappella choral music and early music ensembles.
Lydia Mendelssohn Theatre
otwithstanding an isolated effort to estab?lish a chamber music series by faculty and students in 1938, UMS recently began presenting artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theatre for the 100th May Festival's Cabaret Ball. Now, with UMS' programmatic initiative to present song in recital, the superlative Mendelssohn Theatre has become a recent venue addition to UMS' roster and the home of the Song Recital series as well as the venue for the world premiere of Curse of the Gold: Myths from the Icelandic Edda, part of UMS' new International Theater Festival.
Detroit Opera House
'he Detroit Opera House opened in April of 1996 following an extensive renovation by Michigan Opera Theatre. Boasting a 75,000 square foot stage house (the largest stage between New York and Chicago), an orchestra pit large enough to accommodate 100 musicians and an acoustical virtue to rival the world's
great opera houses, the 2,800-seat facility has rapidly become one of the most viable and coveted the?atres in the nation. In only two sea?sons, the Detroit Opera House became the foundation of a land?mark programming collaboration with the Nederlander organization and Olympia Entertainment, formed a partnership with the Detroit Symphony Orchestra and played host to more than 500 per?formers and special events. As the home of Michigan Opera Theatre's grand opera season and dance series, and through quality pro?gramming, partnerships and educa?tional initiatives, the Detroit Opera House plays a vital role in enriching the lives of the community.
Burton Memorial Tower ,___________
een from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor land?marks. Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet.
The familiar home of UMS Administrative offices undergoes significant renovations this season, moving the UMS Box Office to a new, temporary location in the Power Center.
UMS Administrative offices have also been relocated--to 109 E. Madison--but please continue to use our Burton Memorial Tower mailing address.
A Full House
Auditoriui
Theatre 658
Detroit Ope.
University Musica Society .,
2001 Winter Season
Event Program Book Thursday, March 22,2001 through Saturday, March 31,2001
General Information
Children of ill 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.
Les Violons du Roy
Thursday, March 22, 8:00pm
St. Francis of Assisi Catholic Church
Academy of St. Martin-in-the-Fields Murray Perahia, Conductor and Piano Soloist
Saturday, March 24, 8:00pm Hill Auditorium
Chamber Music Society of Lincoln Center
Wednesday, March 28, 8:00pm
Lydia Mendelssohn Theatre .........,. : ,,, ?.,, ,,
Brass Band of Battle Creek Paul W. Smith, Emcee
Friday, March 30, 8:00pm Hill Auditorium
Ronald K. BrownEvidence
Saturday, March 31, 8:00pm Power Center
Maurice and Linda Binkow
present
Les Violons du Roy
Bernard Labadie Conductor' David Daniels Countertenor)
Diane Lacelle, oboe
Program
Thursday Evening, March 22,2001 at 8:00
St. Francis of Assisi Catholic Church, Ann Arbor, Michigan
M--J
George Friderk Handel Concerto Grosso in a minor, Op. 6, No. 4, HWV 322
Larghetto affettuoso M
Allegro f J J
v..". Largo e piano ;
Allegro
Torfimaso Albihoni
Antonio Vivaldi
Henry Purcell
Handel
PvA
lir"
Ai '.?
Concerto for Oboe in d minor. Op. 9, No. 2
Allegro e non presto ,
Adagio
Allegro ,j "?'"'?' '"
Ms. Lacelle, oboe
Nisi Dominus (Psalm 126), RV 608
Nisi Dominus J{ Vanum est vobis Cum dederit Sicut sagittae Beatus vir
Gloria Patri ,:
Sicut erat in principio Amen
Mr. Daniels
, t Wg,
INTERMISSION
Chaconne in g minor, Z 730
Concerto Grosso in F Major, Op. 6, No. 9, HWV 327
Largo .
Allegro ;;
Larghetto ';
Allegro
Menuet
Gigue '
Johann Sebastian Bach Ich habe genug, BWV 82
Aria: Ich habe genug ..-r._Vi.. T.;
Recitativo: Ich habe genug! Mein Trost Aria: Schlummert ein, ihr matten Augen Recitativo: Mein Gott! Wenn kommt das schone Aria: Ich freue mich meinem Tod
Mr. Daniels
SM&m
Sixty-ninth Performance
of the 122nd Season ?
?
Sixth Annual ' Divine Expressions Series
Tlie photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Presented with the generous support of Maurice and Linda Binkow.
Additional support provided by media sponsor, WGTE.
Les Violons du Roy appears by arrangement with Michal Schmidt Artists
The North American Tour of Les Violons du Roy is made possible in part by Cisco Systems Canada Co., The Greater Quebec Area Tourism and Convention Bureau and by grants from Le Conseil des Arts et des Lettres du Quebec and the Department of Foreign Affairs and International Trade of Canada. "!
Large print programs are available upon request.
Concerto Grosso in a minor.
Op. 6, No. 4, HWV 322 j.
George Frideric Handel
Born February 23, 1685 in Halle, Germany
Died April 14, 1759 in London
The London Daily Post announced to its readership on October 29,1739:
This day are published proposals for printing by subscription with His Majesty's royal license and protection, Twelve Grand Concertos in seven parts, for four violins, a tenor [equal to a viola], a violoncello, with a thorough?bass for the harpsichord. Composed by Mr. Handel. Price to subscribers two guineas. Ready to be delivered by April next. Subscriptions are taken by the author at his house in Brook Street, Hanover Square.
As Christopher Hogwood writes in his Handel monograph (Thames & Hudson, '$$ 1984), the concerti grossi "were deliberately designed to compete in a field dominated by Corelli's Op. 6." The concerto form perfect?ed by Arcangelo Corelli (1653-1713), with its juxtaposition of a three-member con?certino with the larger instrumental group (the ripieno), was extremely popular in England, where one of Corelli's most distin?guished pupils, Francesco Geminiani (1687-1762) lived. Handel, too, had known Corelli in person, having met him at Rome in 1707. There is an amusing story of how the twen?ty-two-year-old Handel grabbed the fifty-four-year-old Corelli's violin and showed him how he wanted a certain passage to be executed. The older man apologized with typical understatement: "But my dear Saxon, this music is in the French style, which I do not understand." (It was the overture for Trionfo del Tempo [The Triumph of Time] by Handel.)
Thirty years later, Handel took a break from the writing of monumental oratorios
to compose his Opus 6, in which he both competed with and paid homage to Corelli, while carrying the Corellian concerto grosso idea a great deal further.
The fourth concerto opens with a "Largo affettuoso" whose ornate melody is like an instrumental aria for the first violins. The concertino and the ripieno play identical parts. They separate for the first time halfway through the subsequent fugal "Allegro," to introduce some playful echo effects that counterbalance the seriousness of the contrapuntal texture that otherwise predominates. The brief "Largo e piano" is a string quartet avant la lettrr. it would lose nothing if played by four solo strings, indi?cating that, in 1739, we are not far from the birth of a new genre that will change the j) entire landscape of classical music. Dancelike rhythms, high energy, and extensive J solo-tutti alternations characterize the finale whose advanced techniques of motivic development has also suggested the dawn of a new age to commentators.
Concerto for Oboe in d minor.
Op. 9, No. 2 '"
Tommaso Albinoni
Born June 8, 1671 in Venice "??"?
Died January 17, 1751 in Venice
Tommaso Albinoni was known as the diet-: ? tante veneto--a composer of independent ?"-._ means who had been trained as a profession2j al composer but did not need to depend on I employment as a musician. Although he wrote a great deal of vocal music (operas and cantatas), his fame rests on his instrumental f output, mostly concertos and sonatas. His 1 Opus 9, published in Amsterdam in 1722, fJ marked the zenith of his career. This impos?ing set of twelve concertos (four for violin, four for oboe, and four for two oboes) was dedicated to the Elector of Bavaria, which
resulted in an invitation for Albinoni to visit Munich where several of his operas were pro?duced. Oboists owe Albinoni some of the finest Baroque music written for their instru?ment (he included oboe concerti in his earli?er set of twelve concertos, Op. 7, as well).
Op. 9, No. 2 is one of Albinoni's best-known works. The outer movements fill out Baroque concerto form with elegant and attractive musical ideas, but the distinguish?ing feature is the beautiful "Adagio"--twice as long as the average slow movement in the composer's other concerti. Since the popular g minor "Adagio" that is so often performed under Albinoni's name is a twentieth-centu?ry imitation by Remo Giazotto, it is fitting to see this beautiful instrumental cantilena as the Albinoni "Adagio" we want to know the composer by. ----------------------?
Nisi Dominus (Psalm 126), RV 608
Antonio Vivaldi ?
Born March 4, 1678 in Venice
Died July 28, 1741 in Vienna __________
In addition to his 500-odd concertos and some fifty operas, Vivaldi found time to write a great deal of solo vocal music, both sacred and secular. These include large-scale works with chorus (such as the popular Gloria) and compositions for a single solo voice accom-..-.? panied by different instrumental forces. j? He composed a whole series of psalm . 'settings, which remained unpublished durj jfing his lifetime and only survive in undated j}manuscripts. Nisi Dominus (Psalm 126) H stands out from these by its use of the viola d'amore as a solo instrument. (This special ?.. instrument, favored throughout the eigh?teenth century, usually had seven playing strings and seven more resonating strings; if combined features of the violin and viol gj$families.) The entire psalm is set for only one singer, an alto. The verses of the psalm are set as separate movements in a highly ;
ornate, concertant style where both the singer and the viola d'amore player share the role of the protagonist. -j
Chaconne in g minor, Z 730 "??
Henry Purcell '"' ''
Born 1659 in London Died November 21, 1695 in Dean's Yard, Westminster
A chaconne is a set of variations over a recurrent ground bass or a recurrent har?monic progression. Henry Purcell, the great English composer, was very fond of this form, which he used in several of his stage works, and in Dido and Aeneas in particular. The present "Chacony" (to use the original spelling) is an independent piece, in which the composer handled the variation form with remarkable freedom and virtuosity. In addition to altering the rhythm and orna?menting the melody, he varied the instru?mentation as well, omitting the bass in some of the variations and at one point assigning the bass melody to the treble.
Concerto Grosso in F Major, Op. 6, No. 9, HWV327
Handel ,----.-------_-._?-.-.-,,
This work combines the forms of the con?certo grosso with that of the suite, since the usual four movements of the concerto are followed by two dances, a minuet and a gigue. The opening "Largo" develops a sin?gle rhythmic idea through a series of key _ changes. The second movement, a lively "Allegro" with delightful solo-tutti alterna?tions, is a revised version of an organ con?certo Handel had composed earlier in the year 1739. The concerto was known as "The Cuckoo and the Nightingale;" the imitations of the cuckoo's call can be clearly heard in the concerto grosso version as well. The.
third-movement "Larghetto," in siciliano rhythm, was adapted from the same organ concerto (the so-called Second Set, No. 1). Next comes a fugue on a very agile subject, in which concertino and ripieno are once ,i again united. 1
The short minuet is rather unusual in' the way it switches from the minor to the major mode in midstream; it also lacks a . middle section (Minuet II or Trio). The closing "Gigue" is playful and light-hearted.
Ich habe genug, BWV 82
Johann Sebastian Bach ;;
Born March 21, 1685 in Eisenach Died July 28, 1750 in Leipzig
The majority of Bach's 200-plus sacred cantatas are large-scale works with chorus ,li-soloists and sizable instrumental forces, ?, written for the weekly Sunday service or special occasions. Yet--depending perhaps '?'?. on the availability of forces on a given day--, some cantatas are scored more modestly, . and six call for only one singer. One of these , is Ich habe genug (I have enough), originally ' scored for bass voice, and first performed on.; the feast of the Purification of the Blessed Virgin Mary, February 2,1727, at St. Thomas' I church in Leipzig. At least two movements of this cantata must have been written as early as 1725, because they appear in the second notebook for Anna Magdalena Bach compiled that year--in an arrangement for Bach's second wife, an accomplished sopra?no, who probably performed these passages.
The cantata consists of three arias separated by two recitatives. The first and last arias feature an oboe in a virtuosic solo role. The lyrics, by an unknown author, express the joy of the pious soul at joining the Saviour after death--a paraphrase of Simeon's canticle (Luke 2:29-32), part of the! Gospel reading for that day. The opening motif of the first movement is strongly rem-
iniscent of the alto aria "Erbarme dichnt ' (Have mercy) from the St. Matthew Passion, which was first performed in the same yeajv (1727) as the cantata. The second aria, a sacred lullaby, expresses the blissful going to sleep, while the last one, an extremely florid piece, exults at the thought of the much-awaited passage into a better world. ?K!
Program notes by Peter Laki. ...
ounder and Artistic Director of Les Violons du Roy and Artistic S Director of the Quebec City Opera, Bernard Labadie is one of Canada's most respected and " dynamic young conductors. Through his many concerts and award-winning record-. ings, his reputation has grown rapidly ?; throughout the US, Canada and Europe, i Guest conducting appearances include the "' Montreal Symphony, Vancouver Symphony, Calgary Philharmonic, Quebec Symphony, CBC Chamber Orchestra, National Arts Centre Orchestra (Ottawa), Minnesota J"" Orchestra, Indianapolis Symphony, Los Angeles Chamber Orchestra, Oregon Bach Festival and the Handel & Haydn Society of Boston. In addition to his highly acclaimed debut with the Montreal Opera, Mr. Labadie has led numerous productions with the Quebec City Opera, including Le nozze di Figaro, Cost fan tutte, Carmen, Nabucco, La Traviata, La Boheme and Madame Butterfly. Since 1984, Bernard Labadie has dedi?cated much of his time to the two profes?sional ensembles that he founded, the cham?ber orchestra Les Violons du Roy and the J8KL, chorus La Chapelle de Quebec. Celebrated for authenticity in their interpretation of ,,... seventeenthand eighteenth-century reperliw toire, these two ensembles are pillars of the cultural life of Canada. In addition to highly successful tours of Europe and the US, Les Violons du Roy also received glowing
reviews for its recent debut performances in Los Angeles and at the Mostly Mozart Festival at Lincoln Center in New York. Among the ensembles' numerous recordings, the CD Stabat Mater was nominated at the 1995 MI DEM in Cannes, France.
A native of Quebec, Bernard Labadie is a graduate of the School of Music of Laval Hi University in Quebec City and the recipient of First Prizes in harmony and counterpoint from the conservatories of Quebec and Montreal. Other studies include Gregorian chant with the renowned Dom Jean Claire at the Abbey Saint-Pierre-de-Solesmes in France, and conducting with Simon Streatfield, Pierre Dervaux and John Eliot " . Gardiner.
Mr. Labadie has recorded for Hyperion p Ades and Syrinx, and now records for j I! Dorian. In addition to the numerous CDs ' s already released on that label, new recordlyings are planned for the recent future, j' ?'
pr Tonights performance marks Bernard Labadie's UMS debu" ?'-? ???"??'?! ?-
merican countertenor David Daniels has been recognized as one of the outstanding artists of our day, winning equal praise in opera, recital and concert. His superlative artistry, magnetic stage presence and a voice of singular warmth and surpassing beauty
tthe modern public. His unique achievement has earned him two of the music world's most significant awards: Musical America's "Vocalist of the Year" for 1999 and the 1997
$M Richard Tucker Award. He was nominated
jgrfor a 1999 Grammy Award for his first disc
SjU'Of Handel arias on VirginEMI.
jgjjjfif This disc of Handel arias, conducted by Sir Roger Norrington with the Orchestra of the Age of Enlightenment, inaugurated a
Hi: solo-exclusive contract with the label and
iijtwon "Best Operatic Recital" from the
Academie du Disque Lyrique, "Recording of the Week" from London's Sunday Times and was named "Editor's Choice" by Gramophone magazine. Awaiting release are Handel's L'Allegro, il penseroso, ed il moderato under John Nelson for EMI and Hercules under Marc Minkowski for DGArchiv. His most recent release is the complete Rinaldo with , Cecilia Bartoli for Decca. Other recent releases include a critically-acclaimed recital disc with pianist Martin Katz and a disc of arias by Mozart, Gluck and Handel with OAE conducted by Harry Bicket. This disc '? also has received the "Editor's Choice" dis?tinction from Gramophone. In September' 2000, he recorded a disc of arias from ;$g Handel's English oratorios with Mo. Nelson, m
The 20002001 season features a new jjj production of Rinaldo at New York City Opera directed by Francisco Negrin and conducted by Bicket. He will also repeat this role in the highly-acclaimed David Alden production in Munich which he created in July 2000. He will sing the title role in Giulio Cesare with Los Angeles Opera also in a Negrin production conducted by Bicket. He 9 will sing his first-ever performances of the title role of Gluck's Orfeo ed Euridke in con?cert at the Royal Opera, Covent Garden. David Daniels returns to the San Francisco ;gg Symphony for concerts of Ravel and Berlioz ) conducted by Michael Tilson Thomas. In recital, he will appear at the Theatre du ? Chatelet in Paris, London's Wigmore Hall, W the Vienna Konzerthaus as well as in Toronto, Vancouver, Cologne, Lisbon and at Bowling M Green State University. S
David Daniels made his Metropolitan Opera debut as Sesto in Giulio Cesare in April 1999, the company's first revival of thei work in over a decade. He sang his first perjjj formances of the title role of this opera with Florida Grand Opera in 2000. His first per1 formances of Rinaldo were in concert in J Cologne, Zurich and London's Barbican 96 Hall and a later staged production at the Bayerische Staatsoper. He has sung Nerone
in L'Incoronazione di Poppea with San Francisco Opera, the Bavarian State Opera, the Glimmerglass Opera Festival, at the Brooklyn Academy of Music and with the Florida Grand Opera. He also appeared as
Sesto for his debut at the Royal Opera, . Covent Garden; Didymus in Theodora at the Glyndebourne Festival in the acclaimed Peter Sellars production conducted by William Christie; Hamor in Jeptha at the : Salzburg Festival; and the title role of Tamerlano and Arsace in Partenope at Glimmerglass. He has sung Arsamenes in Xerxes at New York City Opera, the Canadian Opera Company and at Boston Lyric Opera, all of these in the acclaimed Stephen Wadsworth production. His debut at English National Opera was as Oberon in Britten's A Midsummer Night's Dream. Future seasons will see him will return to the Metropolitan Opera, San Francisco Opera, Bavarian State Opera and the Royal . Opera, Covent Garden, as well as debuting at Lyric Opera of Chicago, the Netherlands Opera and the Paris Opera. ',
David Daniels' accomplishments in recital have kept apace with his opera pro, file. He has won admiration for his interpre-; tations of an expansive recital repertoire, including the song literature of the nine?teenth and twentieth centuries not regularly ' associated with countertenors. In February 1999, he made his French debut in a sold-out recital at the Salle Gaveau in Paris. He has given recitals at London's Wigmore Hall, at Avery Fisher Hall, Alice Tully Hall and the , Walter Reade Theater at Lincoln Center; at , Munich's Prinzregententheater; in ,
Barcelona's Teatre del Liceu; at the Edinburgh and Ravinia Festivals; as well ; recital appearances in Washington, DC, Ann ': Arbor and Princeton, NJ. In commemora-
tion of the 250th anniversary of Bach's death, he performed the b minor Mass at the London Proms conducted by Sir Roger Norrington which was telecast on the BBC., He also made his Mostly Mozart Festival debut in August 2000 and sang a concert of Handel arias at the Brevard Music Festival. , He opened the 1999 season at the ]
Edinburgh Festival in Handel's Saul oppoJJ site Bryn Terfel and conducted by Sir Charles Mackerras. He has been heard with the San Francisco Symphony, St. Louis j Symphony, the New World Symphony, witl Boston's Handel and Haydn Society, the 1 Arcadian Ensemble and the Philharmonia j Baroque among others. ?..
