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UMS Concert Program, Friday Apr. 20 To 26: University Musical Society: Winter 2001 - Friday Apr. 20 To 26 --

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

university musical society
Winter 2001 season
university musical society
University of Michigan Ann Arbor
UMS leadership
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UMSexperience 29
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ant Qufcn Margaret n fw RtyaL ShllespM Ctmiarrs History Plays.
x0UMA leadership
'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 fSIM Shakespeare's History Plays, along with the extensive educational programs that sur?round the performances, takes place only in Ann Arbor and in Stratford-upon-Avon and London in England. We are pleased to welcome theater lovers from all over North America who are taking advantage of this exclusive US presentation in our community.
It takes a large group of dedicated and tal?ented people to put bring you the Royal Shakespeare Company and the other world-
renowned artists and ensembles that have been part of UMS' tradition since 1879. I'm privileged to work with an outstanding Board of Directors, Senate, Advisory Committee, and staff, all of whom are listed on pages 14-15. In addition, UMS works with more than 500 volunteers who serve in our dedicated usher corps, sing in our outstanding Choral Union, and assist us with many of our programs, especially our Youth Education Program.
It is the UMS staff (see photo) who works day in and day out to assure that you are able to see and hear the world's best performing artists. The programming staff, led by Michael Kondziolka, works with artists and artists' managers to design a diverse, exciting, and high-quality season, which this year fea?tures over ninety performances. The produc?tion staff, led by Gus Malmgren, looks after the well-being of our artists and, working with an outstanding group of local stagehands, assures that each performance looks great and runs smoothly. The education and audi?ence development staff, led by Ben Johnson, designs and manages more than 200 events, working with nearly 100 community partners to enhance the audiences' understanding and appreciation of our artists and their work. People learn about our programs through many different media, thanks to the efforts of our marketing staff, led by Sara Billmann, which last year oversaw an all-time record in ticket sales for UMS. Our box office staff, led by Michael Gowing, has a well-deserved rep-
utation of providing outstanding personal?ized service. Our finances, computer systems, human resources, and office management are under the purview of our administrative staff, led by John Kennard. Finally, there is the development staff, led by Christina Thoburn, which must raise nearly half of UMS' budget this year to supplement our income from ticket sales and which has never failed to exceed their ambitious goals in each of the last ten years.
I feel extremely fortunate to work with this outstanding team of colleagues, whom many leaders in our field consider to be the finest
staff of any performing arts presenting organization in the country. I hope you will have a chance to get to know members of this exceptional group of people, who delight in their opportunity to serve you and the other members of the UMS family.
If you would like to learn more about UMS, let me suggest that you purchase a copy of Bravo!, a popular, high-quality 224-page cookbook that includes recipes, legends, and lore from our long history. For more infor?mation and to place an order, see page 37.
I'd like to know your thoughts about this performance. I'd also like to learn from you
about anything we can do at UMS to make your performance experience the best possin 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 __
Sincerely, .
Kenneth C. Fischer President
r" "
n behalf of the UMS Board of Directors, I am delighted to welcome you to the Winter 2001 season. With world-renowned performers bringing their artistry to our stages, new community partnerships enhancing our programs, and our ever-
expanding educational activities serving thou?sands of students and teachers throughout southeastern Michigan, it is the most exciting and comprehensive season in our 122-year history.
As we enjoy tonight s performance, we want to recognize and thank the many indi?viduals, companies, organizations and foun?dations whose support makes this extraordi?nary season possible. In contributing to UMS, these donors, including the corporate leaders listed on the following pages, have publicly recognized the importance of the arts in our community. They have demon?strated their commitment to the quality of life in our area, and helped create new educa?tional opportunities for students and audi?ences of all ages and backgrounds.
So, as we applaud tonight's performers, please join all of us at UMS in applauding our many generous contributors. They are playing an important role in the artistic life of our community, and we are truly grateful for their support-Sincerely, ?&k--
Beverley Geltner
Chair, UMS Board of Directors
Don Macmillan President Alcan Global Automotive Solutions "For 122 years, the University Musical Society has engaged and enriched our community with the very best in performing arts and educational programs. Alcan salutes your quality and creativity, and your devotion to our youth."
Douglass R. Fox President Ann Arbor Acura, Hyundai, Mitsubishi
"We at Ann Arbor Acura are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
Larry Weis President AutoCom Associates "AutoCom Associates is a strong supporter of the University Musical Society one of North America's leading presenters of
the performing arts. Along with our corpo?rate public-relations
clients, we're proud to partner with UMS in bringing the arts to appreciative audiences in southeastern Michigan."
William Broucek
President and CEO Bank of Ann Arbor 'As Ann Arbor's community bank, we are glad and honored to be a supporter of the cultural enrichment that the University Musical Society brings to our community."
Jorge A. Soli's
Senior Vice President Bank One, Michigan "Bank One, Michigan is honored to share in the University Musical Society's proud tradi?tion of musical excellence and artistic diversity."
Habte Dadi Manager Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organi-
zation that provides such an important service to Ann Arbor."