A native of Spartanburg, South ?',. Carolina, David Daniels is the son of two V{ voice teachers. He began singing as a boy soprano, gradually emerging as a tenor. He attended Cincinnati's College Conservatory of Music and the University of Michigan _ where he studied with George Shirley. He '" began singing as a countertenor in 1992. He currently resides in Silver Spring, Maryland.
tonight's performance marks David Daniels' seventh appearance under UMS auspices. Mr. Daniels last appeared under UMS auspices in recital with pianist Martin Katz on March 7, 1999 at Lydia Mendelssohn Theatre. Mr. Daniels made his UMS debut as countertenor soloist,., in Handel's Messiah on December 3, 1994. 15
n ensemble of outstanding ?-musicians from Quebec City, Les Violons du Roy was brough together in 1984 by its artistic _ _i director and conductor, Bernard Labadie. Although they play on modern ' instruments, the orchestra is committed to a stylistically accurate approach to the entire repertoire it performs. Renowned for its annual series in both Quebec and Montreal, and well known elsewhere in Canada through its concerts and broadcasts for the CBC, the
ensemble has also given more than seventy concerts in Belgium, Spain, Germany, Morocco and the US.
Les Violons du Roy has made two coast-to-coast tours of Canada as well as highly ; praised debut performances in Los Angeles and at the Mostly Mozart Festival at Lincoln! Center in New York. Tonight's concert, part of a tour of major American venues, will feature Musical America's "Vocalist of the Year," David Daniels.:
Since 1992, the orchestra has made numerous CDs for Dorian Recordings: the Stabat Mater was nominated at the 1995P" MIDEM in France; Sons of Bach won the award for "Best Orchestral Release" at the 1997 Allegro Music Awards. Additionally, a recent CD featuring Bernard Labadie's newl! arrangement of Bach's Goldberg Variations for strings and continuo has just been released, i
Tonight's performance marks Les Violons du Roy's UMS debut.
Les Violons du Roy
Bernard Labadie Conductor
Violin
Noella Bouchard Angelique Duguay Pascale Gagnon Pascale Giguere Maud Langlois Michelle Seto Nicole Trotier Veronique Vychytil "
Viola
Jean-Louis Blouin Marie-Annick Caron Marie-Claude Perron
Cello
Carla Antoun ? Pierre-Alain Bouvrette
Bass
Dominic Girard
Oboe v
Diane Lacelle
Lute
Sylvain Bergeron
Harpsichord
Pfizer
present
Academy of
St. Martin-in-the-Fields
Murray Perahia Conductor and Piano Soloist
Program
Saturday Evening, March 24,2001 at 8:00 Hill Auditorium, Ann Arbor, Michigan
George Frideric Handel Overture to Aldna
Wolfgang Amadeus Mozart
Piano Concerto No. 17 in G Major, K. 453
Allegro
Andante
Allegretto
Mr. Perahia INTERMISSION
Johann Sebastian Bach Keyboard Concerto No. 1 in d minor, BWV 1052
Allegro iSL: Adagio
Allegro .. ....
Mr. Perahia
Mozart
Symphony No. 40 in g minor, K. 550
Allegro molto Andante
Menuetto: Allegretto Allegro assai
Seventieth 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 Pfizer Global Research & Development; Ann Arbor Laboratories.
Special thanks to Dr. Peter Corr and Dr. David Canter of Pfizer Global Research & Development for their generous support of the University Musical Society.
Additional support provided by media sponsor, WGTE.
The pre-concert carillon music was performed by David M. Wu, a MDPhD student in Neuroscience.
The piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
Murray Perahia appears by arrangement with IMG Artists. .
Academy of St. Martin-in-the-Fields appears by arrangement with ICM Artists, Ltd. '
Please visit the Academy of St. Martin-in-the-Fields on the Internet at . www.academysmif.co.uk. ' ' '?
Large print programs are available upon request.
Overture to Ala'na
George Frideric Handel ':v;...t.w.i';-,.j Born February 23,1685 in Halle, Germany Died April 14, 1759 in London
The thirty-fourth of Handel's forty-two operas, Alcina takes its subject from Ludovico Ariosto's famous sixteenth-centu?ry epic, Orlando furioso. It was first per?formed at Covent Garden on April 16,1735. Alcina is a sorceress who keeps the hero Ruggiero under her spell, while the fair maiden Bradamante tries to free her beloved from Alcina's enchanted island. The overture to this opera follows the form of the French overture, in which a slow introduction, using the characteristic dotted rhythm, is followed by a fast section employing contrapuntal imitation..,
V!
Piano Concerto No. 17 in G Major, : K. 453 ,
Wolfgang Amadeus Mozart "'?"
Born January 27, 1756 in Salzburg";........
Died December 5, 1791 in Vienna
Mozart was certainly not the first to com?bine the piano and the orchestra. Yet it is i fair to say that with his twenty-seven piano '' concertos, Mozart single-handedly created a new genre, one that not only held a special place in his output but also influenced every composer of concertos coming after him. & Mozart's piano concertos may seem quite uniform at first sight: they are all in three movements (fast-slow-fast). The alter?nation of orchestral and solo sections tends f to be determined by more or less stable pat-1; terns. The woodwinds nearly always play a .: prominent role in the orchestral accompani-j ment; the first movements are the longest and the most complex, the second movements are lyrical, and the finales lively and f spirited. Nonetheless, the diversity behind i
this apparent uniformity is astonishing. Upon a closer look, no two concertos are alike in the details of elaboration, and Mozart's endless melodic and harmonic imagination endows every single work with a personality of its own.
The key of G Major is often perceived as genial, friendly, and cordial, and the first impression of Mozart's Piano Concerto No. 17 will undoubtedly be consistent with that description. The opening theme is cheerful and brilliant: a happy melody in the first violins accompanied by bouncy eighth-notes in the lower strings and com?plemented by graceful woodwind passages. Soon, however, there is a change of mood, and we hear more plaintive, sigh-like melodies and startling, unexpected harmonies in the orchestra. After the entrance of the solo piano, the same duality between light?ness and emotional depth continues, with frequent shifts to minor keys and highly expressive modulations. This is a movement rich in surprises and of a high sensitivity. The woodwinds are treated as solo instru?ments throughout; the bassoon part, unusu?al in almost always diverging from the string bass, is particularly attractive.
The middle-movement "Andante" is a special gem among Mozart's slow move?ments. Its main melody combines simplicity and intimacy in a way unique even to Mozart. It then evolves into one of his har?monically boldest and most intricate pieces. The number and remoteness of the modula?tions are quite astonishing. There is much more beautiful soloistic writing for the woodwinds and some heart-gripping pas-sagework for the piano. Like the first move?ment, it is written in sonata form, and includes a piano cadenza at the end.
The third-movement finale is a theme with variations. The theme has reminded some commentators of Papageno from The Magic Flute. Although there is no direct ??_ connection (the opera was not written until
seven years later), the simple and popular nature of the melody does have something to do with the character of the famous bird-catcher.
The variations are six in number, but after the first, each variation is really two variations in one, effectively giving us eleven different "takes" on the original melody. Wherever there are repetitions in the theme, the variations have different versions for both the first and the second playing, resulting in a scintillating alternation between 1 piano and orchestra. Like most Classical works in this form, each variation concen?trates on a different type of motion or fea?tures a different instrument. The movement . explores a wide range of characters from .' tragic sentiments in the minor mode to a military march full of energy. The last varia?tion is in a faster tempo than the others, bringing the concerto to an energetic and exciting conclusion.
Keyboard Concerto No. 1 in d minor, BWV 1052
Johann Sebastian Bach
Born March 21, 1685 in Eisenach
Died July 28, 1750 in Leipzig
Since the appearance of the solo concerto in the early 1700s, most concertos were written for the violin. The cello and various wind instruments were also occasionally given a chance. The harpsichord, however, was relegated to the role of Cinderella: always present as a continuo instrument, providing indispensable harmonic support, but rarely noticed as a separate entity. The reason for this may have been that early concerto writers such as Vivaldi and Torelli were string players; keyboard virtuosos such as Domenico Scarlatti had either no interest in writing concertos, or no opportunities to do so.
As far as we know, J.S. Bach was the first to write concertos for a keyboard instrument. The virtuoso harpsichord part in the Brandenburg Concerto No. 5 (which also includes solos for flute and violin) inaugurated a new genre that was destined for a great future. About a decade after the Brandenburg set, Bach wrote seven solo concertos for the harpsichord when he was the director of the Collegium Musicum that performed at Zimmermann's coffee house in Leipzig. But for some reason, he doesn't seem to have thought of the harpsichord string orchestra combination as an indepen?dent medium that could stand on its own feet: instead of composing original works, he merely transcribed some of his earlier concertos for the keyboard. For three of the seven, the originals are well known. The Brandenburg Concerto No. 4 (in G) became a harpsichord concerto in F Major; and the two violin concertos in a minor and E Major were reincarnated as harpsichord concertos in g minor and D Major, respectively.
For the other concertos, the originals have not survived. Nevertheless, scholars are sure they existed, and have even attempted reconstructions. In the case of the d-minor concerto, the keyboard part has many fea?tures that are conspicuously violinistic, such as the wide leaps in the theme and a partic?ular repeated-note pattern that would have been played to special effect on the violin, using alternating strings. But other details in the solo part, such as the arpeggios, are so idiomatic to the keyboard that a reconstruc?tion of the original violin version is by no means a mechanical task.
We don't know for sure when the origi?nal violin concerto was written, though we may assume that it was during the Cothen years (1717-1723), the period when Bach wrote his known violin concertos. In the 1720s, Bach used the musical material of the d-minor concerto in two of his church can?tatas. Cantata 146 opens with the first
movement of the concerto as an instrurheri tal introduction or Sinfonia, already featur? ing a solo keyboard instrument (the organ). The second movement of this cantata is identical to the second movement of the xoncerto, with the chorus singing the words "Wir mussen durch viel Triibsal in das Reich
s Gottes eingehen" (We must enter God's
kingdom through many tribulations). Another cantata, No. 188, uses the concerto's last movement as its Sinfonia, again with a concertant organ solo.
The Keyboard Concerto No. 1 in d minor is a remarkably daring work that treats
:,Baroque concerto form with a great deal of freedom: in one moment, the music follows
I a strict logic based on sequential progres-
Isions and consistent melodic development, ?:__ and in the next, it surprises us with an outburst of rhapsodic passagework. The unusu-alness starts right at the beginning: the ritor-nello, or recurrent theme, is played in uni?son, which enhances the dramatic power of the dissonant intervals (tritone, diminished sevenths, minor ninths) in which the theme abounds. It is one of the most passionate instrumental movements Bach ever wrote. IH Like the first movement, the "Adagio" jg Upstarts with a unison theme featuring wide &&? leaps, including dissonant ones. The melody
. as the soloist's right hand plays an extremely "' ornate singing melody, expressive of the line k about tribulations applied to this music in i " Cantata 146.
&" The finale doesn't quite have the chro1 ti matic asperities of the first two movements,:! but it is still not exactly a light movement.
Despite some playful elements in the rhythm, $$, the tensions never completely go away. 1 This concerto had a major influence on . Bach's son Carl Philipp Emanuel, who made
his own arrangement of it, and who devel-Pp'oped the dramatic side of his father's writJffii'' ing further in his own music. The highly 1 ipp,' charged emotional style of C.P.E. Bach in ,j
turn influenced the composers of the Classical era, including Haydn, Mozart, and Beethoven.
Symphony No. 40 in g minor, K. 550
Mozart
In the eighteenth century, symphonies usual?ly started with a forceful downbeat whose function was somewhat similar to that of the rising curtain in the theatre: "Ladies and gentlemen, please be silent, the piece has begun!" The French even had a special name for this downbeat: premier coup d'archet (first bowstroke). More than a simple cus?tom, this way of opening a work became one of the defining elements of symphonic style.
The opening of Mozart's Symphony No. 40 in g minor (K. 550) is, in its quiet way, nothing short of a revolution. Dispensing with the premier coup d'archet, Mozart start?ed with a lyrical melody. What is even more unusual, however, is that this lyrical melody is preceded by almost a full measure of accompanying eighth-notes in the divided violas. In the nineteenth century, accompa?niment figures without melody were not uncommon: one might think of the open?ings of Schubert's Gretchen at the Spinning-Wheel or his String Quartet in a minor, the Mendelssohn Violin Concerto or many opera arias by Verdi. The example they all followed was Mozart's Symphony No. 40 in g minor, which may be seen as the symbolic origin of musical Romanticism.
Many writers have felt this symphony-and not only its first measure--to be Romantic in spirit. Often in his earlier --works Mozart had used (albeit with surpass?ing mastery) melodic material that belonged to a common vocabulary of Classical music. Not so in the g-minor symphony. The themes of this work are highly individual?ized and transcend conventions to a much greater extent than anything Mozart had
written before. The symphony contains dis?sonances, modulations and chromatic pro?gressions that were extremely bold for their time, and revealed new worlds of expressivi?ty that had not previously been known to musicians. Individuality, bold innovations and heightened expressivity--all three con?cepts were to become central to the : Romantic aesthetics of music.
At the same time, the symphony pre?serves a clarity of form and a balance
o
entirely Classical. We could not find better examples for sonata form than the first and the last movements; Classical rules and sym?metries are respected throughout. ; One of the most exciting parts in the first movement is the development section, where the famous opening melody under?goes dramatic transformations and its seg?ments taken apart, a technique later adopted by Beethoven. In the course of about ninety seconds (which is how long it takes to play the development section), there is counter-, point, a great deal of contrast in dynamics and orchestration, and key changes every four bars or so. The section begins and ends with a short descending scale scored for woodwinds only, making for smooth but quite noticeable transitions.
The theme of the second-movement "Andante" is intoned by the string instru?ments in successive entries (almost, though not quite, like in a fugue). At the repeat of this theme, the woodwinds add a descend,., ing scale motif in thirty-second notes sepa?rated by rests: a special masterstroke that was quoted almost literally by Haydn in the "Winter" section of his oratorio The Seasons. But Mozart develops the idea dif?ferently, using it for another great buildup of tension in the middle of the movement, before the recapitulation brings back the initial feelings of peace and serenity.
The third movement is one of the most metrically irregular minuets ever written.
Intricacies such as the he'miola (two 34 measures rearranged in three 24 units) are combined with dissonant clashes in the har?mony and a pungent chromaticism in the, melodic motion. The Trio, in which the tonality changes from g minor to G Major, is more relaxed, but the musical articulation remains complex. The woodwinds (with the exception of the clarinets) and the two horns all enjoy some great soloistic oppor tunities in the Trio.
Unlike many symphonies written in j minor keys, Mozart's Symphony No. 40 does not switch to the major mode for the finale ,,,' but remains in the minor to the end. This.I movement has few equals in the Classical lit'? erature for sheer dramatic power and inten? sity. Its most stunning moment is, without a , doubt, the beginning of the development, a ; striking unison passage that touches on all ... ? twelve tones of the chromatic scale and tfaS totally confounds our sense of tonality for a . moment. It resolves into an exciting contra'. puntal section that ends up as far from the home key of g minor as possible (c-sharp a minor). The recapitulation (which intro?& duces some subtle changes in the melody) $ ends with three strong g-minor chords that i almost sound like cries of despair. ;
Program notes by Peter Laki. 'jj
n the thirty years he has been per-" forming on the concert stage, Murray Perahia has become one of the most sought after and cherished !
____pianists of our time. J
Recognized worldwide as a musician of rare musical sensitivity, Mr. Perahia performs j in all of the major international music centers ! and with every leading orchestra of the world. He was appointed Principal Guest jj' Conductor of the Academy of St. Martin-in'I the-Fields in September 2000.
This season he performs with orchesj
tras in London, Toronto, Philadelphia, Sti-Paul and Warsaw. He will continue to tour with his highly acclaimed recital program including Bach's Goldberg Variations to New ' York, London, Frankfurt, Istanbul, Rome, Paris, and Seattle. In the 19992000 US sea? son he performed with the orchestras of i Seattle, Cleveland, Boston and New York. In London he also performed the Goldberg Variations as part of a three-concert series that featured him as soloist and conductor . with the Academy of St. Martin-in-the-Fields.
In February 1999, Mr. Perahia's record?ing of Bach's English Suites (Nos. 1, 3 and 6) " received a Grammy for "Best Instrumental . Soloist" (without orchestra). He has since ' released a second album of English Suites, and his next release will feature Mendelssohn's Songs Without Words. Mr..j Perahia's many recordings include the com-" plete Mozart Piano Concertos (in which he directs the English Chamber Orchestra from the keyboard), the complete Beethoven ,_ Concertos (with the Concertgebouw 'S Orchestra conducted by Bernard Haitink), as well as numerous solo discs covering a
broad spectrum of composers. His record-ing of music by Handel and Scarlatti won the Gramophone Award for the best instru?mental recording of 1997. In 1998 Sony released a four-disc set commemorating twenty-five years of recordings issued under the label. Other recent releases include the complete works for piano and orchestra of Robert Schumann recorded with the Berlin Philharmonic and Claudio Abbado, as well as a solo disc of Schumann: "Kreisleriana" and Sonata No. 1.
Murray Perahia was born in New York. He started playing the piano at the age of four, and later attended Mannes College, where he majored in conducting and com?position. His summers were spent in Marlboro, where he collaborated with musi?cians such as Rudolph Serkin, Pablo Casals and the members of the Budapest Quartet. He also studied at the time with Mieczyslaw Horszowski.
In 1972 Murray Perahia won the Leeds International Piano Competition, and engagements throughout Europe soon fol?lowed. In 1973 he gave his first concert at the Aldeburgh Festival where he met and worked closely with Benjamin Britten and Peter Pears, accompanying the latter in many lieder recitals. He was co-artistic director of the Aldeburgh Festival from 1981 to 1989. In subsequent years, he devel?oped a close friendship with Vladimir Horowitz, whose perspective and personali?ty were an abiding inspiration.
Murray Perahia is an Honorary Fellow of the Royal College of Music and the Royal Academy of Music.
Tonight's performance marks Murray Perahia's tenth appearance under UMS aus?pices. He last appeared under UMS auspices in solo recital on February 16, 2000 perform?ing J.S. Bach's Goldberg Variations at Hill Auditorium. Mr. Perahia made his UMS debut in October of 1977.
he Academy of St. Martin-iri'-the-Fields was founded by Sir Neville Marriner in 1959, then a violinist with the London Symphony Orchestra. Originally formed as a small, conductor-less string ensemble spe, cializing in Baroque music, the Academy has grown considerably in size, repertoire and reputation. It is now the world's most record?ed chamber orchestra, playing music from the seventeenth century to the present day.
Working with three principal part?ners--Life President Sir Neville Marriner, Artistic Director Kenneth Sillito and Principal Guest Conductor Murray Perahia--and with many other colleagues, the orchestra divides its time among con?certs in the United Kingdom, work in the recording studio and international tours. In 1993 the Academy became the first orches?tra to be honored with a Queen's Award for
Export Achievement in recognition of its extensive touring schedule and esteemed reputation outside Britain. !KJSSOSS._
The Academy has won many other prestigious international awards, including eight Edisons, the Canadian Grand Prix and a multitude of gold discs--thirteen alone for the soundtrack to Milos Forman's film Amadeus. The orchestra also recorded the soundtrack to The English Patient, which won nine Academy Awards, including "Best Original Dramatic Score" and "Best Sound."
The Academy regularly tours the US, South America, Europe and the Far East, and was particularly honored to be asked by the Hong Kong Government to play at the official hand-over celebrations in 1997.
Tonight's performance marks the Academy of St. Martin-in-the-Fields' fifth appearance under UMS auspices.
Academy of St. Martin-in-the-Fields
Violin I "? Kenneth Sillito, Leader Harvey de Souza Simon Smith Jan Schmolck Christopher George Elizabeth Williams ; Mark Butler '?
Matthew Ward
Violin II
Martin Burgess Jennifer Godson Rebecca Scott Marilyn Taylor Elizabeth Edwards Malcolm Latchem
Viola
Robert Smissen Timothy Grant Duncan Ferguson Ian Rathbone ?$.
Cello
Stephen Orton. John Heley Martin Loveday William Schofield
Double Bass
Paul Marrion
Lynda Houghton
?1
Flute
Edward Beck
&; .-
Christopher Cowie Rachel Ingleton
Gavin McNaughton
Stephen Stirling Susan Dent
Academy of St. Martin-in-the-Fields Administration
John Manger, Chief Executive
Dawn Day, Concerts Administrator IB
Julia lent, Head of Marketing and Development S Sian Davis, Education and Outreach Manafer IK
ICM Artists Touring Division ."BEES
Byron Gustafson, Director and Executive Vice President Leonard Stein, General Manager and Vice President William Bowler, Associate Manager ... Siobhan O'Connor, Associate lES-'
John Pcndleton, Company Manager vjJ1 Gerald Breault, Stage Manager Vt
Geoffrey Holland, Tour Program Coordinatotfm
presents
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Chamber Music Society of Lincoln Center
David Shifrin Artistic Director ..