Carl A. Brauer, Jr. Owner Brauer Investment Company "Music is a gift from God to enrich our lives. Therefore, I enthusiastically support the University Musical Society in bringing great music to our community."
David G. Loesel President T.M.L Ventures, Inc. "Cafe Marie's support of the University Musical Society Youth Program is an honor and a priv?ilege. Together we will enrich and empower our community's youth to carry forward into future generations this fine tradition of artistic talents."
Clayton Wilhite
Managing Partner CFI Group, Inc.
"Can you imagine a more power?ful demonstration of Ann Arbor's quality of life than the University Musical Society We at CFI can't, and that's why we're so delighted to be a concert sponsor. We salute UMS for its accomplishments and for what it has contributed to the pride in our community."
Charles Hall
C. N. Hall Consulting "Music is one way the heart sings. The University Musical Society helps our hearts enjoy and par?ticipate in song. Thank you."
Eugene Miller Chairman and CEO Comerica Incorporated "Bravo to the University Musical Society! Their contributions are vital to the arts community. Comerica applauds their tradition of excellence, and their commit?ment to the presentation of arts and promotion of arts education."
S. Martin Taylor Sr. Vice President, Corporate & Public Affairs and President Detroit Edison Foundation "The Detroit Edison Foundation is proud to sponsor the University Musical Society because we share a mission of enhancing south?eastern Michigan's reputation as a great place to live and work. To this end, UMS brings the joy of the performing arts into the lives of community residents, provides an important part of Ann Arbor's uplifting cultural identity and offers our young people tremen?dous educational opportunities."
Larry Denton
Global Vice President Dow Automotive "At Dow Automotive, we believe it is through the universal lan?guage of art and music that we are able to transcend cultural and national barriers to reach a deeper understanding of one another. We applaud the University Musical Society for its long?standing support of the arts that enrich all our lives."
Edward Surovell President Edward Surovell Realtors "It is an honor for Edward Surovell Realtors to be able to support an institution as distinguished as the University Musical Society.
For over a century it has been a national leader in arts presenta?tion, and we encourage others to contribute to UMS' future."
Leo Legatski President Elastizell Corporation of America "A significant characteristic of the University Musical Society is its ability to adapt its menu to changing artistic requirements. UMS involves the community with new concepts of education, workshops, and performances."
John M. Rintamaki Group Vice President, Chief of Staff Ford Motor Company "We believe, at Ford Motor Company, that the arts speak a universal language that can edu?cate, inspire, and bring people, cultures and ideas together. We invest in the long-term develop?ment of our arts and educational initiatives. We continue to sup?port the University Musical Society and the enriching pro?grams that enhance the lives of today's youth."
Donald Spence Senior Vice President, Sales & Marketing GKN Sinter Metals -.
"GKN Sinter Metals is pleased to support the University Musical Society's arts programs. The
quality or 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 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 i Masco Corporation We at Masco applaud the University Musical Society's contributions to diversity in arts programming and its efforts to enhance the quality of life in our community."
Ronald Weiser
Chairman and CEO________
McKinley Associates, Inc. 'The arts make our community a vibrant place to live and work. No one contributes more to that than UMS, with its innova-
tive cultural offerings and
education for all ages. McKinley is proud to play a 'supporting role' in these time-honored efforts."
Erik H. Serr Principal Miller, Canfield, Paddock and Stone, P.L.C.
'Miller, Canfield, Paddock and Stone is particularly pleased to support the University Musical Society and the wonderful cultural events it brings to our community." j
Phillip R. Duryea
Community President __
National City Bank "National City Bank is pleased to continue our historical support of the University Musical Society, which plays such an important role in the richness of our community."
Joe O'Neal President O'Neal Construction "A commitment to quality is the main reason we are a proud supporter of the University Musical Society's efforts to bring the finest artists and special events to our community."
Michael Staebler Partner Pepper Hamilton LLP "Pepper Hamilton congratulates the University Musical Society for providing quality perform?ances in music, dance and the-
ater to the diverse community that makes up southeastern
Michigan. It is our pleasure to be among your supporters."
Jeanne Merlanti President Personnel Systems, Inc. Arbor Technical Staffing Arbor Temporaries, Inc. "As a member of the Ann Arbor business community, I'm thrilled to know that by supporting UMS, I am helping perpetuate the tradition of bringing out?standing musical talent to the community and also providing education and enrichment for our young people."
Peter B. Corr, Ph.D. Senior Vice President, Pfizer, Inc.; Executive Vice President, Pfizer Global Research & Development; President, Worldwide Development "The University Musical Society is a cornerstone upon which the Ann Arbor community is based: excellence, diversity and quality. Pfizer is proud to support the University Musical Society for our community and our Pfizer colleagues."
Kathleen G. Charla Consultant Russian Matters
"Russian Matters is pleased and honored to support UMS and its great cultural offerings to the community."
Joseph Sesi President Sesi Lincoln Mercury "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury team is delighted to sponsor such a fine organization."