Heidi Grant Murphy, Soprano Ransom Wilson, Flute Ida Kavafian, Violin Paul Neubauer. Viola Heidi Lehwalder, Harp ,.
@@@@Anthony Elliott, Cello
and cellists of the University of Michigan School of Music Eileen Brownell, Alexander Cheung, Barney Culver, j Katherine Dykstra, Michael Freilich, Mary Ellen Morris; Erika Pierson
" Artist Member of the Chamber Music Society.
Heitor Villa-Lobos
Claude Debussy
Wednesday Evening, March 28,2001 at 8:00
Lydia Mendelssohn Theatre, Ann Arbor, Michigan j
Suite para canto e violino (Suite for Voice and Violin)
A Menina e a Cancao (The Young Girl and the Song) Qu6ro ser Alegre (I Wish To Be Gay) f---'?"? Sertaneja (The Peasant Girl of Brazil)
Bachianas Brasileiras No. 5, for Soprano and Violoncellos
Aria (Cantilena) !'
Dancja (Martelo) , ?
Grant Murphy, Elliott, Cellists of the U-M School of Music
Sonata for Flute, Viola and Harp
Pastorale 'c
Interlude
Finale ------,--.. ... ..---------
Wllson, Neubauer, Lehwalder
INTERMISSION
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@@@oin Taverner
1 i
To a Child Dancing in the Wind for Soprano, Flute, Viola and Harp
He Wishes for the Cloths of Heaven
The Old Men Admiring Themselves in the Water
To A Child Dancing in the Wind
Two Years Later
The Fiddler of Dooney
[' A Deep-Sworn Vow Sweet Dancer The Stolen Child
; He Wishes for the Cloths of Heaven " ""
The Countess Cathleen in Paradise
KjRant Murphy, Wilson, Neubauer, Lehwalder
Seventy-first
Performance .'
of the 122nd Season,;
Sixth Annual ? Song Recital Series
The photographing or sound recording of this concert or possession of any device for O such photographing or sound recording is prohibited.
Presented with the generous support of TI Group Automotive Systems.) Additional support provided by media sponsor, WGTEl
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Artist transportation provided by Sesi Lincoln Mercury ,, ,.. . ,. . . . .
Underwriting for the Chamber Music Society's touring has been generously. provided by the Lila Acheson and DeWitt Wallace Fund for Lincoln Center,;! established by the founders of The Reader's Digest Association Inc.
The Chamber Music Society has recordings on the Musical Heritage Society, MusicMasters, Omega Record Classics, Arabesque, and Delos labels.
Ms. Murphy has recorded for Deutsche Grammophon, Telarc and Koch : International, and now records exclusively for Arabesque Recordings. ?jjji&
Ms. Murphy appears by arrangement with Kirshbaum Demler and '$!?( Associates, Inc. JSpM
Visit the Chamber Music Society on the Internet at j www.chambermusicsociety.org. ;YHKB4t
Large print programs are available upon request.
Suite para canto e violino ''u
$J (Suite for Voice and Violin) :_
Heitor Villa-Lobos j
Born March 5, 1887 in Rio de Janeiro, Brazil s, Died November 17, 1959 in Rio de Janeiro i
The composer Darius Milhaud weathered '"' the First World War by getting himself '?_
assigned to the entourage of the poet Paul Claudel, who served as the French ambas! sador to Brazil during the conflict. Almost as soon as Milhaud arrived in Rio, Heitor Villa-Lobos, just establishing his reputation as one of Brazil's most daring and ambitious composers, introduced himself, and then ? convinced Milhaud to present him to the ; visiting pianist Artur Rubinstein. Rubinstein -was much taken with Villa-Lobos' talent, ' and he began programming his piano com! positions and championing his music across three continents. Milhaud and Rubinstein ; both urged him to share his exotic variety of' music with European audiences, and in the summer of 1923, Villa-Lobos set sail for France. He was warmly welcomed to Paris ; by the Brazilian community, which included:: the singer Vera Janacopulos, who brought the new arrival into contact with many of : the city's most prominent musicians and ; artists. It was for Mme. Janacopulos and her friend, the violinist Yvonne Astruc, that ' Villa-Lobos wrote one of his first compositions in Paris, a pair of songs for the unusu-: al combination of voice and violin. They were premiered at the Salle des Agriculteurs i on October 23, 1923 on the concert that was' Villa-Lobos' public debut in Paris. Mme. " Astruc encouraged Villa-Lobos to add a -third number to the set, which he did; the . work was first heard in its complete form on! April 9, 1924. ;
The Suite for Soprano and Violin is thor-' oughly wedded to the indigenous musical ; style of Villa-Lobos' native Brazil, a facet of '"' his creative personality that was stimulated rather than subdued by his residence in
Paris. The opening number ("A Menina e a Cancao" [The Young Girl and the Song]) is a setting of a poem by Mario de Andrade whose text may be paraphrased as follows:
A gaunt, young girl, her skirt flying . above her knees,
Came, half dancing and singing, in the ' -..,. twilight.
i; She beat a rhythm on the dusty ground '?: with her stick. j'
' She turned suddenly to an old Negro
woman with an enormous bundle of clothes on her head:
"Oh, will you give that to me, Granny" 5 "No."
The last two songs, "Quero ser Align (I Wish To Be Gay) and uSertaneja" (The Peasant Girl of Brazil), are both wordless, the first in the nature of a lament, the other based on the vivacious embolada, a humor?ous songdance type from northeast Brazil whose texts are given to alliteration. Villa.;;' Lobos used the textual character of the .{$ embolada to create a startlingly modern '. vocal style for "Sertaneja" which presages music composed by George Crumb and M Luciano Berio in the 1960s and 1970s. $
Bachianas Brasileiras No. 5, H for Soprano and Violoncellos
Villa-Lobos . -
The set of nine Bachianas Brasileiras holds a special place in Villa-Lobos' enormous out?put of more than 2000 works. These com?positions, which Arthur Cohn called "less a musical form than a type of creative princi?ple," combine the melodic and rhythmic characteristics of Brazilian music with the texture and style of Bach. Of this genre, ;syj original with him, Villa-Lobos wrote, "Th" is a special kind of musical composition,
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based on an intimate knowledge of the great works of Bach and also on the composer's affinity with the harmonic, contrapuntal and melodic atmosphere of the folklore of , Brazil. The composer considers Bach a uni?versal and rich folklore source, deeply root?ed in the folk music of every country in the j world. Thus Bach is a mediator among all J races.
The Bachianas Brasileiras No. 5 is scored for the unusual combination of soprano voice and eight cellos. The opening movement, "Aria" (Cantilena), was com?posed in 1938 and premiered on March 25, 1939 in Rio de Janeiro. Villa-Lobos noted ( that the Brazilian usage of the word "aria" is as a general designation for "a kind of lyrical" song"--his model in the outer sections of the piece, sung without words, may well;-' ' ? have been the famous Air from Bach's Orchestral Suite, No. 3. The middle portion . of the "Aria," in the style of a Brazilian folk-' song, is a setting of a poem by Ruth V. Correa evoking the beauties of sunset and ? evening. According to the composer, the seci ond movement, "Danca" (subtitled Martelo [Hammered]), from 1945, "represents a per-j sistent and characteristic rhythm much like ,' the strange melodies of the Brazilian hinter?land known as emboladas. The melody sugv gests the birds of Brazil." Its text, a verse by Manuel Bandeira, expresses the ancient theme of the wild bird as the messenger of J
Sonata for Flute, Viola and Harp,
Claude Debussy ?
Born August 22, 1862 in St.-Germain-en-
Laye, France ' " '
Died March 25, 1918 in Paris
When the Guns of August thundered across the European Continent in 1914 to plunge the world into "the war to end all wars," Claude Debussy was already showing signs of the colon cancer that would end his life four years later. Apprehensive about his health and tormented by the military con?flict, his creative production came to a vir?tual halt: except for a Berceuse hero'ique writ?ten "as a tribute of homage to His Majesty King Albert I of Belgium and his soldiers," Debussy wrote no new music in 1914; the death of his mother the following March further deepened his depression. That same month, however, he appeared in a recital in the Salle Gaveau with the soprano Ninon Vallin, and his mood brightened. During the summer, he completed En blanc et noir for Two Pianos and the Etudes for Solo Piano, and projected a series of six sonatas for vari?ous instrumental combinations inspired by the old Baroque school of French clavecin-ists. The first of the sonatas, for cello and piano, was completed quickly in July and August 1915 during a holiday at Pourville, near Dieppe; the second one, for flute, viola (originally oboe) and harp, was also written at Pourville before Debussy returned to Paris on October 12. Surgery in December prevented him from further work until October 1916, when he began the Sonata for Violin and Piano. A sonata for oboe, horn and harpsichord never went beyond the planning stage; the remainder of the pro?jected set did not get that far. The Violin Sonata, completed in 1917, was his last important work; he premiered the piece on May 5, 1917 in Paris with violinist Gaston Poulet, and played it again in September at St.-Jean-de-Luz, where he was summering.
It was his last public appearance
For the inspiration, style and tempera?ment of the Sonata for Flute, Viola and Harp, Debussy looked back far beyond the Impressionism of his earlier works to the elegance, emotional reserve and textural clarity of the music of the French Baroque. The Sonata's ethereal opening movement, titled "Pastorale," unfolds as a series of episodes based on themes that at first ? encounter seem like little more than wispy arabesques. There are, however, five frag?mentary but distinct thematic entities here, which are later recapitulated in a different order to round out the movement's form: 1 and 2) two melancholy strains that intro_ duce the flute and the viola; 3) an open-interval, drone-like motive for viola and harp; 4) a lyrical melody in the flute's lower register supported by arching arpeggios in the viola; and 5) an animated ensemble pas?sage in an uneven meter. The motives are heard at the end of the movement in this order: 2-4--5-3-1. A quicker dance-like sec?tion occupies the middle of the movement. Though the "Interlude," a reminiscence in pastels of the durable old form of the 3 minuet, is Debussy's most obvious tribute here to the music of the Baroque, its whole-' tone theme, parallel chord streams and modal harmonies plainly mark this as a product of the twentieth century. The form proceeds by twice interpolating a vaguely Oriental duple-meter episode (B) into the delicate triple-meter minuet (A);. A-B-A-B-A.
The "Finale" brilliantly grounds its apparent evanescence of expression in a carefully crafted development of its themes. Most of the movement grows from muta?tions of the three motives that are presented in quick succession at the outset: snapping viola pizzicatos, quicksilver falling arpeggios from the flute, and a longer viola melody " anxiously juxtaposing duple and triple rhythms. As the movement nears its end, the
tempo slows to admit a brief recall of the flute theme that opened the first movement before a short, animated coda closes the $ Sonata. . ?:(&
To a Child Dancing in the Wind
for Soprano, Flute, Viola and Harp John Tavener Born January 28, 1944 in LondonWBS
John Tavener, born in London in 1944 and trained under Lennox Berkeley at the Royal Academy of Music, ranks (with Estonian composer Arvo Part) as the great musical mystic at the turn of the millennium. After passing through periods as organist in a Presbyterian church in Kensington and an adherent of a reactionary species of Roman Catholicism, he joined the Russian Orthodox Church in 1977, perhaps less for"" its dogma than for what he perceives as its ties to an elemental life force that he believes was banished from Western music by seven?teenth-century rationalism. "Everything I write at the moment seems to produce a i very large audience," Tavener said in an j interview in 1992. ,
I Some say they find truth and beauty in my music, and I accept that. I hazard a guess: maybe they are attracted by the Tradition which I have used. A Tradition ; with a capital'T,' which embraces Saint'jjHp Sophia in Constantinople as well as Chartres...of which the West seems to . have lost all sense. We have surrendered a sort of secret knowledge, the knowledge v Dante speaks about: the intellect of the heart.... We are now at the end of a cycle, in a time where anything goes, artistically speaking. Maybe that's what I try to work on. Tradition. Perhaps that is the chord I strike in people's hearts. I use the tone systems of the Byzantine era, I use sacred ?; geometry. If I write a piece about, say, thi I Holy Spirit, the notes wouldn't come out
of nowhere. I am only a vessel through , which God speaks.
. ; Tavener's conviction about the mystical power of music has inspired a large number of works on religious themes with sung texts--cantatas, requiems, introits, canticles, lamentations, prayers, vigils, rites, operas on St. Therese of Lisieux and Mary of Egypt-j as well as a growing body of chamber and -orchestral compositions, many with soloists. The essential qualities of Tavener's music-austerity and transcendence--create a float?ing quietude that evokes a mystical realm which only music can reveal.
Tavener was attracted to the writings of William Butler Yeats (1865-1939) not just for the content of the Irish poet's verses but. j also for their shared view of the mystical nature of art. To a Child Dancing in the Wind sets a series of Yeats' poems dealing with the stages of life--the endearing ',
naivete of childhood, the loss of innocence, ? the fading of youth into old age, the con?frontation with death, and even an opti'-. mistic conjecture about the after-life. The cycle is threaded together by a twenty-five-note palindrome, stated gently by the harp at the outset, that not only provides the the?matic germ for much of what follows but also returns in its original or inverted form to begin each song, save only "Two Years Later" and "The Stolen Child." The cycle is brought to a haunting, otherworldly close,... by "The Countess Cathleen in Paradise," j during which the singer is instructed to -j leave the stage while intoning the song's 1 serene melody, part chant, part folksong.
? 1
Program notes O2001 by Dr. Richard E. Rodda. j
eidi Grant Murphy has appeared with many of the world's finest opera companies and symphony orchestras, notably the Metropolitan Opera, Salzburg Festival, Netherlands Opera, and Opera National de Paris. She has been .. .....
engaged as soloist with the Vienna 'i, _ Philharmonic, New York Philharmonic, . Chicago Symphony, Cleveland Orchestra, ?? Boston Symphony, Philadelphia Orchestra, and Munich Philharmonic.
Ms. Murphy's 20002001 season began with summer engagements at the Tanglewood, Caramoor and Minnesota Sommerfest Music Festivals. She sang the
roles of Sophie in Der Rosenkavalier with ._,. conductor James Levine and the Metropolitan Opera iri1 Tokyo, and Pamina in ! Die Zauberflote with the Bavarian State Opera in Munich.
ments include the
Brahms Requiem with Kurt Masur and the New York Philharmonic, Franz Schmid's Book of the Seven Seals with Franz Welser Most and the Cleveland Orchestra, Mahler's Symphony No. 2 with Zubin Mehta and the Los Angeles Philharmonic and Hans Vonk and the St. Louis Symphony, Barber's Wf Knoxville, Summer of 1915 with the St. Paul Chamber Orchestra, Carmina Burana with the Detroit Symphony Orchestra, Mozart's Mass in c minor with Washington's Bach Consort, and Mozart's Coronation Mass with the Columbus Symphony. She appears at Carnegie Hall's Choral Workshop with Sir Neville Mariner in Vivaldi's Gloria and in the Brooklyn Academy of Music's staged :'K production of Bach's St. Matthew Passion, directed by Jonathan Miller. In November, she toured with St. Luke's Chamber ; "
Orchestra in performances of Mahler's Symphony No. 4 (arr. Stein), a project to be recorded for Arabesque Recordings. Her current tour with the Chamber Music Society of Lincoln Center travels to ten cities performing works by Tavener and Villa-Lobos. Recital engagements will take place in Philadelphia and Carnegie Hall's Weill Recital Hall. Ms. Murphy will return to the Salzburg Festival during the summer of 2001 for performances of Nanetta in Falstaff under the baton of Lorin Maazel. Ms. Murphy's most recent recordings include Dreamscape on the Koch International label, and Twilight and Innocence for Arabesque Recordings. She recorded Mahler's Symphony No. 2, "Resurrection," with Andrew Litton and the Dallas Symphony Orchestra for Delos in
1999, and followed that release with Mahler's Symphonies No. 4 and No. 8 in
2000. Additional recordings can be found on the Deutsche Grammophon and Telarc labels.
Heidi Grant Murphy resides in New York City with her husband and two chil?dren.
Tonight's performance marks Heidi Grant Murphy's UMS debut. ?-.-..
Anthony Elliott, a protege of Janos Starker and of Frank Miller, won the Feuermann International Cello Solo Competition, which was followed by a highly successful New York recital. Mr. Elliott has given mas?ter classes at most leading American conser?vatories. He is a frequent soloist with major orchestras, including those of Detroit, Minnesota, Vancouver, CBC Toronto, and the New York Philharmonic. His compact disc of Kabalevsky, Martinu, and Shostakovich sonatas received a rave review from Strad Magazine of London and was
named a "Best Buy of 1991" by the Houston Post. Forthcoming releases include works by French and Russian composers. In demand as a chamber musician, Mr. Elliott has been ' a guest artist at the Sitka (Alaska) Summer Music Festival, the Seattle and Texas cham: ber music festivals, New York's Blossom Music Festival, Houston's Da Camera Series . and the Victoria International Festival. He has performed as a member of Quartet Canada and as a guest artist with the JiS Brunswick, Lyric Art, and Concord string " ? quartets. He devotes his summers to teach,, ing and performing at the Aspen Music Festival and School. Mr. Elliott joined the University of Michigan School of Music, facr ultyinl994. WNlft,
Tonight's performance marks Anthony Elliott's tenth appearance under UMS auspices.
Violinist Ida Kavafian, became an Artist Member of the Chamber Music Society from 1989-1993 and then again from 1996 to the present. A highly versatile violinist and violist, Ms. Kavafian is equally pleased playing music from the core chamber music ' repertoire, as introducing new works from ? .i contemporary composers. During the upcoming CMS season, she will perform: music of Mozart and David Diamond, Charles Wuorinen, Samuel Barber and . . Michael Daugherty. She will also travel on tour with the Chamber Music Society dur, ing the winter and spring, performing the music of Beethoven, Mendelssohn, .9p?(Pd Chausson and Ned Rorem. She appears reg-; ularly with such ensembles as the Guarneri String Quartet, the Beaux Arts Trio (of l?g which she was a member for six years), and : is Artistic Director of New Mexico's Music from Angel Fire. She teaches at the Curtis Institute and Mannes College of Music and ., has served on the board of Chamber Music America. Co-founder of the innovative jjf ensemble TASHI, she recently co-founded
the piano quartet, Opus One, together with ' CMS Artist Member pianist Anne-Marie ] McDermott, Artist Member violist Steven Tenenbom--her husband--and cellist Peter Wiley. At home in Connecticut with her ; husband, Ms. Kavafian is consumed with her other non-musical interests, including breeding, training, and showing champion Hungarian Vizsla dogs ...?. -j
Tonight's performance marks Ida Kavafian's '-fifth appearance under UMS auspices. ]
Harpist Heidi Lehwalder, distinguished for . being the first recipient of the Avery Fisher Prize, has performed with many US orchestras, including the New York and Los ?
Angeles Philharmonics, the Cleveland and Louisville Orchestras, Washington's National, Symphony, and the symphonies of Atlanta, ' Phoenix, Seattle, and Syracuse. As a cham?ber musician, she has appeared with the fes?tivals of Caramoor, Marlboro, Santa Fe and Spoleto. A member of the Orpheus Trio, she J toured for eight seasons with flutist Paula ?' Robison and violist Scott Nickrenz. Several : works have been written for her and, as a recording artist, she was nominated for a ; Grammy Award for her Nonesuch anthology i of music by Carlos Salzedo. Ms. Lehwalder ? also has recordings available on the RCA, .v; CRI, and Vanguard labels. ,M;
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Tonight's performance marks Heidi Lehwalder's UMS debut.
Violist Paul Neubauer started off the year ' 2000 with a group of world premieres ,.: including Henri Lazarof's Rhapsody for jfjQ. Viola and Orchestra in Denmark, two tangos i for viola--by Ransom Wilson and Gabriel ? Senanes--and Soul Garden, a work for viola"; and chamber ensemble by Derek Bermel --i that was commissioned by the Chamber Music Society for concerts celebrating Mr. Neubauer. He also gave the Taiwan and .jml
Hong Kong premieres of the revised Bartok Viola Concerto and recorded the work with .; the Hong Kong Philharmonic. Mr. ??M"11
Neubauer made his first appearance with ' CMS in 1985 and became an Artist Member in 1989. He has appeared as soloist with the New York and Los Angeles Philharmonics, National, St. Louis, Dallas, and San -
Francisco Symphonies, St. Luke's and m English Chamber Orchestras, and has given"1; premieres of concertos by Bartok, Penderecki, Picker, Jacob, Suter, Ott and -m Friedman. Mr. Neubauer is on the faculty'of The Juilliard School and has been featured on CBS' Sunday Morning, A Prairie Home Companion with Garrison Keillor, and in Strad, Strings and People magazines. He is the Director of Chamber Music at the OK Mozart Festival and has performed at the festivals of Verbier, Ravinia, Wolftrap, Hollywood Bowl, Saratoga, and Marlboro. He was Principal Violist of the New York n? Philharmonic for six years, joining at ageaf twenty-one, and has recorded for Decca, '91 RCA, Sony Classical, Koch, and Delos. !m
Tonight's performance marks Paul Neubauer's fifth appearance under UMS auspices.-Aii,
Flutist Ransom Wilson, an Artist Member since 1991, has performed some 400 times with the Chamber Music Society. This sea-son, Mr. Wilson was heard in the all-Copland program of mid-November; in the festive Holiday performances of the Brandenburg Concertos; in the "Great Day in New York" concert on January 21, and will be heard in the final program of the season in May. Mr. Wilson is Music Directorof Soloisti New York, a chamber orchestra, of Oklahoma's OK Mozart Festival, and of the San Francisco Chamber Orchestra. He was a student of Jean-Pierre Rampal, of whom he says: "...a great musician and a great human being. I've learned as much from him as a person as I have as a musician, and I have learned
more from him as a musician than from anybody else. His generosity of spirit seems endless." Mr. Wilson makes his home in . Connecticut where Yale University claims him as a faculty member of the Department of Music and where, when free of academe, he tends an extensive garden in season and perfects his talent as an exponent of Chinese cooking, jj
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Tonight's performance marks Ransom , Wilson's UMS debut. --:iJ
he Chamber Music Society of Lincoln Center (CMS) mounted its first concert on September 11, 1969, in its permanent home, Alice _ Tully Hall, thus realizing the dream Lincoln Center president-composer William Schuman, had of creating a constituent J devoted exclusively to chamber music. Its I pioneering structure--a core of distinJ guished Artist Members augmented by M invited guests--allows Artistic Director 1 David Shifrin to present concerts of every -instrumentation, style, and historical period at Lincoln Center, on national and interna?tional tours, and on national television via Live from Lincoln Center. As the nation's pre?miere repertory company for chamber music, CMS strives to bring audiences the 1 finest performances of an extraordinary 1 body of repertoire, dating as far back as the Renaissance and continuing through the centuries to the finest works of our time. H
In addition to its concert series at Alice Tully Hall, CMS offers a wide spectrum of programs designed for people of all ages, M backgrounds and levels of musical knowl-1 edge and experience. This season, the M Chamber Music Society collaborated with I Merkin Concert Hall to present a nine-con?cert celebration, "A Great Day in New York," a celebration of fifty-four New York-based composers. Other programs include a family
concert series called "Meet the Music!" and "Chamber Music Beginnings," a curriculum-based program that introduces stui dents in grades three through six to cham-i ber music; Chamber Music Society Two, 2 which showcases the next generation of y world-class chamber musicians; a series of' hour-long concerts in its intimate Daniel and Joanna S. Rose Rehearsal Studio; and "Double Exposure" concerts, an innovative . way to experience new music twice in one '$i evening. Audiences can enhance their enjoy?ment of CMS events through an in-depth lecture series with scholars and composers, and "Inside Chamber Music," a series of . seminars on music led by Bruce Adolphe.
CMS' discography ranges from Bach to ! Zwilich and includes critically-acclaimed s recordings of Dvorak's Serenade and Quintet, ' Beethoven's Septet and Serenade; music by Carl Maria von Weber; and Walton's Facade with Lynn Redgrave as narrator. Fi Magazine named CMS' recording of Bach's complete Brandenburg Concertos "one of the best ,g recordings of the year" in 1996. CMS's -. newest releases feature The Complete Chamber Music of Claude Debussy, which ,j was nominated for a Grammy Award; a disc ' of Twentieth-Century American Clarinet Quintets featuring David Shifrin, Eden Otrtg " ofTime and Out of Space featuring music of George Rochberg, and Wynton Marsalis' j A Fiddler's Tale with actor Andre De Shields. f
In its thirty-one years, CMS has shown j a commitment to the music of the twentieth '?' century by commissioning over a hundred new works from a formidable array of com?posers, including Bruce Adolphe, Samuel Barber, Leonard Bernstein, William Bolcom, Sj John Corigliano, George Crumb, Lukas Foss, aj John Harbison, Alberto Ginastera, Morton .J Gould, Keith Jarrett, Oliver Knussen, Gian$ Carlo Menotti, Darius Milhaud, Peter W" Schickele, Bright Sheng, Joan Tower, and Ellen Taaffe Zwilich. This commitment con?tinues in the coming season, as CMS per-
forms eight world or New York premieres. The Chamber Music Society also supports the work of living composers by awarding the Elise L. Stoeger Prize, a cash award given annually to each of two outstanding com?posers of chamber music. The CMS has been guided by three Artistic Directors: founding Artistic Director Charles Wadsworth (1969-1989), Fred Sherry (1989-1992), and since
.J.992, David Shifrin.
?s!. The Chamber Music Society of Lincoln Center is made up of nineteen Artist Members. They are joined by many guest artists throughout the season. Current Artists of the Chamber Music Society are: Ransom Wilson, Flute; Stephen Taylor, Oboe; David Shifrin, Clarinet; Milan Turkovic, Bassoon; Ani Kavafian, Violin; Ida Kavafian, Violin; Cho-Liang Lin, Violin; Joseph Silverstein, Violin; Paul Neubauer, Viola; Gary Hoffman, Cello; Fred Sherry, Cello; Edgar Meyer, Contrabass; David .. ?
Golub, Piano (in memonam); Lee Luvisi, tSn Piano; Anne-Marie McDermott, Piano; Orion String Quartet, Quartet-in-Residence (Daniel Phillips, Violin; Todd Phillips, Violin; Steven Tenenbom, Viola; Timothy 'jg Eddy, Cello). t. ,.J
Tonight's performance marks the Chamber -g Music Society of Lincoln Center's eighth ?? -3ek appearance under UMS auspices. I
UMS
and
Ideation
present
Brass Band of Battle Creek
Constantine Kitsopoulos Conductor
Paul W. Smith Emcee
Program
Friday Evening, March 30,2001 at 8:00 Hill Auditorium, Ann Arbor, Michigan
,li
John Williams, arr. Mark Freeh
F ,1'
Dmitri Shostakovich, arr. Peter Kitson
Philip Sparke
Festive Overture
Euphonium Concerto (Excerpt)
Lento
Mr. Mead
Igor Stravinsky, Firebird Suite (Excerpts)
arr. Ray FarrKitsopoulos
L; ..,? INTERMISSI Q.ty,..
Richard Wagner, Elsa's Procession To The Cathedral
arr. William Himes
@@@@.."&
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traditional, arr. Jack Cortner
Swing LowSaints
Mr. Jaudes, Mr. Barber, Mr. Daniel, Mr. Gordon, Mr. Erickson
Felix Arndt,
arr. Luis Maldonado
John Beck
Mr. Beck
& Jimmy Davis ; Roger Ramirez Jimmy Sherman arr. Cortner
@@@@Sr4
Seventy-second
Performance
of the 122nd Season
Sixth Annual Michigan Favorites Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by Ideation, Inc.
mmsz.
Presented with additional support from an anonymous donor in honor of University of Michigan alumnus Senator Joe Schwarz, M.D. of Battle Creek.
Special thanks to Benjamin Pruitt and the Detroit Public Schools for their assistance in the Brass Band of Battle Creek's Detroit residency.
Special thanks to the Ypsilanti, Ann Arbor, and Detroit Public Schools for their participation in this performance and residency.
Large print programs are available upon request, m
aul W. Smith is the popular morning talk show host on 760 WJR in Detroit. WJR's Paul W. Smith Show airs weekdays from 5:30am-9:00am. July 2000 marked his fourth anniversary as the station's morn ing host. Mr. Smith conducts interviews with a wide range of interesting people including local and national business lead?ers, politicians and entertainers, plus anyone making news and making a difference in our community, country and the world. ; Smith has an impressive and extensive background in talk radio, television, and the national entertainment field. He has been a host on the ABC Radio Network and the Financial News Television Network; hosted morning shows on radio and television sta?tions in New York City, Philadelphia, Toledo and Detroit.
Outside of the office, Smith devotes i much of his time to many public service
organizations. He has hosted Easter Seal Telethons in New York, New Jersey and Ohio. He also helped found the Make-A-Wish Foundation in north?west Ohio.
Many nights he can be found offering his services as master
of ceremonies at a number of important charitable functions.
Paul W. Smith is a 1975 graduate from the University of Michigan with a Bachelor of General StudiesPre-law. He has been awarded numerous national and local hon?ors including "Broadcast Personality of the Year" by the Michigan Association of Broadcasting and he has been named one of "The 100 Most Important Radio Talk Show Hosts In America for 2000" (he is the only weekday personality in Detroit to be named as one of the "Top 100 in America" three
years in a row). ;
The Paul W. Smith Show travels world?wide to provide WJR's listeners with the best and most interesting news and information. He has taken his show on the road to such) ' places as: Beijing, China; Frankfurt,
Germany; Paris, France; Tokyo, Japan; i Augusta, Georgia (for the Masters); ]
TorontoOntario, Canada; and Disney World, EPCOT and the Animal Kingdom in Orlando, Florida. i
Tonight's performance marks Paul W. Smith's UMS debut. 4
flt onstantine Kitsopoulos is a con?ductor whose musical experience runs the gamut from symphony, opera and music theater to the :i development and performance d] new works in a wide variety of genres.
Maestro Kitsopoulos has conducted the National Symphony Orchestra, Hong Kong Philharmonic, Bangor Symphony Orchestra, Ives Center Symphony Orchestra and the ! Nebraska Chamber Orchestra. He was Artistic Director of the New York Chamber Orchestra from 1987 to 1992 and made his Carnegie Hall debut with that ensemble in October of 1991 after a critically acclaimed tour of Korea. For the past four years, j Maestro Kitsopoulos has conducted the "in-school" concerts for the Brooklyn Philharmonic Orchestra.
As an opera conductor Maestro ., Kitsopoulos conducted the Asian premiere of Puccini's Turandot with the Hong Kong Opera as well as their production of Verdi's Trovatore, Bellini's Norma and Offenbach's Tales of Hoffman. He has been involved with several new operas, Anthony Davis' Life and Times of Malcolm X, Oliver Knussen's Where The Wild Things Are and John Adams Death of Klinghoffer. Mr. Kitsopoulos was assistant chorus master at the New York City Opera,....
between 1984-1989.
In the music theater Maestro Kitsopoulos was music director and con?ductor for the Broadway production of Cyrano, the Musical. He has been music i director and conductor for the national
tours of Sunset Blvd., Miss Saigon, Joseph and the Amazing Technicolor Dreamcoat and Secret Garden for which he won the Dramalogue Award for "Best Musical Direction." As an orchestrator, Mr. Kitsopoulos recently
finished work on Ed Dixon's Gather Country: which was given its premiere at the Dallas Lyric Theater.
& Maestro Kitsopoulos' commitment to ; arts education is evidenced by his extensive contact with students of all ages through his work with the Brooklyn Philharmonic. He has given master classes in conducting, orchestral and vocal performance at Baylor University, Long Island University, New York' University, the 92nd Street Y, Shenandoah Conservatory, University of Vera Cruz and various high schools and middle schools -, across the country. '
Maestro Kitsopoulos studied conduct?ing with Gustav Meier, Sergiu Commissiona, Semyon Byckov, and with his principal teacher, Vincent LaSelva. He studied piano with Marienka Michna, Chandler Gregg, Ed ' Edson and Sophia Rosoff.
Tonight's performance marks Constantine Kitsopoulos' UMS debut.
Philip Sparke was born in London and studied composition, trumpet and piano at ; the Royal College of Music where he gained an ARCM. It was while he was at the College-' that his interest in bands arose. His compo?sition professor, Philip Cannon, had formed a symphonic wind band for first year wind players and encouraged his pupils to write for it.
In 1975 he was awarded first prize in a competition for the overture The Prizewinners, and at about the same time wrote Concert Prelude which was his first work to be published. Further commissions followed from individual bands, the BBC ?.; and various band associations including London Overture for the Dutch National Championships in 1984 as well as Area '-
(A Malvern Suite) and Finals (Music for a Festival)--pieces for the National Championships of Great Britain. He has ?,; three times won the EBU New Music for i Bands Competition, representing the BBCi -H$ Mr. Sparke was appointed Composer?} in-Residence at Salford College of Technology between 1990-1992. His con?ducting and adjudicating activities have , taken him to Norway, Sweden, Denmark, Belgium, Holland, Germany, Canvey Island, Switzerland, New Zealand, Australia and the US. He is Music Editor for Studio Music Company. ;;
In 1998 Philip won the prestigious ] Sudlar Award for his composition, Dance Movements. , .....
fter hearing the Brass Band of Battle Creek, former Tonight Show bandleader Doc Severinsen said, "This is one of the most exciting and accomplished groups I have ever worked with in my entire career." In the last three years, the Brass Band of Battle Creek has gained national and inter?national attention due to its excellent per?formances and noteworthy personnel. Dr. James Gray conceived this ensemble in the fall of 1989 and with the assistance of his brother, Dr. William Gray, the Brass Band of Battle Creek became a reality in 1990. While using Battle Creek as its home base, the ensemble is comprised of the finest brass musicians across the country.
With the help of the "Expert-In-Residence" program of the Kellogg Foundation, the Brass Band of Battle Creek has become one of the most popular ensem?bles for brass musicians from the US and abroad. Most of its members are profession?al musicians and university professors. The
combined talents of these musicians have made the Brass Band of Battle Creek a high?ly praised and widely recognized brass band in the US and abroad.
Drawn from some of the finest musi?cians in the US and England, including cur?rent and past principal players from the Boston Symphony Orchestra, the US Army and Marine Bands, and Broadway orchestra musicians, the Brass Band of Battle Creek is an all-brass band in the British tradition. Performing an astounding assortment of marches, classical transcriptions and big band favorites, the Brass Band of Battle Creek demonstrates their mastery of a wide-range of repertoire each night the ensemble performs.
Over a century ago, nearly every town and village with at least a few hundred peo?ple had its own hometown band. In 1889, more than 10,000 bands were active in the US; by 1908, that number had grown to 18,000. The bands were comprised of min?ers, farmers, factory workers, newsboys and
cowboys. Local associations had their own : bands, as did prisons and orphanages. As technology improved, new instruments were invented, making the possibility of an all-brass band--with no reed instruments, clar?inets or saxophones--a viable possibility beginning in the mid-eighteenth century.
The'Brass Band of Battle Creek restores the nostalgia of those days, preserving an art. form too rarely heard in America today. '?
Tonight's performance marks the Brass Band of Battle Creek's UMS debut. M
Brass Band of Battle Creek
Constantine Kitsopoulos Conductor
E-flat Soprano Cornet ?? Peter Roberts, Yorkshire Building
Society Band, Grimethorpe,.
England '
Principal B-flat Solo Cornet
Woodrow English, Principal ? Trumpet, US Army Band
B-flat Cornet ?A ' v Danny Barber, Lead Trumpet,
Frank Sinatra, Jr. Orchestra Ken Bauman, Professor of Music,
Spring Arbor College (ret.) '[ Bill Campbell, Professor of
Trumpet, University of
Michigan John Daniel, Professor of Trumpet,
Penn State University Rich Illman, Professor of Trumpet,
Michigan State University Chris Jaudes, Principal Trumpet,
Annie Get Your Gun, Broadway Tim Morrison, Former Principal
Trumpet, Boston Symphony
Orchestra Roger Webster, Principal Cornet,
Black Dyke Mills Band,
England Ed Zentera, Professor of Music,
Kellogg Community College
Flugelhorn
Ken Bauman, Professor of Music, Spring Arbor College (ret.)
Tim Morrison, Former Associate Principal Trumpet, Boston Symphony Orchestra
Tenor Horn
Billy Rushworth, Principal Tenor
Horn, JJB Sports Band,
Manchester, England Sheona White, Freelance Tenor
Horn Soloist, Manchester,
England Lisa Bontrager, Professor of Horn,
Penn State University
EuphoniumBaritone
Steve Mead, Professor Euphonium,
Royal Northern College,
England Matt Tropman, Principal
Euphonium, US Marine Band Gail Robertson, Euphonium,
Tubafours, Disneyworld Tom Broka, Director of Bands,
Bay City High School
Tenor Trombone
Scott Hartman, Professor of
Trombone, Boston School for the
Arts Hans Bohn, Freelance Trombone,
Boston Wycliffe Gordon, Professor of Jazz
Studies, Michigan State
University David Jackson, Professor of
Trombone, University of
Michigan
Bass Trombone
Mark Frost, Freelance Bass
Trombone, Manchester, England
Tuba
Sam Pilafian, Professor of
TubaEuphonium, Arizona
State University Phil Sinder, Professor of
TubaEuphonium, Michigan
State University Marty Erickson, Professor of
TubaEuphonium, Perm State
University Dan Neesley, Principal Tuba,
Milwaukee Ballet Orchestra
Percussion
John Beck, Percussion US Marine
Band, (ret.) Dave Ratajczak, Professor of
Percussion, Hofstra University Alison Shaw, Professor of
Percussion, Michigan State
University Mike Gould, Doctoral Student,
University of Michigan
Harpist
Lauralee Campbell, Professor of Harp, Michigan State University
presents
Ronald K. BrownEvidence
Ronald K. Brown Artistic Director
Dancers
Ronald K. Brown Arcell Cabuag Diedre Nyota Dawkins Telly Fowler
Edward Eli Franklin Princess Kamura Mhoon Bridget Moore, Daryl Spiers ?_

Saturday Evening, March 31,2001 at 8:00 Power Center, Ann Arbor, Michigan
Incidents (1998)
PAUSE
Upside Down (1998)
INTERMISSION
High Life (2000)

Seventy-third Performance ?; of the 122nd Season
Tenth Annual Dance Series ,
The photographing or sound recording of this concert or , possession of any device for such photographing or sound] recording is prohibited. '
This performance is funded in part by the National Dance Project of the New England Foundation for the Arts.
Additional support provided by media sponsors, WEMU and Metro Times. ?
Special thanks to Dance Gallery Studio, U-M Dance Department, EMU Dance Department, WSU Dance Department, InsideOut Poetry Program and the All City Men's Group for their involvement in this residency.
Special thanks to Susan Filipiak of Swing City Dance Studio for her leadership in providing in-school educational outreach for Ronald K. BrownEvidence.';
Ronald K. BrownEvidence appears by arrangement with Pamela M. Green, PMG Arts Management, West Bloomfield, MI. . ... J
" Mm .,.,-.,, -
Large print programs are available upon request.
Incidents (1998)
tat ! wm i
Choreography by "Ronald K.B'rowri
Performed by Diedre N. Dawkins, Princess Mhoon, Bridget Moore
Traditional (sung by the Staple Singers) '-TrrT-'t ? Thomas Dorsey (sung by Aretha Franklin), Wunmi Olaiya
Out of Hiding
Dawkins
Cleaning the Place Dawkins, Mhoon, Moore
Running thru the Marshes
Dawkins, Mhoon, Moore
. Incidents premiered at The Joyce Theater in January 1998, with a premiere of the full 1 j evening work opening at Dance Theater Workshop in October 1998. The development ; i and creation of Incidents received support from The Joyce Theater, Dance Theater 3?g-ij ' Workshop, The National Endowment for the Arts, Mary Flagler Cary Trust Fund for Lives Music and EvidenceCircle of Friends. Additionally, this work was made possible in part 3 a by: the Bessie SchinbergFirst Light commission program of New York's Dance Theater 3 p Workshop with funds from Jerome Foundation of St. Paul, MN a Harkness Space Grant j !, from the 92nd Street Y Harkness Dance Center, and by the 1998 Altogether Different j MJK Fund for New Works sponsored by The Joyce Theater Foundation, Inc. ?_________..li

Upside Down (i998)"
@@@@P00
Choreography by Ronald K. Brown Performed by The Company
'.i&"i";:
Oumou Sangare and Fela AniKulapo Ktiti'
i
Premonition ?: The Company'
@@@@ki
@@@@Attainment The Company

Upside Down is an excerpt from the evening-length work Destiny. The full evening work was created in collaboration with Rokiya Kone of the Ivory Coast and her company, Jeune Ballet d'Afrique Noire and premiered at Aaron Davis Hall in June 1998. The devel?opment and creation of Destiny received support from Africa Exchange, Rockefeller Foundation Multi Arts Production Fund, Aaron Davis Hall Fund for New Work, and ? EvidenceCircle of Friends. .?miunuisi
High Life (2000)
us
Choreography by Ronald K. Brown
Performed by
The Company
Hfc, f,
@@@@Oscar Brown, Jr., Nikki Giovanni, The JB's (James Brown's Band), Nkengas, Fela, Anikulapo Kuti, with original music by Wunmi Olaiya
Bid 'Em In "' "
Ronald K. Brown, Diedre Dawkins, Telly Fowl'e Princess Mhoon, Bridget Moore
Poem for a Lady of Leisure Now Retired Brown, Arcell Cabuag, Dawkins, Fowler, .'HS Mhoon, Moore, Daryl Spiers &1
i'
Sum pin' Else '-"_
Brown, Cabuag, Dawkins, Fowler, Spiers, .3 Mhoon, Moore .}
Alabama Poem
Brown, Cabuag, Dawkins, Fowler, Mhoon,
Spiers, Moore
Limbo Jimbo ,
Brown, Cabuag, Dawkins, Fowler, Mhoon, ': ,,, Moore, Spiers ?
Alu jon jonki jon
Brown, Cabuag, Dawkins, Fowler, Mhoon,
Moore, Spiers
Brown, Cabuag, Dawkins, Fowler, Spiers
Ekabo ?
Brown, Cabuag, Moore, Spiers
inOTnffijiianw=nBBHBEiJii
High Life has been commissioned by Jacobs Pillow Dance Festival and 651 ARTS with S additional support from EvidenceCircle of Friends. In addition, High Life was made j possible by the Doris Duke Fund of Dance of the National Dance Project, a program of Jj the New England Foundation for the Arts. Additional funding from the National .i Endowment for the Arts, Doris Duke Charitable Foundation, Andrew W. Mellon s?gif; Foundation, and Philip Morris Companies Inc.
Evidence would like to thank the entire staff of University Musical Society for their suppoi
onald K. Brown (Artistic Director) ' is a native of Brooklyn, NY. Mr. Brown founded the NY-based contemporary dance company Evidence in 1985, and has worked in the US, France, Brazil, England, Korea and Cote d' Ivoire. Brown has collaborated with artists from various fields including: ComposerDesigner Wunmi Olaiya, Writers Cheryl Boyce Taylor, Colin Robinson, Sandye Wilson, G. Winston James, Allen Wright, the late Craig G. Harris, choreogra?phers Donald McKayle, Rokiya Kone, Patricia Hoffbauer and composers Robert Een, Oliver Lake, Bernadette Speach, Doe Meissner, Fahali Igbo, Mamadouba Mohammed Camara, and Philip Hamilton, i His choreography has been commissioned by: Dayton Contemporary Dance Company, African American Dance Ensemble, Cinque . Folkoric Dance Theater, Philadanco, Alvin '' Ailey American Dance Theater, Ailey II (for?merly Alvin Ailey Repertory Ensemble), Cleo Parker Robinson Dance Ensemble, Def Dance Jam Workshop, Jennifer MullerTHE WORKS, Jeune Ballet d'Afrique Noire, 651 j Arts, Aaron Davis Hall, Jacob's Pillow Dance Festival, the American Dance Festival, Dance Theater Workshop, the Pittsburgh Dance Council, and the National Dance Project. His work in the theater includes work with writer Sandye Wilson Black Face, Director Susanna Tubert, The English Only Restaurant and with Director Ernie McClintock's Jazz Actor's Theater 2000. Brown has worked with and learned from Jennifer MullerTHE WORKS, Mary Anthony Dance TheaterPhoenix, Judith Jamison, Bessie Shonberg, and Ann Carlson. He is the recipient of numerous awards and fellowships including; New York Theater i and Dance Award (Bessie), American Dance Festival HumphreyWeidmanLimon Award, Edward and Sally Van Lier Fund Fellowship, National Endowment for the Arts Choreographers' Fellowship and a New York
Foundation for the Arts Fellowship. This year Brown has been named Mentor of the Year by Def Dance Jam Workshop and a John Simon Guggenheim Memorial Foundation Fellow in Choreography.
onald K. BrownEvidence has
presented work since 1985, per?forming in New York at Performance Space 122, Dance _, Theater Workshop, Aaron Davis Hall, The Joyce Theater, Danspace Project at St. Mark's Church and for Movement Research's Judson Memorial Church "Monday Night" Series.
Evidence has also been seen at numerous venues and festivals throughout the US and abroad including the LyonBiennale de la Danse, Jacob's Pillow Dance Festival, American Dance Festival, National Black Arts Festival, Colorado Dance Festival, It's Queer Up North Festival and The Exit Festival. 11
During the current 20002001 season, Evidence will be performing its repertoire throughout the US in states such as New York, California, Illinois, Vermont, Michigan, Washington, Maine, Massachusetts, North Carolina, Ohio, Virginia, and Connecticut. This season will also mark performances in Toronto, Ontario for the Company. 3j
Ronald K. Brown has recently been J
Photo: Rose Eichenbaum
commissioned by the American Dance:
Pittsburgh Dance Council for Walking Out the Dark. Supported by a Guggenheim "Fellowship for Choreography, the piece will H based on the history and legacy of the spirit fea as a guide. Philip Hamilton will create the jfj;-music for the new piece. Walking Out the Jh'Dark will premiere at the American Dance ? Festival in June 2001 and is scheduled to i tour throughout the 20012002 season.
Tonight's performance marks Ronald K. ? . Hjg! Brown's and Ronald K. BrownEvidence's W-UMS debuts. ;_____l______ -'
? Director), a native of Norfolk, VA, received
yapmember of Ronald K. BrownEvidence since p!E 1990, she was the recipient of a New York i Dance and Performance Award (Bessie) in .i 'jgii: 1995 for her performance in Brown's Dirt 1 8 Road. '
She has danced in the companies of wij,, David Rousseve, Bebe Miller and with inde-
pendent choreographer Cynthia Oliver. Her film and television credits include: Positive: A Life with HIV, Tales of Creole Women, Pardon This Interruption and the National Alliance of Breast Cancer Organizations' Women for Women MTVA campaign. Redding-Jones teaches throughout the coun?try including working with actors in the Classical Studio at New York University's Tisch School of the Arts, which she has done since 1993. She wishes to thank her husband Jerry, Kathy Grant and sweet Jasmine.
Celeste A-Re (Production Manager) has spent four seasons with Evidence. In addition to working with this illustrative company, she has stage-managed Bill T. JonesArnie Zane Dance Company and toured North America and Europe with Urban Bush Women. A-Re was the recipient of the Allen Lee Hughes Fellowship in Sound Design and has created designs for Arena Stage in Washington, DC, Eugene O'Neill Playwrights' Conference and New York University's Tisch School of the-;] Arts. Her film credits include A Litany for Survival and working as an assistant Technical Director for the 2000 Acapulco ; Black Film Festival. A-Re would like to give thanks to her Ancestral Poseee (moferefun) . for their sacrifice, wisdom, guidance, and i inspiration; Harry Poe (ibaye) for trusting; Beverly Smith-Dawson for keeping the dream; Lillie and Gordon Welch for their :! constant support, encouragement, prayers and setting the example. Modupe Orisal.
Brenda Dolan (Lighting Designer) first worked with Ronald K. Brown in 1994 cre ating the lighting for No More Exotica, an Ailey II commission. Since that time she has designed Incidents, UpsideDown, and High Life for Ronald K. BrownEvidence. Brenda's other design credits include Lightbody, the m? company premiere of RythMEK, at the Jacob's Pillow Dance Festival, and Lettres D' Amour (Redha), Ascension (Troy Powell), -
and Days Past, Not Forgotten (Earl Mosley) for the AlvinAiley American Dance Theater. Brenda has also designed for Ailey II (Andre Tyson and Milton Myers), MonteBrown Dance, and the Carlota Santana Spanish Dance Company. Brenda is thrilled to be working with Ron and his beautiful company.
Wunmi Olaiya {Costume DesignerComposer) has presented her one-woman show at the invitation of the Singapore Arts Festival and for Womad (World Organization of Music and Dance) in Japan and Reading, England. She has performed with recording artists Soul II Soul, Caron Wheeler, Roy Ayers, PM Dawn, Allison Williams and was the open?ing act for Time at their live concert in London. Wunmi has also collaborated with choreographer Pamela Maragh on Ngozi Onwurah's film, Flight of the Swan. Wunmi has styled video shoots, TV appearances and photo sessions for hip-hop and R&B artists, including Caron Wheeler, Monie Love and Supercat.
Since her arrival in New York, she has collaborated with other artists on projects such as Marlies Yearby's Movin Spirits Dance Theater's production of Feather of the Flames, with saxophonist Ornette Coleman on a project titled Tone Dialing, with Roy Ayers in the US and Europe and with Masters at Work on several recording ses?sions. Wunmi has worked with Ronald K. Brown, creating costumes for all of Evidence's repertory since 1995. In addition to contributing music to Ebony Magazine, No More Exotica and the upcoming new work High Life, Wunmi and Brown have also worked together on commissions for Alvin Ailey American Dance Theater, Cleo Parker Robinson Dance Ensemble, African American Dance Ensemble and Dayton Contemporary Dance Ensemble.
Carrie Cox (Lighting Supervisor) received her BFA in dance production and design from Ohio State University. Most recently
she has worked as the production coordina?tor for the Jacob's Pillow Dance Festival's InsideOut stage. Her other credits include stage management for MOMIX and lighting supervision and stage management for the PerksDanceMusic Theatre and Robert Post's One Man Theatre Company. She is thrilled to be working with Ronald K. BrownEvidence.
Dancer Biographies
Originally from California, Arcell Cabuag spent a year at the Alvin Ailey American Dance Center. His performance experience includes dancing for Paramount Pictures (California) and the Shoui Tabuchi Show (Branson, MO). Arcell made his debut in the modern dance world with Evidence in January 1998 and is extremely enthusiastic to be working with Ronald K. Brown and the company.
Diedre Nyota Dawkins is a native New : Yorker from Brooklyn. As a dancermodel '' actress she has worked with artists such as Babatunde Olatunji, Max Roach, Bill T. Jones, Kevin Iega Jeff (Jubilation!) Dance Company), Amaniyea Payne (Muntu Dance Theater of Chicago) and Jawole Willa Jo Zollar (Urban Bush Women). She received her BA in dance from NYU. Children, as well as the betterment of her community, are her life's work.
Telly Fowler is a native of Chicago, IL, where he began his dance training at the age. of sixteen on scholarship at the Joseph Holmes Chicago Dance Theater. He is a graduate of Ohio State University where he was a featured dancer in works by such artists as Doris Humphrey, Donald m McKayle, Irene Hultman and Ronald K. Brown. Fowler has also worked with Dianne Mclntyre and Kevin Iega Jeff and is the recipient of numerous awards.
As a resident of Atlanta, GA, Edward Eli Franklin graduated from North Atlanta ; High School, where he began his training ; with Gary Harrison. After receiving scholar?ships to attend The Joffrey School of Ballet and the Alvin Ailey American Dance Center (where he was the recipient of the Donna Wood Scholarship), Mr. Franklin served two years with Philadanco Dance Company and recently served four years with the Alvin Ailey American Dance Theater. Special appearances by Mr. Franklin include the L. Closing Ceremonies of the 1992 Olympics. Mr. Franklin's television appearances include A Hymn for Ailey (choreography by Judith Jamison) and The Kennedy Center Honor , Awards. In addition to his work above, Mr. Franklin has worked with several dance companies including White Wave Rising and . Wylliams Henry Dance Company.
Princess Kamura Mhoon a native of Chicago, IL, received most of her training in the Theater Arts Department at Howard University where she received a BFA in dance. Upon graduation in 1998, she spent a season with Chuck Davis' African American Dance Ensemble. Since then Mhoon has " performed with Rennie Harris PureMovement, Muntu Dance Theater of Chicago and Nathan Trice's Rituals. This is her first season with Evidence.
Bridget Moore is a choreographer and ; dancer and was one of two choreographers selected to participate in the 1997 Summer Bates Dance Festival. A native of Dallas, Moore began her dance training at Arts Magnet High School. She received her BFA. in Dance from Ohio State University, where she was a member of the University Dance Company, and received the Helen P. Alkire ?; Scholarship and an award for Excellence in the Arts. She was the recipient of a 1996. Ohio Arts Council Individual Artist Fellowship for Choreography as well as a
1996 guest artist at Wittenberg University. Moore has performed works by Dianne . Mclntyre, Bebe Miller, Mark Morris, Pat Graney, Ann Carlson, and Art Bridgman and Myrna Packer. She has presented work in Ohio, Texas and New York City. Moore currently resides in New York.
Daryl Spiers a native of Washington, DC is a graduate of Duke Ellington School of the Arts and also received training at Howard University and University of the District of Columbia. His performance credits include Broadway Soul Jam, Bubbling Brown Sugar, Chem TV Tour, and Breakfast in Harlem. He has danced for numerous artists, such as Jennifer Lopez and Ricky Martin. In addi?tion, Spiers has company experience work ing with Opus Dance Theater, Harambee Dance Company, Forces of Nature, and is honored to dance with Ronald K. BrownEvidence. "Faith is the substance of things hoped for and the evidence of things not seen." All praise due to the Creator. j-
The Company
Ronald K. BrownEvidence "'
Ronald K. Brown, Artistic Director ,
Renee Redding Jones, Associate Artistic
Director
Celeste A-Re, Production Manager ?"?.
Brenda Dolan, Lighting Designer Carrie Cox, Lighting Supervisor Wunmi Olaiya, Costume DesignerComposer Carolyn Meckha Cherry, Wardrobe
Supervisor Pamela M. Green, PMG Arts Management,
BookingAgent '
Evidence, Inc. was incorporated in June 1996.
experience
THE WINTER 2001 UMS SEASON
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.org.
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 Arbor Public Schools.
Moses Hogan Singers
Moses Hogan, conductor Wednesday, January 10, 8 p.m. St. Francis of Assisi Catholic Church
Community Choir Workshop with Moses Hogan Featuring Ann Arbor's Our Own Thing Chorale and U-M vocal choirs. Tuesday, January 9, 7:30 p.m., Bethel A.M.E. Church, 900 John A. Woods Drive, Ann Arbor. Call 734.647.6712 for more information. Media sponsor WEMU. ,
Vermeer Quartet
Saturday, January 13, 8 p.m. Rackham Auditorium PREP by Inna Naroditskaya, Professor, Northwestern University. A discussion of the evening's repertoire. Saturday, January 13, 7:00 p.m., Rackham Auditorium, U-M Assembly Hall (4th Floor).
Mingus Big Band Blues and Politics
with Kevin Mahogany, vocals Monday, January 15, 8 p.m. Hill Auditorium
Pre-performance Interview with Sue Mingus "This Aint's No $@ Ghost Band!" by Michael Jewett, Host of "Afternoon Jazz,"WEMU 89.1 FM. Monday, January 15,6:00 p.m., Michigan League, Hussey Room (2nd Floor).
Sponsored by the Detroit Edison Foundation.
Presented with support from the Wallace-Reader's Digest Funds and JazzNet, a program of the Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation and the National Endowment for the Arts. This performance is co-presented with the U-M Office of Academic Multicultural Initiatives. Media sponsors WEMU, WDETand Metro Times.
Michigan Chamber Players
Sunday, January 21,4 p.m. Rackham Auditorium Complimentary Admission
UMS Kennedy Center Workshop
"Songs of the Underground Railroad" by Kim and Reggie Harris. Monday, January 29,4:30-7:30 p.m., Washtenaw Intermediate School, 1819 S. Wagner, Ann Arbor. Contact the UMS Youth Education Department at 734.615.0122 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.'
Brentano String Quartet
Sunday, February 4, 4 p.m. Rackham Auditorium Presented in partnership with the Chamber Music Society of Detroit.
Hubbard Street Dance Chicago
James F. Vincent, artistic director Friday, February 9, 8 p.m. Saturday, February 10, 8 p.m. Power Center Friday performance sponsored by Personnel Systems, Inc.Arbor Technical StaffingArbor Temporaries, Inc. Saturday performance presented with the generous support of Susan B. Ullrich. Additional support provided by GKN Sinter Metals. Media sponsors WDET and Metro Times.
Dubravka Tomsk, piano
Sunday, February 11,4 p.m.
Hill Auditorium
This performance is made possible by
the H. Gardner Ackley Endowment
Fund, established by Bonnie Ackley in
memory of her husband.
Media sponsor ijMMMW
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 WCTE.
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 VI, Parts I, II and III Richard III
Directed by Michael Boyd Cycle 1: Saturday, March 10 & Sunday, March 11 Cycle 2: Saturday, March 17 & Sunday, March 18 Best Availability! Cycle 3: Tuesday, March 13-Thursday, March 15 Power Center
UMS Performing Arts Workshop "Drama for Literacy--Telling Tales from Shakespeare: A Practical Approach for Primary Teachers" by Mary Johnson, Education Department, Royal Shakespeare Company. Monday, January 22,4:30-7:30 p.m. Focus on grades K-6. $20. For location and reg?istration, contact the UMS Youth Education Department at 734.615.0122 or e-mail '
umsyouth@umich.edu. UMS Performing Arts Workshop "Teaching Richard III: A Theater-based Approach" by Mary Johnson, Education Department, Royal Shakespeare Company. Tuesday,
lanuary 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 umsyouthumich.edu. Family Workshop "Shakespeare is for ! Everyone" led by Clare Venables, Education Department, Royal Shakespeare Company. Wednesday, January 24,7:00 p.m., Ann Arbor Hands on Museum, 220 East Huron, Ann Arbor. Children and parents wel?come--all ages. Call 734.615.0122 or 734.995.5437 for more information. RSC Ralph Williams Lecture Series: All lectures begin at 7 p.m. in Rackham Auditorium, given by U-M Professor of English, Ralph Williams. Lecture on Henry VI, Part I Monday, January 29, 7:00-9:00 p.m., Lecture on Henry VI, Part II '
Monday, February 5, 7:00-9:00 p.m., 1. Lecture on Henry VI, Part III Monday, February 12,7:00-9:00 p.m., Lecture on Richard III Monday, February 19, 7:00-9:00 p.m., Lecture "Dream of Kingship: Ghostly Terror in Shakespeare's Richard III" by Dr. Stephen Greenblatt, Professor of Shakespeare, Harvard University. In collaboration with the U-M Early Modern Colloquium. Monday, February 19,4:00-6:00 p.m., Rackham Auditorium.
Presented with the generous support of the State of Michigan, Michigan Council for Arts and Cultural Affairs, and the National Endowment for the Arts. The Royal Shakespeare Company is a co-presentation of the University Musical Society and the University of Michigan. Media sponsor Michigan Radio.
Les Violons du Roy
Bernard Labadie, conductor David Daniels, countertenor Thursday, March 22, 8 p.m. St. Francis of Assisi Catholic Church
Presented with the generous support of Maurice ami 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 Croup Automotive Systems. Media sponsor WGTE. '
Brass Band of Battle Creek Paul W. Smith, emcee
Friday, March 30, 8 p.m. Hill Auditorium
Sponsored by Ideation, Inc.
Ronald K. BrownEvidence
Ronald K. Brown, artistic director
Saturday, March 31,8 p.m.
Power Center
Meet the Artist post-performance
dialogue from the stage.
Funded in part by the National Dance
Project of the New England Foundation
for the Arts, with lead funding from the
National Endowment for the Arts and
the Doris Duke Charitable Foundation.
Additional funding provided by the
Andrew W. Mellon Foundation and the
Philip Morris Companies Inc.
Media sponsors WEMU and Metro Times.
Orion String Quartet and Peter Serkin, piano
Sunday, April 1, 4 p.m. Rackham Auditorium Presented with the generous support of Ami and Prue Rosenthal.
Royal Concertgebouw Orchestra Amsterdam
Riccardo Chailly, conductor : Matthias Goerne, baritone , Wednesday, April 4, 8 p.m. ; Hill Auditorium i
Sponsored by Forest Health Services. ,? Media sponsor WGTE.
Emerson String Quartet
Friday, April 6, 8 p.m. Rackham Auditorium
Sponsored by Bank of Ann Arbor.
John Relyea, bass-baritone
Warren (ones, 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.l.C. Media sponsor WGTE.
Mark Morris Dance Group
Mark Morris, artistic director with The Detroit Symphony Orchestra Neeme Jarvi, music director and The Ann Arbor Cantata Singers William Boggs, music director Friday, April 20, 8 p.m. Saturday, April 21,8 p.m. Power Center Friday performance sponsored by McKinley Associates, Inc. Saturday performance sponsored by The Shiffman Foundation, Sigrid ' Christiansen and Richard Levey. Funded in part by the National Dance Project of the Nav England Foundation for the Arts, with lead funding from the National Endowment for the Arts and the Doris Duke Charitable Foundation. Additional funding provided by the Andrew W. Mellon Foundation and the Philip Morris Companies Inc. Media sponsors WDET and Metro Times.
Berlioz' Requiem
UMS Choral Union
Greater Lansing Symphony Orchestra
U-M Symphony Band
Thomas Sheets, conductor
Sunday, April 22, 4 p.m.
Hill Auditorium
Sponsored by Jim and Millie Irwin.
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 Satuday, April 28, 1:00-3:00 p.m., Peter Sparling Dance Gallery Studio, 111 Third Street, Ann Arbor.
Work-in-Progress Preview of Orfeo
with the U-M School of Music. Saturday, May 19, 8:00 p.m., Michigan Theater, Ann Arbor. For more infor?mation call Peter SparlingDance Gallery Studio at 734.747.8885 or visit Peter Sparling Dance Company at www.comnet.orgdancegallery.
Liz Lerman Dance Exchange will be in residency for several weeks this spring in preparation for their Hallelujah! project 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.
laid Honon Progiam Honorccs
1996
Van Cliburn
1997
Jessye Norman
1998
Garrick Ohlsson
1999
The
Canadian Brass
2000
Isaac Stern
n the past several seasons, UMS' Education and Audience Development program has grown significantly. With a goal of deepening the understanding of the importance of the live performing arts and the major impact the arts can have in the community, UMS now seeks out active and dynamic collabora?tions and partnerships to reach into the many diverse communities it serves.
w
Family Performances
For many years, UMS has been committed to providing the opportunity for families to enjoy the arts together.
The 2001 Winter Season's Family Performances include: _
Pilobolus ------------------------------
Alvin Ailey American Dance Theater
Specially designed for family participation that creates an environment where both chil?dren and adults can learn together, the UMS Family Performances are a great way to spend quality time with your children. Contact the UMS Box Office at 734.764.2538 for tickets and more information.
Master of Arts Interview Series.
Now in its fifth year, this series is an opportunity to showcase and engage the choreographers in academic, yet informal, dialogues about their art form, their body of work and their upcoming performances. !
PREPs (Performance-Related Educational Presentations)
This series of pre-performance presentations features talks, demonstrations and workshops designed to provide context and insight into the performance. All PREPs are free and open to the public and usually begin one hour before curtain time.
Meet the Artists: Post-Performance Dialogues
The Meet the Artist Series provides a special opportunity for patrons who attend perform?ances to gain additional understanding about the artist, the performance they've just seen and the artistic process. Each Meet the Artist event occurs immediately after the perform?ance, and the question-and-answer session takes place from the stage.
Artist Residency Activities
UMS residencies cover a diverse spectrum of artistic interaction, providing more insight and greater contact with the artists. Residency activities include interviews, open rehearsals, lecturedemonstrations, in-class visits, master classes, participatory workshops, clinics, visiting scholars, seminars, communi?ty projects, symposia, panel discussions, art installations and exhibits. Most activities are free and open to the public and occur around the date of the artist's performance. .:
Major residencies for the 2001 Winter Season1 are with: .....V
Alvin Aitey American Dance Theater
Royal Shakespeare Company
Ping ChongBenjamin Bagby
Youth Performances
These performances are hour-long or full length, specially designed, teacherand stu?dent-friendly live matinee performances.
The 2001 Youth Performance Series includes:
Mingus Big Band: Blues and Politics
Alvin Ailey American Dance Theater
Hubbard Street Dance Chicago
Royal Shakespeare Company: Richard III
Ronald K. BrownEvidence
Teachers who wish to be added to the youth performance mailing list should call 734.615.0122 or e-mail umsyouth@umich.edu.
The Youth Education Program is sponsored by
Teacher Workshop Series
This series of workshops for all K-12 teachers is a part of UMS' efforts to provide school?teachers with professional development oppor?tunities and to encourage ongoing efforts to incorporate the arts in the curriculum.
This year's Kennedy Center Workshops are:
Responding to Visual Art Through Movement
Songs of the Underground Railroad
Workshops focusing on the UMS youth per?formances are:
Drama for Literacy--Telling Tales from Shakespeare: A Practical Approach for Primary Teachers
Teaching Richard III: A Theater-based Approach
For information and registration, please call 734.615.0122.
The Kennedy Center Partnership
The University Musical Society and Ann Arbor Public Schools are members of the Performing Arts Centers and Schools: Partners in Education Program of the John F. Kennedy Center for the Performing Arts. Selected because of its demonstrated com?mitment to the improvement of education in and through the arts, the partnership team participates in collaborative efforts to make the arts integral to education and creates a multitude of professional development opportunities for teachers and educators.
Special Discounts for Teachers and Students to Public Performances
UMS offers special discounts to school groups attending our world-class evening and weekend performances. Please call the Group Sales hotline at 734.763.3100 for more infor?mation about discounts for student and youth groups. , . _
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 Kci 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. 1 Join us in thanking them for their gener?ous support of UMS.
Bella Ciao Trattoria
118 West Liberty 734.995.2107 Known for discreet dining with an air of casual elegance, providing simple and elabo?rate regional Italian dishes for you and your guests' pleasure. Reservations accepted.
Blue Nile
221 East Washington Street 734.998.4746 Join us for an authentic dining adventure to be shared and long remembered. Specializing in poultry, beef, lamb and vegetarian special?ties. Outstanding wine and beer list. http:annarbor.orgpagesbluenile.html
Cafe 303
303 Detroit Street 734.665.0700 Modern American cooking, daily eclectic specials, seafood, pasta & steaks. Full bar, wines by-the-glass, and courtyard dining. Open 7 days at 11:00 a.m., weekend brunch. Meetings, banquets, and parties easily accommodated. Coming soon: live entertainment and other exciting surprises.
Cafe Marie
1759 Plymouth Road 734.662.2272 Distinct and delicious breakfast and lunch dishes, creative weekly specials. Fresh-squeezed juice and captivating cappuccinos! A sunny, casual, smoke-free atmosphere. Take out available.
The Chop House
322 South Main Street 888.456.DINE Ann Arbor's newest taste temptation. An elite American Chop House featuring U.S.D.A. prime beef, the finest in Midwestern grain-fed meat, and exceptional premium wines in a refined, elegant setting. Open nightly, call for reservations.
The Original Cottage Inn
512 East William 734.663.3379 An Ann Arbor tradition for more than fifty years. Featuring Ann Arbor's favorite pizza, a full Italian menu, banquet facilities and catering services.
D'Amato's Neighborhood Restaurant
102 South First Street 734.623.7400 World class Italian cuisine and thirty-five wines by the glass in sleek atmosphere. Entrees changed daily, private meeting area. Rated 'four stars' by the Detroit Free Press. Lunch weekdays, dinner every night. Reservations welcome.
Gandy Dancer
401 Depot Street 734.769.0592 Located in the historic 1886 railroad depot. Specializing in fresh seafood. Lunches Monday-Friday 11:30-3:30. Dinners Monday-Saturday 4:30-10:00, Sunday 3:30-9:00.
Award-winning Sunday brunch 10:00-2:00. Reservations recommended. :
Gratzi
326 South Main Street 888A56.DINE ,
Celebrated, award-winning Italian cuisine served with flair and excitement. Sidewalk and balcony seating. Open for lunch and dinner. Reservations accepted.
The Kerrytown Bistro _____
At the corner of Fourth Avenue and Kingsley in Kerrytown 734.994.6424 The Kerrytown Bistro specializes in fine French Provincial inspired cuisine, excellent wines and gracious service in a relaxed, intimate atmosphere. Hours vary, reservations accepted.
La Dolce Vita
322 South Main Street 734.669.9977 Offering the finest in after dinner pleasures. Indulge in the delightful sophistication of gourmet desserts, fancy pastries, cheeses, fine wines, ports, sherries, martinis, rare scotches, hand-rolled cigars and much more. Open nightly.
The Moveable Feast
326 West Liberty 734.663.3278 ' . Located just west of Main Street in the restored Brehm estate. Fine American cuisine with a global fare. Full service catering, bakery, wedding cakes.
Palio
347 South Main Street 888.456.DINE Zestful country Italian cooking, fresh flavors inspired daily. Featuring the best rooftop seating in town. Open for dinner nightly. Reservations accepted, large group space available.
Real Seafood Company
341 South Main Street 888.456.DINE As close to the world's oceans as your taste can travel. Serving delightfully fresh seafood and much more. Open for lunch and dinner. Reservations accepted.
Red Hawk Bar & Grill
316 South State Street -734.994.4004 Neighborhood bar & grill in campus historic district, specializing in creative treatments of traditional favorites. Full bar, with a dozen beers on tap. Lunch and dinner daily. Weekly specials. Smoke-free. No reservations. ?
Seva
314 East Liberty 734.662.1111 Providing fresh, imaginative vegetarian cui?sine since 1973. All dishes, including desserts, are made in-house daily. Be sure to look over our extensive beverage menu.
Weber's Restaurant
3050 Jackson Avenue 734.665.3636 Great American restaurant since 1937. Featuring prime rib, live lobster, roast duck, , cruvinet wine tasting flights, home-made pastries. Award-winning wine list. Ports, cognacs, entertainment nightly.
Zanzibar
216 South State Street 734.994.7777 Contemporary American food with Mediterranean & Asian influences. Full bar featuring classic and neo-classic cocktails, thoughtfully chosen wines and an excellent selection of draft beer. Spectacular desserts. Space for private and semi-private gatherings up to 120. Smoke-free. Reservations encouraged.
EXPERIENCES
ack by popular demand, friends of UMS are offering a unique donation by hosting a variety of dining events. Thanks to the generosity of the hosts, all proceeds go directly to support UMS' educational and artistic programs. Treat yourself, give a gift of tickets, or come alone and meet new people! Call 734.936.6837 to receive a brochure or for more information. M
'43s
&''
' MS volunteers are an integral part of the success of our organi?zation. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome you to the UMS family and involve you in our exciting programming and activities. We rely on volunteers for a vast array of activities, including staffing the edu?cation residency activities, assisting in artist services and mailings, escorting students for our popular youth performances and a host of other projects. Call 734.936.6837 to request more information. "
ow fifty-nine members strong, the UMS Advisory Committee serves an integral function within the organization, supporting UMS with a volunteer corps and contribut?ing to its fundraising efforts. Through the Delicious Experiences series, Season Opening Dinner, and the Ford Honors Program gala, the Advisory Committee has pledged to donate $300,000 to UMS this season. Additionally, the Committee's hard work is in evidence at local bookstores with BRAVO!, a cookbook that traces the history of UMS through its first 120 years, with recipes submitted by artists who have performed under our aus?pices. If you would like to become involved
with this dynamic group, call 734.936.6837 for more information.
The Advisory Committee also seeks people to help with activities such as escorting students at our popular youth performances, assisting with mailings, and setting up for special events. Please call 734.936.6837 if you would like to volunteer for a project.
1 dvertising in the UMS program book ior sponsoring UMS performances enables you to reach 130,000 of southeastern Michigan's most loyal concertgoers.
Advertising -
When you advertise in the UMS program book you gain season-long visibility, while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descriptions that are so important to performance experi-ences. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book. -fWmfSim'K
Sponsorship
As a UMS corporate sponsor, your organiza?tion comes to the attention of an educated, diverse and growing segment of not only Hp?jf 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.
OLLEGE WORK-STU
tudents working for UMS as part of the College Work-Study program gain valu?able experience in all facets of arts manage?ment including concert promotion and marketing, fundraising, event planning and production. If you are a University of Michigan student who receives work-study financial aid and who is interested in working at UMS, please call 734.764.9187.
ithout the dedicated service of UMS' Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing program books and pro?viding that personal touch which sets UMS events above others.
The UMS Usher Corps comprises over 300 individuals who volunteer their time to make your concert going experience more pleasant and efficient. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill, Power Center, or Rackham) for the entire concert season.
If you would like information about becoming a UMS volunteer usher, call the UMS usher hotline at 734.913.9696.

Great performances--the best in music, theater and dance--are presented by the University Musical Society because of the much-needed and appreciated gifts of UMS supporters, mem?bers of the Society. 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. t 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 1 Charlotte McGeoch Randall and Mary Pittman Herbert Sloan
-t I
Businesses
Bank One, Michigan
Ford Motor Company Fund
Forest Health Services
2?f, Corporation
Hudson's Project Imagine Office of the Provost,
SK University of Michigan Pfizer Global Research and Development; Ann Arbor Laboratories '
FoundationsGovernment
Community Foundation for
Southeastern Michigan Ford Foundation JazzNetDoris Duke Charitable
Foundation Michigan Council for Arts
and Cultural Affairs National Endowment
for the Arts State of Michigan Arts and
Quality of Life Grant Program Wallace-Reader's Digest Funds
MAESTROS
Individuals
Herb and Carol Amster
Peter and Jill Corr
Ronnie and Sheila Cresswell
Businesses
Comerica Incorporated Dow Automotive KeyBank MASCO Charitable Trust McKinley Associates National City Bank Sesi Lincoln Mercury Thomas B. McMullen
Company Wolverine Technical Staffing,
Inc.
Foundations
Detroit Edison Foundation Elizabeth E. Kennedy Fund Mid-America Arts Alliance
Heartland Arts Fund New England Foundation
for the Arts, Inc. Shiffman Foundation Trust
(Richard Levey and Sigrid
Christiansen) The Texaco Foundation
VIRTUOSI Individuals
David Eklund and Jeff Green Prudence and Amnon Rosen thai
Businesses
Bank of Ann Arbor CFI Group
S , ll
CONCERTMASTERS
Individuals
Maurice and Linda Binkow Barbara Everitt Bryant ? Douglas D. Crary Ken and Penny Fischer Beverley and Gerson Geltner David and Phyllis Herzig Lawrence and Rebecca Lohr Robert and Pearson Macek Robert and Ann Meredith Joe and Karen Koykka O'Neal Loretta M. Skewes ,
Dr. Isaac Thomas III and j
Dr. Ibni Hoover ?T-Don and Carol Van Curler Marina and Robert Whitman Ann and Clayton Wilhite Roy Ziegler , __l.
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. W O'Neal Construction
Pepper Hamilton LLP '--------
TI Group Automotive Systems Visteon
Foundations
Chamber Music America THE MOSAIC FOUNDATION (ofR.&P.Heydon)
LEADERS
Individuals
Martha and Bob Ause
A. J. and Anne Bartoletto
Bradford and Lydia Bates
Kathy Benton and Robert Brown
Raymond and Janet Bernreuter
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 i, ?,_?_?.
Paul and Ruth McCracken
Hattie and Ted McOmber
Cruse W. and Virginia Patton Moss
Shirley Neuman
Gilbert Omenn and
Martha Darling
John and Dot Reed 't
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 -iv ? ??
AAA Michigan Z
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
lean 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 -j Janet and Bill Cassebaum 'M Anne Chase SS
Don and Betts Chisholm i Mr. and Mrs. John Alden Clark David and Pat Clyde Leon and Heidi Cohan Anne and Howard Cooper Mary Cordes and Charleen Price Elaine Buxbaum Cousins Peter and Susan Darrow Beatrice C. DeRocco "
Lorenzo DiCarlo and
Sally Stegeman DiCarlo Jack and Alice Dobson Elizabeth A. Doman Mr. and Mrs. John R. Edman Rosalie Edwards Dr. and Mrs. John A. Faulkner Susan Feagin and John Brown David and Jo-Anna Featherman Adrienne and Robert Z. Feldstein Ray and Patricia Fitzgerald David C. and Linda L. Flanigan Bob and Sally Fleming Ilene H. Forsyth Michael and Sara Frank , Marilyn G. Gallatin i
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 Hcrzog 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 Lord Dean and Gwen Louis Virginia and Eric Lundquist John and Cheryl MacKrell Natalie Matovinovic Margaret W. Maurer Joseph McCune and
Georgiana Sanders Rebecca McGowan and
Michael B. Staebler Dr. H. Dean and
Dolores Millard Andy and Candice Mitchell Lester and Jeanne Monts Grant W. Moore Julia S. Morris Eva L. Mueller M. Haskell and
Jan Barney Newman William and
Deanna Newman Dr. and Mrs.
William J. Oliver Mark and Susan Orringer Elizabeth C. Overberger Mr. and Mrs.
William B. Palmer William C. Parkinson Dory and John D. Paul John M. Paulson Maxine Pierpont Elaine and Bertram Pitt Eleanor and Peter Pollack Stephen and Agnes Reading
Donald H. Regan and
Elizabeth Axelson Kenneth J. Robinson Mrs. Irving Rose Victor Strecher and
Jeri Rosenberg Gustave and
Jacqueline Rosseels Dr. Nathaniel H. Rowe Mr. and Mrs.
Charles H. Rubin Maya Savarino Mrs. Richard C. Schneider Rosalie and
David Schottenfeld Dr. John J. H. Schwarz Robert Sears and
Lisa M. Waits Joseph and Patricia Settimi Janet and Michael Shatusky Helen and George Siedel J. Barry and Barbara M. Sloat Tim Sparling and
Lynne Tobin
Steve and Cynny Spencer Gus and Andrea Stager James and Nancy Stanley Mrs. Ralph L. Steffek Mr. and Mrs.
John C. Stegeman ..t 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 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
Denisc 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 Jane M. Bloom Ron and Mimi Bogdasarian Charles and Linda Borgsdorf David and Sharon Brooks June and Donald R. Brown Virginia Sory Brown Douglas and
Marilyn Campbell Jean W. Campbell Michael and Patricia Campbell Bruce and Jean Carlson lack and Wendy Carman James S. Chen Janice A. Clark John and Nancy Clark Edward J. and Anne M. Comeau Carolyn and L. Thomas Conlin Jim and Connie Cook Susan and Arnold Coran Clifford and Laura Craig George and Connie Cress Kathleen J. Crispell and
Thomas S. Porter Mary R. and John G. Curtis Roderick and Mary Ann Daane Pauline and Jay J. De Lay Katy and Anthony Derezinski Lloyd and Genie Dethloff Marnee and John DeVine Delia DiPietro and
Jack Wagoner, M.D. Steve and Lori Director Al Dodds
Charles and Julia Eisendrath Dr. Alan S. Eiser Kathryn A. Eklund Stefan S. and Ruth S. Fajans Dr. and Mrs. S.M. Farhat
Claudine Farrand and
Daniel Moerman Sidney and Jean Fine Clare M. Fingerle Phyllis W. Foster Deborah and
Ronald Freedman Gwyn and Jay Gardner Drs. Steve Geiringer and
Karen Bantel Thomas and
Barbara Gelehrter Beverly Gershowitz Elmer G. Gilbert and
Lois M. Verbrugge Joyce and Fred Ginsberg Paul and Anne Glendon Susie and Gene Goodson Cozette Grabb
Dr. and Mrs. William A. Grade William and Deborah Gray Leslie and Mary Ellen Guinn Carl E. and Julia H. Guldberg Don P. Haefher and
Cynthia J. Stewart Helen C. Hall
Mr. and Mrs. Elmer F. Hamel Susan Harris Paul Hysen and
Jeanne Harrison Anne Vance Hatcher Karl and Eleanor Hauser Nina E. Hauser Jeannine and Gary Hayden Margaret and
Walter Helmreich J. Lawrence and Jacqueline
Stearns Henkel Carl and Charlene Herstein Mrs. W.A. Hiltner Mr. and Mrs.
William B. Holmes David and Dolores Humes Ronald R. and
Gaye H. Humphrey Eileen and Saul Hymans Wallie and Janet Jeffries Jim and Dale Jerome Ellen C. Johnson Frank and Sharon Johnson Tim and Jo Wiese Johnson Steven R. Kalt and
Robert D. Heeren Mercy and Stephen Kasle Herbert Katz
Richard and Sylvia Kaufman John B. and Joanne Kennard Richard L. Kennedy Emily and Ted Kennedy Howard King and
Elizabeth Sayre-King Dick and Pat King Hermine R. Klingler ?" Bethany and Bill Klinke Philip and Kathryn Klintworth Jim and Carolyn Knake Joseph and Marilynn Kokoszka Samuel and Marilyn Krimm Lee and Teddi Landes David and Maxine Larrouy John K. Lawrence Ted and Wendy Lawrence Laurie and Robert LaZebnik Ann M. Leidy Leslie and Susan Loomans
Charles and Judy Luc 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 Schaldcnbrand 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 JBj Jim and Bonnie Reece Rudolph and Sue Reichert Ray and Ginny Reilly Maria and Rusty Restuccia Dr. Susan M. Rose Mrs. Doris E. Rowan James and Adrienne Rudolph Ina and Terry Sandalow Sheldon Sandweiss Ronald and Donna Santo Drs. Edward and
Virginia Sayles Peter C. Schaberg and
Norma J. Amrhein Meeyung and
Charles Schmitter Sue Schroeder Howard and Aliza Shevrin Dr. and Mrs.
Martin Shinedling Frances U. and
Scott K. Simonds Dr. Elaine R. Soller Kate and Philip Soper Cynthia J. Sorensen ----
Mr. and Mrs. Neil J. Sosin ' Juanita and Joseph Spallina Stephen and Gayle Stewart Wolfgang Stolper
Nancy Bielby Sudia Charlotte B. Sundelson Ronna and Kent Talcott Bob and Betsy Teeter Mrs. E. Thurston Thieme Christina and
Thomas Thoburn Dr. and Mrs.
Merlin C. Townley loan Lowenstein and
Jonathan Trobe Marilyn Tsao and Steve Gao Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger lack and
Marilyn van der Velde Kate and Chris Vaughan Florence S. Wagner Bruce and Raven Wallace Charles R. and
Barbara H. Wallgren Dana M. Warnez Joyce L. Watson Robin and Harvey Wax Karl and Karen Weick Raoul Weisman and
Ann Friedman Dr. Steven W. Werns Harry C. White and
Esther R. Redmount Clara G. Whiting Brymer Williams J. D. and Joyce Woods Mr. and Mrs. A. C. Wooll David and April Wright Don and Charlotte Wyche
Businesses
The Barfield Company
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 Ardcn
Jeff and Deborah Ash
Mr. and Mrs. Arthur J. Ashe, III
Dwight Ashley
Dan and Monica Atkins
Jonathan and Marlcne Aycrs
Robert L. Baird
John R. Bareham
Cy and Anne Barnes
Associates, continued
Victoria and Robin Baron Lois and David Baru Gary Beckman and Karla Taylor Srirammohan S. and
Shamal Bcltangady Erling and
Mcrctc Blondal Bengtsson Linda and Ronald Benson Robert Hunt Berry Sheldon and Barbara Berry Dan and Irene Biber Roger and Polly Bookwalter James and Janice Stevens Botsford Mr. Joel Bregman and
Ms. Elaine Pomeranz Allen and Veronica Britton Mrs. A. Joseph Brough Morton B. and Raya Brown Sue and Noel Buckncr Trudy and Jonathan Bulkley Arthur W. and Alice R. Burks Bob Caldwell and
Terry Hirth Caldwell Susan and Oliver Cameron Margot Campos Charles F. Cannell Nancy Cantor
Marshall F. and Janice L. Carr Jeannette and Robert Carr Carolyn M. Carty and
Thomas H. Haug Dr. and Mrs. Joseph C. Cerny Tsun and Siu Ying Chang Dr. Kyung and Young Cho Kwang and Soon Cho Soon K. Cho Nancy Cilley
Donald and Astrid Cleveland Hubert and Ellen Cohen John and Penelope Collins Wayne and Melinda Colquitt Nan and Bill Conlin Elly Rose Cooper and
Hugh Cooper Paul N.Courant and
Marta A. Manildi Malcolm and Juanita Cox Merle and Mary Ann Crawford Mr. Michael J. and
Dr. Joan Crawford Constance Crump and
Jay Sim rod Sunil and Merial Das Charles and Kathleen Davenport Ed and Ellie Davidson Peter and Norma Davis Ronald and Dolores Dawson John and Jean Debbink Elena and Nicholas Delbanco Ellwood and 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 Duryca 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 Feucnverker Karl and Sara Fiegenschuh
Dr. lames F. Filgas Carol Finerman Herschcl and Annette Fink Beth B.Fischer (Mrs. G. J.) Dr. C. Peter and
Beverly A. Fischer Susan R. Fisher and lohn W. Waidlcy 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 Boehnke Andrew and Deirdre Freiberg Lela J. Fuester
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld Bernard and Enid Caller Eugene and Mary Anne Gargaro David and Marian Gates Wood and Rosemary Geist Mr. and Mrs. Michael Gillis James and Janet Gilsdorf Maureen and David Ginsburg Albert and Almcda Girod Edward and Ellen Goldberg Irwin Goldstein and
Martha Mayo Charles Goss
lames W. and Maria . Gousseff Elizabeth Necdham Graham Maryanna and
Dr. William H. Graves, III Jerry M. and Mary K. Gray Dr. John and Renee M. Greden Lila and Bob Green Bill and Louise Gregory Lauretta and Jim Gribble Carleton and Mary Lou Griffin Mark and Susan Griffin Werner H. Grilk David and Kay Gugala Ken and Margaret Guire Arthur W. Gulick, M.D. lohn and Susan Halloran j 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 Hcinold ____
Fred and Joyce Hershcnson j Peter G. Hinman and J Elizabeth A. Young j Frances C. Hoffman
Matthew C. Hoffmann and
Kerry McNulty Carol and Dieter Hohnke Ronald and Ann Holz Drs. Linda Samuelson and
Joel Howell Jane H. Hughes Ann D. Hungerman Thomas and Kathryn Huntzicker Susan and Martin Hurwitz Robert B. Ingling Margaret and Eugene Ingram Harold and Jean Jacobson Kent and Mary Johnson Elizabeth and Lawrence Jordan Douglas and Mary Kahn Dr. and Mrs. Mark S. Kaminski George Kaplan and Mary Haan David and Sally Kennedy
Frank and Patricia Kennedy
Don and Mary Kiel
Tom and Connie Kinncar
Rhea and Leslie Kish
lames and Jane Kister
Beverly Kleiber
Shira and Steve Klein
Laura Klem
Clyde and Anne Kloack
Ruth and Thomas Knoll
Nick Knuth
Dr. and Mrs. Melvyn Korobkin
Michael and Phyllis Korybalski
Ron and Barbara Kramer
Bert and Catherine La Du
Mr. and Mrs. Henry M. Lapcza
Neal and Anne Laurance
John and Theresa Lee
Peter Lee and Clara Hwang
Mr. and Mrs. Fernando S. Leon
Richard LeSueur
Harry and Melissa LeVine
Myron and Bobbie Levinc
Donald I. and
Carolyn Dana Lewis Jacqueline H. Lewis Earl Lewis
Leons and Vija Liepa Alene and Jeff Lipshaw Rod and Robin Little Naomi E. Lohr E. Daniel and Kay Long Armando Lopez Rosas Helen B. Love
Mr. and Mrs. Carl J. Lutkehaus Edward and Barbara Lynn Donald and Doni Lystra Jeffrey Mackie-Mason Pamela J. MacKintosh Steve and Ginger Maggio Virginia Mahle Mclvin and Jean Manis Marcovitz Family Sheldon and Geraldine Markel Peter Marshall Jim and Ann Mattson Melissa McBrienBaks Family Margaret E. McCarthy Ernest and Adele McCarus W. Bruce McCuaig Griff and Pat McDonald Mr. and Mrs. Ernest Merlanti Bernice and Herman Mcrte Henry D. Mcsser Carl A. House Helen Metzner Deanna Relyea and
Piotr Michalowski leanctte and Jack Miller John Mills
Thomas and Doris Miree Kathleen and James Mitchiner Dr. and Mrs.
William G. Moller, Jr. Jane and Kenneth Moriarty Frederick C. Neidhardt and
Gcrmaine Chipault Laura Nitzberg and
Thomas Carli 1 Donna Parmclee and
William Nolting Marysia Ostafin and
George Smillie Julie ana Dave Owens David and Andrea Page Drs. Sujit and Uma Pandit 1 William and Hcdda Panzer Rene and Hino Papo Elizabeth M. Payne I Zoe and Joe Pearson
Margaret and Jack Petersen I Joyce H. and Daniel M. Phillips
.illiam and Barbara Pierce
:rank and Sharon Pignanelli lichard and Meryl Place Donald and Evonnc Plantinga vlary Alice Power Philip and Kathleen Power Bill and Diana Pratt Jerry and Lorna Prescott l,arry and Ann Preuss Wallace and Barbara Prince J. Thomas and Kathleen Pustell Leland and
Elizabeth Quackenbush Patricia Randle and James Eng Anthony L. Reffells and
Elaine A. Bennett Glenda Rcnwick Janet L. Repp
Molly Resnik and John Martin Carol P. Richardson 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 AlbertJ. and Jane L. Saycd Christine). Schesky-Black David and Marcia Schmidt Monica and David E. Schteingart Suzanne Selig Harriet Selin Erik and Carol Serr Ruth and Jay Shanberge Hollis and Martha A. Showaltcr 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 Bette M. Thompson Mr. and Mrs. W. Paul Tippett Patricia and Terril Tompkins Paul and Fredda Unangst Dr. and Mrs. Samuel C. Ursu Jim and Emilie Van Bochove Kathleen and Edward Van Dam Hugo and Karla Vandersypen Tanja and Rob Van der Voo J. Kevin and Lisa M. Vasconi William C. Vassell Shirley Verrett Carolyn and Jerry Voight John and Maureen Voorhees
Wendy L. Wahl and
William R. Lee Mrs. Norman Wait Robert D. and Liina M. Wallin Dr. and Mrs. Jon M. Wardner Mr. and Mrs. Robert M. Warner Deborah Webster and
George Miller John ana Joanne Werner Susan and Peter Westerman B. Joseph and Mary White Iris and Fred Whitehousc Reverend Francis E. Williams Christine and Park Willis Thomas and Iva Wilson Charles Witke and
Aileen Gatten Charlotte A. Wolfe Kathy and Alan Wright MaryGrace and Tom York Ann and Ralph Youngren Gail and David Zuk
Businesses
A. F. Smith Electric, Inc.
Atlas Tool, Inc.
Bodywise Therapeutic Massage
Clark Professional Pharmacy
Coffee Express Co.
Complete Design tV Automation
Systems Inc. Garris, Garris, Garris & Garris
Law Office
Edwards Brothers, Inc. Malloy Lithographing, Inc. Quinn EvansArchitects
ADVOCATES
Individuals
John R. Adams Tim and Leah Adams Dr. Dorit Adler Thomas Aigler Michael and Hiroko Akiyar Gordon and Carol Allardyc-James 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 Andresen Martha Andrews-Schmidt Mary C. Arbour Catherine S. Arcure H. C. and Doris Arms Bert and Pat Armstrong Eric M. and Nancy Auppcrle John and Rosemary Austgen Shirley and Donald Axon Virginia and Jerald Bachman Drs. John and Lillian Back Prof, and Mrs. J. Albert Bailey Richard W. Bailey and Julia Huttar Bailey Laurence R. and Barbara K. Baker Barbara and Danie! Balbach Helena and Richard Balon Peter and Paulett Banks David and Monika Barera Maria Kardas Barna Joan W. Barth Robert and Carolyn Bartle Leslie and Anita Bassett Mrs. Jere Bauer James and Margaret Bean
Mr. and Mrs. Steven R. Beckert Robert Beckley and Judy Dinesen Mr. and Mrs. Bruce Beier Steve and Judy Bemis Walter and Antje Bcnenson Bruce Benner and
Hely Merle-Benncr Linda Bennett and Bob Bagramian Mr. and Mrs. Ib Bcntzen-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 Berny Gene and Kay Berrodin Andrew H. Berry, D.O. Mark Bertz
R. Bezak and R. Halstead Naren and Nishta Bhatia John and Marge Biancke Eric and Doris Billes John E. Billie and Sheryl Hirsch Sara Billmann and Jeffrey Kuras William and 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 Dr. George ana Joyce Blum Mr. and Mrs. Ralph O. Bochnke, Jr. Beverly J. Bole Mark and Lisa Bomia Dr. and Mrs. Frank P. Bongiorno Harold W. and Rebecca S. Bonnell Edward and Luciana Borbeiy Lola J. Borchardt Morris and Reva Bornstcin Jeanne and David Bostian Victoria C. Botck and
William M. Edwards Bob and Jan Bovver Dean Paul C. Boylan Marvin J. and Maureen A. Boyle Dr. and Mrs. Ralph Bozell Stacy P. Brackens Dr. and Mrs. C. Paul Bradley Mclvin W. and Ethel F. Brandt William R. Brashear Enoch and Liz Brater Mr. and Mrs. Gerald Bright Paul A. Bringcr Amy and Clifford Broman Razelle Brooks Olin L. and Alceta Browder Linda Brown and Joel Goldberg Cindy Browne Molly and John Brueger Mrs. Webster Brumbaugh Phil Bucksbaum and
Roberta Morris Dr. Frances E. Bull Margaret E. Bunge Marilyn Burhop Tony and Jane Burton Barbara H. Busch Joanne Cage Barbara and Albert Cain Louis and Janet Callaway H. D. Cameron Mrs. Darrell A. Campbell James H. Campbell Valerie and Brent Carey Barbara Carpenter James and Jennifer Carpenter Deborah S. Carr James and Mary Lou Carras Margaret P. Carrigan Dennis B. and Margaret W. Carroll Dean Carter and
Dr. Petra Schindler Carter Joseph and Nancy Cavanaugh K. M. Chan
Bill and Susan Chandler I. Wehrley and Patricia Chapman Dr. Carey Charles-Angelos i
Barry and Marjorie Chcckoway
Joan and Mark Chcslcr
Felix and Ann Chow
Catherine Christen
Edward and Rebecca Chudacoff
Sallie R. Churchill
Pat Clapper
Brian and Cheryl Clarkson
Roger and Mary Coe
Dorothy Coffey
Alice S. Cohen
fill Kronheim Cohen
Hilary and Michael Cohen
Mr. and Mrs. William Cohen
Willis Colburn and Dcnise Park
Marion Collier
Ed and Cathy Colonc
Gordon and Marjorie Comfort
Wendy and Mark Comstock
Carolyn and L. Thomas Conlin
Patrick and Anne ward Conlin
Sandra S. Connellan
M. C. Conroy
Philip and lean 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. Crichton
Mr. and Mrs. James 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. Davidge Judi and Ed Davidson Laning R. Davidson, M.D. Wayne and Patricia Davis Robert and Barbara Ream Debrodt Joe and Nan Decker Dr. and Mrs. Raymond F. Decker Rossanna and George DeGrood Mr. and Mrs. Rolf A. Dcininger Pamela DeTullio and
Stephen Wiseman Don and Pam Devine Sheryl Diamond Macdonald and Carol in Dick Gordon and Elaine Didicr Ruth J. Doane Patti Dobbs Judy and Steve Dobson Ed and Betty Doezema Rev. Dr. Timothy J. Dombrowski Steven and Paula Donn Deanna and Richard Dorner Roland and Diane Drayson Cecilia and Allan Dreyfuss John Dryden and Diana Raimi Gulshirin Dubash and
Jeremy Mistry Mary P. Dubois Rosannc and Sandy Duncan Mary H. Dunham Robert and Connie Dunlap Jean and Russell Dunnaback Edmund and Mary Durfee John W. Durstinc Dr. and Mrs. Theodore E. Dushane Georgc C. and Roberta R. Earl Elaine Economou and
Patrick Conlin Richard and Myrna Edgar Morgan H. and Sara O. Edwards Julie and Charles Ellis James Ellis and [can Liwton H. Michael and Judith L. End res Mr. and Mrs. Fred A. Erb
Erb Foundation Roger E. Erickson Steve and Pamela Ernst i
Leonard and Madeline Eron
Dorothy and Donald Eschman Sally Evaldson and John Posa Barbara Evans Don and Jcanette Faber Mr. and Mrs. Robert B. Fair, Jr. Elly and Harvey Falit Dr. Chervl C. Farmer Mike and Bonnie Fauman Inka and David Fclbeck Reno and Nancv Feldkamp Phil and Phyllis'Fellin Ronda and Ron I-erber Larry and Andra Ferguson Dennis and Claire Fernly Susan FilipiakSwing City
Dance Studio Clarisse (Clay) Finkbeincr Marilyn Finkbeiner Gerald B. and Catherine L. Fischer Lydia H. Fischer Dr. and Mrs. Richard L. Fisher Janet and Tom Fisher Barbara and James Fitzgerald Beth and Joe Fitzsimmons Rochelle Flumenbaum and
Paul Estenson
Jessica Fogel and Lawrence Weincr Scott and Janet Fogler George and Kathryn Foltz Susan Goldsmith and Spencer Ford Dr Linda K. Forsberg Burke and Carol Fossec Jason I. Fox
William and Beatrice Fox Dan and Jill Francis Mark and Gloria Frank Lynn A. Freeland Lucia and Doug Frecth Richard and Joann Freethy Sophia French Marilyn L. Friedman Esther and Pcrctz Friedmann Susan Froelich and Richard Ingram Gail Frames Jerry Frost
Philip and Rcnee Frost Jane Galantowicz Frances and Robert Gamble C. J. Gardiner and Cynthia Koch C. Louise Garrison Janet and Charles Garvin Allan and Harriet Gelfond Chuck and Rita Gelman Ms. Jutta Gerber W. Scott Gerstenberger and
Elizabeth A. Sweet Leo and Renate Gerulaitis Beth Genne and Allan Gibbard Paul and Suzanne Gikas Matthew and Dcbra Gildea Dr. and Mrs. Gary Gillespie Zita and Wayne Gillis Beverly Jeanne Giltrow Albert and Barbara Glover Albert L. Goldberg David and Shelley Goldberg Joyce and Janice Golding Ed and Mona Goldman Arna and Michael ). Goldstein Beryl and David Goldsweig Mitch and Barb Goodkin Ann F. Goodman Selma and Albert Gorlin Enid M. Gosling Jean and Bill Gosling Michael L. Gowing Mr. and Mrs. Gordon J. Graham Mr. and Mrs. Robert C. Graham Pearl E. Graves Whitmore and Svea Gray Ivan Green
Lewis R. and Mary A. Green Phyllis Green Sandra Gregcrman G. Robinson and Ann Gregory Martha I. Grciner Linda and Roger Grekin Raymond andDaphne M. Grew Marshall J. and Ann C. Grimm Marguerite M. Gritenas Laurie Gross Richard and Marion Gross
Advocates, continued
Frederick and Iris Gruhl Lionel and Carol Gure Lorraine Gutierrez anc
Robert Peyser Margaret Gutowski and
Michael Marietta Jeff and LcAnn Guyton Dr. Merle Haanes Caroline and Roger Hackett Marco Halsted Sarah I. Hamcke David Hamilton Mrs. Frederick G. Hammitt Dora E. Hampel Dr. and Mrs. Carl T. Hanks Grace H. Hanncnin Lourdes S. Bastos Hansen Charlotte Hanson Mary C. Harms
Stephen G. and Mary Anna Harper Laurelynne Daniels and
George Harris Susan S. Harris Elizabeth C. Hassinen James B. and Roberta Hause Ian and Barbara Hawkins Maureen Hawley D. Keith and Lori Hayward Anne Heacock
Kenneth and Jeanne Hcininger Jim and Esther Heitler Bill Heifer Sivana Heller Paula B. Hencken and
George C. Collins Karl Henkel and Phyllis Mann Dr. and Mrs. Keith S. Henley Kathryn Dekoning Hentschel
and Rudi Hentschel Jeanne Hernandez C.C. Herrington, M.D. Ronald D. and Barbara J. Hertz Stuart and Barbara Hilbert Herb and Dee Hildebrandt Lorna and Mark Hildebrandt Carolyn Hiss
James and Ann Marie Hitchcock Louise Hodgson Jane and Dick Hoerner Robert and Claire Hogikyan Donna M. Hollowell Mr. and Mrs. Howard Holmes Pam and Steve Home Dave and Susan Horvath Mr. and Mrs. F. B. House James and Wendy Fisher House Jeffrey and Allison Housner Kenneth and Carol Hovey Drs. Richard and Diane Howlin John I. Hritz, Jr. Mrs. V. C. Hubbs Hubert and Helen Huebl Jude and Ray Huettcman Mr. and Mrs. William Hufford Joanne Winkleman 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 Mary Kalmes and Larry Friedman Paul Kantor and
Virginia Weckstrom Kantor Helen and Irving Kao Mr. and Mrs. Wilfred Kaplan Hans Peter and Carol Kappus Diana S. Karam Rosalie Brum Karunas Alex and Phyllis Kato Ann F. Katz Deborah and Ralph Katz
Julie and Phil Kearney .]
Mr. and Mrs. Robert Keiser Janice Keller I.inda Atkins and Thomas Kenney George L. Kenyon and
Lucy A. Waskell Paul and Leah Kileny Jeanne M. Kin
Robert and Vicki Kiningham John and Carolyn Kirkendall Leilani and Steven Kitler Rosalie and Ron Koenig Michael J. Kondziolka Charles and Linda Koopmann Alan and Sandra Kortesoja Dimitri and Suzanne Kosacheff Sara Krine William G. Kring Alan and Jean Krisch Syma and Phil Kroll Bert and Geraldine Kruse : Helen and Arnold Kuethe Danielle and George Kuper Alvin and I.ia Kushne Dr. and Mrs. R. A. Kutcipal ] Tim and Kalhy Laing :
Alvin and Susan Lake Magdalene Lampert Mr. and Mrs. Seymour Lampert Henry and Alice Landau Janet Landsberg Patricia M. Lang Mrs. David A. Lanius Lois H. Largo
loan Larsen and Adam Pritchard Carl F. and Ann L. LaRue Beth and George Lavoie Judith and Jerold Lax Chuck and Linda Leahy ?'
Francois and Julie Lebel Cyril and Ruth Leder Fred and Ethel Lee Skip and Mary LcFauve
Diane and Jeffrey Lehman Ron and Leona Leonard Sue Leong i
Margaret E. Leslie David E. Levine Tom and Judy Lewis Margaret K. Liu and
Diarmaid M. O'Foighil Jackie K. Livesay Julie M. Loft in Jane Lombard Ronald Longhofcr and
Norma McKenna
Barbara R. and Michael Lolt
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 lay Mahler
Deborah Malamud and Ncal Plotkin
Claire and Richard Malvin
Alan and Carla Mandel
Pankai Manku i
Pearl Manning
Lee and Greg Marks
Alice K. and Robert G. Marks
Rhoda and William Martel
James E. and Barbara Martin
Wendy Massard
Vincent and Mareot Masscy
Glenn D. Maxwell
Helen Byrm May
LaRuth C. McAfee ---------------
Margaret and Harris McOamroch
Dores M. McCrec
Neil and Suzanne McGinn
Michael G. McGuire
Mary and Norman Mclver
Bill and Ginny McKeachie
Nancy and Robert Meader
William and Marilyn Mcadowcrof
Marilyn ). Meeker
Robert and Kathleen Megginson
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Maurice and Linda Binkow
present
Les Violons du Roy
Bernard Labadie Conductor David Daniels Countertenor
Diane Lacelle, oboe
Henry Purcell
Please note
Tonight's program repertoire has been adjusted from the program originally printed in this evenings program book. It will follow the order listed below.
Chaconne in g minor, Z 730
GeorgeFridericHandel Concerto Grosso in F Major, Op. 6, No. 9, HWV 327
Largo
Allegro
Larghetto
Allegro
Menuet
Gigue
Johann Sebastian Bach Ich habe genug, BWV 82
Aria: Ich habe genug
Recitativo: Ich habe genug! Mein Trost
Aria: Schlummert ein, ihr matten Augen
Recitativo: Mein Gott! Wenn kommt das schone
Aria: Ich freue mich meinem Tod
Mr. Daniels
INTERMISSION
Tommaso Albinoni
Handel
Concerto for Oboe in d minor, Op. 9, No. 2
Allegro e non presto
Adagio
Allegro
Ms. Lacelle
Giulio Cesare (excerpt)
Aria: Dall'ondoso periglio...Aure, deh, per pieta
Mr. Daniels
Handel
Concerto Grosso in a minor. Op. 6, No. 4, HWV 322
Larghetto affettuoso Allegro Largo e piano Allegro
Handel
Giulio Cesare (excerpt) Aria: Se in fiorito
Rodelinda (excerpt) Aria: Vivi, tiranno
Mr. Daniels
Ich habe genug, BWV 82
J.S. Bach
Aria
Ich habe genug,
Ich habe den Heiland, das Hoffen der Frommen,
Auf meine begierigen Arme genommen;
Ich habe genug!
Ich habe ihn erblickt,
Mein Glaube hat Jesum ans Herze gedriickt;
Nun wunsch ich noch heute mit Freuden
Von hinnen zu scheiden.
Ich habe genug!
Recitativo
Ich habe genug!
Mein Trost ist nur allein,
DaS Jesus mein und ich sein eigen mochte sein.
Im Glauben halt ich ihn,
Da seh ich auch mit Simeon
Die Freude jenes Lebens schon.
Lafit uns mit diesem Manne ziehn!
Ach, mochte mich von meines Leibes Ketten
Der Herr erretten!
Ach, ware doch mein Abschied hier,
Mit Freuden sagt ich, Welt, zu dir:
Ich habe genug!
Schlummert ein, ihr matten Augen, Fallet sanft und selig zu! Welt, ich bleibe nicht mehr hier, Hab ich doch kein Teil an dir, Das der Seele konnte taugen. Hier muG ich das Elend bauen, Aber dort, dort werd ich schauen Slifien Friede, stille Ruh.
Recitativo
Mein Gott! wenn kommt das schone: Nun!
Da ich in Frieden fahren werde
Und in dem Sande kiihler Erde,
Und dort, bei dir, im Schofie ruhn
Der Abschied ist gemacht.
Welt, gute Naclit!
Aria
Ich Irene mich auf meinen Tod, Ach, liiitt ersich schon eingefunden. Da cntkomm ich aller Not, Die mich noch auf der Welt gebunden.
I have enough;
I have taken the Saviour, the hope of the Gentiles,
Into my yearning arms.
I have enough;
I have seen him,
My faith has clasped Jesus to my heart;
Now I desire already today
To depart with joy from here.
I have enough!
Recitativo
I have enough!
My only comfort is
That Jesus might be mine and I be his.
In faith I hold him,
And with Simeon I already see
The bliss of that life.
Let us depart with this man!
Ah, let the Lord redeem me
From the fetters of this my life.
Ah, if only the hour of my departure were come;
With joy I would say to you, O world,
I have enough!
Aria
Go to sleep, you weary eyes,
Gently, blessed, close your lids;
Oh, world, I will not longer tarry here,
As I have no more part in you
That could benefit my soul.
Here I live in misery,
But there, there I shall see
Sweet peace, quiet rest.
Recitativo
My God! When will the blessed "Now" come,
When I shall depart in peace,
And in the sand of the cool earth
Rest in your embrace
My farewells have been taken.
World, good night.
Aria
I long for my death;
Ah, if only it had already come.
Then I shall escape all distress
That still binds me here on earth.
Giulio Cesare (excerpt) Handel
Aria: Dall'ondoso periglio...Aure, deh, per pieta
Dall'ondoso periglio
salvo mi porta al lido
il mio propizio fato.
Qui la celeste parca non franco ancor
10 stame alia mia vita! Ma dove andro
E chi mi porge aita Ove son le mie schiere Ove son le legioni, Che a tante mie vittorie
11 varco aprir6
Solo in queste erme arene
al monarca del mondo errar conviene
Aure, deh per pieta,
spirate al petto mio,
Per dar conforto, o Dio
al mio dolor.
Dite, dov'e,
che fa l'idolo del mio sen,
l'amato e dolce ben
di questo cor
Ma d'ogni intorno io veggio
sparse d'arme e d'estinti
1'infortunate arene,
segno d'infausto annunzio alfin sara.
From the perilous waves,
my propitious Fate
Has brought me safe to shore.
The heavenly Fate does not yet sever
The thread of my life!
But where shall I go
And who will help me
Where are my troops
Where are the legions
that paved my way
To so many victories
Among those desert sands
Must the ruler of the world wander
Gentle breezes, ah, for mercy's sake,
blow upon my breast,
to give comfort, O God,
to my grief.
Tell me, where is she
who is the idol of my heart,
the beloved, sweet love
Of this heart
But everywhere I see
these dismal sands
Bestrewn with arms and corpses.
This must be the inauspicious sign of disaster.
Giulio Cesare (excerpt) Handel Aria: Se in fiorito
Se in fiorito amcno prato l'augellin tra fiori e fronde si nasconde, fa piu grado ii suo cantar.
Se cosi Lidia vezzosa spiega ancor note canore, piu graziosa fa ogni core
If, in the pleasant, flowery meadow
The bird, among flowers and leaves,
Conceals itself,
It only makes
Its song more delightful.
Similarly, the fair Lydia Utters her song in the night, Even more delightful, She makes every heart Enamored.
Rodelinda (excerpt) Handel Aria: Vivi, tiranno
Vivi, tiranno, io t'ho scampato; svcnami, ingrato, sfoua il furor!
You live, tyrant,
1 have saved you;
now, in your ingratitude, kill me.
presents
Chamber Music Society of Lincoln Center
David Shifrin Artistic Director
Heidi Grant Murphy, Soprano Ransom Wilson, Flute Ida Kavafian, Violin Paul Neubauer, Viola Heidi Lehwalder, Harp
Anthony Elliott, Cello
and cellists of the University of Michigan School of Music Eileen Brownell, Alexander Cheung, Barney Culver, Katherine Dykstra, Michael Freilich, Mary Ellen Morris, Erika Pierson
Artist Member of the Chamber Music Society
Suite para canto e violino (Suite for Voice and Violin)
Heitor Villa-Lobos
A Menina e a Cancao
A melina es ganicada. Magrica, com a saia voe
jando por cima dos joelhos em n6, Vinha meio dansando, cantando ao crepusculo
escuro. Batia compasso com a varinha. Na poeira da
calcada. De repente voltouse para anegravelha que
vinha tropegrando atraz, enorme trouxa de roupa a cabeca: "Qu6 mi da, vo" "Naao."
Quero ser Alegre (vocalise) Sertaneja
Espingarda, Faca de ponta!
The Young Girl and the Song
A very skinny girl with a high-pitched voice whose skirt was floating high above her knobbly knees was coming along half dancing, half singing in the late evening. She was beating time with a stick in the dust on the path. Suddenly, she turned round to the old black woman, who was tripping along behind her, carrying an enormous bundle of clothes on her head. She asked the black woman, "Will you let me carry it, Grandma" "No!"
I Wish To Be Gay (vocalise) The Peasant Girl of Brazil
Shotgun,
Knifepoint!
Bachianas Brasileiras No. 5, for Soprano and Violoncellos
Villa-Lobos
Aria (Cantilena)
Tarde, uma nuvem
r6sea lenta e transparente, Sobreo espaco sonhadora e bela! Surge no infinito a
lua docemente,
Enfeitando a tarde, qual meiga donzela Que se apresta e alinda sonhadoramente, Em anseios d'alma para ficar bela, Grita ao do e a terra,
toda a Natureza!
Cala a passarada aos seus
tristes queixumes, E reflete o mar toda a sua riqueza... Suave a luz da lua
desperta agora,
A cruel saudade que ri e chora! Tarde, uma nuvem
r6sea lenta e transparente, Sobre o espaco sonhadora e bela!
Danca (Martelo)
Irere1, meu passarinho do
Sertao do Cariri,
Irere, meu companheiro, Cade vi6la Cade meu bem Cade Maria Ai triste sorte a do violeiro cantado! Ah! Sem a vi61a em que cantava
o seu amo,
Ah! Seu assobio e tua flauta de Irere: Que tua flauta do Sertao
quando assobia, Ah! A gente sofre sem quere! Ah! Ten canto chega Id do fundo
do sertao, ah! Como ua brisa amolecendo
o coracao, ah! ah! Irere, Solta ten canto! Canta mais!
Canta mais! Pra alcmbra o Cariri!
Lo, at midnight clouds are slowly passing,
rosy and lustrous,
O'er the spacious heav'n with loveliness laden. From the boundless deep the moon arises
wondrous,
Glorifying the evening like a beauteous maiden, Now she adorns herself in half-unconscious duty, Eager, anxious that we recognize her beauty. While sky and earth, yea all nature
with applause salute her.
All the birds have ceased their
sad and mournful complaining. Now appears on the sea in a silver reflection Moonlight softly waking the
soul and constraining Hearts to cruel tears and bitter dejection. Lo, at midnight clouds are slowly passing,
rosy and lustrous, O'er the spacious heavens dreamily wondrous.
Irere, my loved companion,
my singing sweetheart,
Irere, my little nestling from the wilds of Cariri, Where goes my dear Where goes Maria Ah, sorry is the lot of him who fain would sing! Ah! without his lute no song of gladness
can he bring.
Ah! his whistle shrill must be his flute for Irere, But yours the flute that once in
forest wilds was sounding, Ah! with its message of grief and woe. Ah! your song came forth from out the
depths of forest wilds, Ah, like summer winds that
comfort ev'ry mournful heart, ah! ah! Irere, Sing and enchant meJ Sing once more,
sing once more! Rring me songs of Cariri!
The Fiddler of Dooney
When I play on my fiddle in Dooney Folk dance like a wave on the sea; My cousin is priest in Kilvarnet, My brother in Mocharabuiee.
I passed my brother and cousin; They read in their books of prayer; I read in my book of songs I bought at the Sligo fair.
When we come at the end of time To Peter sitting in state He will smile on the three old spirits, But call me first through the gate;
For the good are always the merry, Save by an evil chance, And the merry love the fiddle, And the merry love to dance:
And when the folk there spy me, They will all come up to me, With "Here is the fiddler of Dooney!" And dance like a wave of the sea.
A Deep-Sworn Vow
Others because you did not keep
That deep-sworn
Vow have been friends of mine;
Yet always when I look death in the face,
When I clamber to the heights of sleep,
Or when I grow excited with wine,
Suddenly I meet your face.
Sweet Dancer
The girl goes dancing there
On the leaf-sown, new-mown, smooth
Grass plot of the garden;
Escaped from bitter youth,
Escaped out of her crowd,
Or out of her black cloud,
Ah, dancer, ah, sweet dancer!
If strange men come from the house To lead her away, do not say That she is happy being crazy; Lead them gently astray; Let her finish her dance, Let her finish her dance. Ah, dancer, ah, sweet dancer!
The Stolen Child
Come away, O human child!
To the waters and the wild
With a faery, hand in hand,
For the world's more full of weeping than
you can understand.
He Wishes for the Cloths of Heaven
Had I the heavens' embroidered cloths Enwrought with golden and silver light, The blue and the dim and the dark cloths Of night and light and the half-light, I would spread my dreams under your feet; But I being poor, have only my dreams; I have spread my dreams under your feet; Tread softly for you tread on my dreams.
The Countess Cathleen in Paradise
All the heavy days are over; Leave the body's coloured pride Underneath the grass and clover With the feet laid side by side.
One with her are mirth and duty; Bear the gold embroidered dress; For she needs not her sad beauty, To the scented oaken press.
Hers the kiss of Mother Mary, The long hair is on her face; Still she goes with footsteps wary, Full of earth's old timid grace.
With white feet of angels seven Her white feet go glimmering And above the deep of Heaven, Flame on flame and wing on wing.
By kiiul permission of Michael B. Vans, Anne Yails ant] Macmillan (London) Ltd.
Canta, cambaxirra! Canta, juriti!
Canta, Irere! Canta, canta sofri. Patativa! Bemtevi!
Maria acorda que ? dia. Cantem todos voces, Passarinhos
do sertao! Bemtevi! Eh! Sabia! La! lid! lia! lia! lia! lia! Eh! Sabia da mata cantando, Lia! lia! lia! lia! La! lia! lia! lia! lia! lia! Eh! Sabia da mata cantando, O vosso canto vem do fundo
do sertao Como uma brisa amolecendo
o coracao.
Sing, my song-bird, sing your song again,
sing, my Irert! Sing of pain and sorrow, as the birds of
morning wake Maria in the dawning! Sing with all your voices, Birds of the
woods and wilds, Sing! your songs, ye forest birds! La! lia! lia! lia! lia! Ha! Ye nestlings of the mourning forest wilds. Lia! lia! lia! lia! La! lia! lia! lid! lia! lia! Ye nestlings of the mourning forest wilds. Oh, yours the song that comes from
depths of forest wilds Like summer winds that comfort ev'ry
mournful heart.
To a Child Dancing in the Wind
John Taverner
He Wishes for the Cloths of Heaven
Had I the heavens' embroidered cloths, Enwrought with golden and silver light, The blue and the dim and the dark cloths Of night and light and the half-light, I would spread the cloths under your feet; But I, being poor, have only my dreams; I have spread my dreams under your feet; Tread softly for you tread on my dreams.
The Old Men Admiring Themselves in the Water
I heard the old, old men say,
"Everything alters,
And one by one we drop away."
They had hands like claws, and their knees
Were twisted like the old thorn-trees
By the waters.
I heard the old, old men say,
"All that's beautiful drifts away
Like the waters."
To A Child Dancing in the Wind
Dance there upon the shore; What need have you to care For wind or water's roar And tumble out your hair That the salt drops have wet; Being young you have not known The fool's triumph, nor yet Love lost as soon as won, Nor the best laborer dead And all the sheaves to bind. What need have you to dread The monstrous crying of wind
Two Years Later
Has no one said those daring
Kind eyes should be more learn'd
Or warned you how despairing
The moths are when they are burned
I could have warned you; but you are young,
So we speak a different tongue.
O will you take whatever's offered
And dream that all the world's a friend,
Suffer as your mother suffered,
Be as broken in the end.
But I am old and you are young,
And I speak a barbarous' tongue.
(Dance there upon the shore.)
Thank You -
The University Musical Society would like to thank the following students, teachers and administrators for their participation in tonight's concert.
Cass Technical High School Sharon Allen, Band Director
William Bittings, Trumpet Carmen Hibbler, French Horn
Community High School
Mike Grace, Jazz Band Director
Nick Woodward, Trumpet Miller Tinkerhess, Trumpet
Detroit High School for the Fine and Performing Arts Ed Quick, Band Director
Darelle Cochran, Trombone Fred Durhal, Trombone
Pioneer High School
Robert Albritton, Band Director
Andrew Custer, Trombone
Ypsilanti High School David Leach, Band Director
Alexa Perkins, Tuba Josh Shenier, Euphonium
Special thanks to the following administrators:
Lynda Berg, Music Supervisor, Aim
Arbor Public Schools Benjamin Pruitt, Instrumental Music
Supervisor, Detroit Public Schools Sandra Trosien, Instructional Services,
Washtenaw Intermediate School
District

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