Thomas B. McMullen President. Thomas B. McMullen Co., Inc. U "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 David Featherman,
Treasurer Lee C. Bollinger
Janice Stevens Botsford Barbara Everitt Bryant Kathleen G. Charla Jill A. Corr Peter B. Corr William S. Hann Toni Hoover Alice Davis Irani Gloria James Kerry
Leo A. Legatski Helen B. Love Barbara Meadows Alberto Nacif
Jan Barney Newman Gilbert S. Omenn Randall Pittman Rossi Ray-Taylor Prudence L. Rosenthal
Maya Savarino Erik H. Serr Herbert Sloan Timothy P. Slottow Peter Sparling James L. Telfer Clayton Wilhite Karen Wolff Elizabeth Yhouse '
(former members of the VMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Paul C. Boylan Carl A. Brauer Allen P. Britton Letitia J. Byrd Leon S. Cohan Jon Cosovich Douglas Crary Ronald M. Cresswell John D'Arms
Robert F. DiRomualdo James J. Duderstadt Robben W. Fleming David J. Flowers Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Howard Holmes Kay Hunt Stuart A. Isaac Thomas E. Kauper David B. Kennedy Richard L. Kennedy
Thomas C. Kinnear F. Bruce Kulp Earl Lewis Patrick B. Long Judythe H. Maugh Paul W. McCracken Rebecca McGowan Alan G. Merten Joe E. O'Neal John D. Paul Wilbur K. Pierpont John Psarouthakis Gail W. Rector John W. Reed
Richard H. Rogel Ann Schriber Daniel H. Schurz Harold T. Shapiro George I. Shirley John O. Simpson Carol Shalita Smokier Lois U. Stegeman Edward D. Surovell Susan B. Ullrich Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker Marina v.N. Whitman Iva M. Wilson
Robert Morris, Chair Sara Frank, Vice-Chair Louise Townley,
SecretaryTreasurer Raquel 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 Skevves Cynny Spencer Sally Stegeman Bryan Ungard Suzette Ungard Wendy Woods
Administration Finance
Kenneth C. Fischer,
Deborah S. Herbert,
RSC Residency
Coordinator i" Elizabeth E. Jahn,
Assistant to
the President John B. Kennard, Jr.,"
Director of
Administration Chandrika Patel, Senior
Accountant John Peckham,
Information Systems
Box Office
Michael L. Gowing,
Laura Birnbryer, Staff Sally A. Cushing, Staff Ronald J. Reid, Assistant
Manager and Group
Choral Union
Thomas Sheets,
Conductor Andrew Kuster, ?
Associate Conductor : Jean Schneider-Claytor, j
Accompanist Kathleen Operhall,
Manager .....
Donald Bryant, Conductor Emeritus
Christina Thoburn,
Director Mary Dwyer, Manager
of Corporate Support Karen Meske, Advisory
Committee and Events
Coordinator Lisa Michiko Murray,
Manager of
Foundation and
Government Grants J. Thad Schork, Direct
Mail, Gift Processor Anne Griffin Sloan,
Assistant Director -
Individual Giving
EducationAudience Development
Ben Johnson, Director Kristin Fontichiaro,
Youth Education
Manager Dichondra Johnson,
Coordinator Warren Williams,
Manager I
MarketingPublic Relations
Sara Billmann, Director Aubrey Alter, Coordinator
Ryonn Clute,
Coordinator Gulshirin Dubash,
Public Relations
Production and Special Projects
Gus Malmgren, Director Emily Avers, Production
and Artist Services j
Manager Jerica L. Humphrey,
Coordinator Production Supervisors
Eric Bassey
Mary Cannon
Steven Jarvi Usher Supervisors
Paul Jomantas
Bruce Oshaben Head Ushers
Ken Holmes
Joyce Holmes
Brian Roddy
Sanjay Pavipati
Nancy Paul
Edward Szabo
Programming Michael J. Kondziolka,
Director Mark Jacobson, Manager
Erika Banks Megan Besley Eric Blanchard Jo Chen Patricia Cheng Patrick Elkins Christine Field Mariela Flambury Milena Gruber David Her Benjamin Huisman Laura Kiesler Dawn Low Kathleen Meyer Rossalyn Quaye Rosie Richards Jennifer Salmon Angela Sitz Corey Triplett Sean Walls
Helene Blatter Erin Dahl Angela Dixon Robert Frey Shaila Guthikonda Michael Steelman Ryan Suit Shauna Voltz
President Emeritus
Gail W. Rector
Fran Ampey Kitty Angus Alana Barter Kathleen Baxter Elaine Bennett Lynda Berg Yvette Blackburn Barbara Boyce Letitia Byrd
Doug and
Nancy Cooper Naomi Corera Gail Davis Barnes Gail Dybdahl Keisha Ferguson Doreen Fryling Brenda Gluth Louise Gruppen Vickey Holley Foster
Taylor 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
Joan Singer Sue Sinta Grace Sweeney Sandy Trosien Melinda Trout Sally Vandeven Barbara Wallgren Jeanne Weinch
Barrier-Free Entrances
For persons with disabilities, all auditoria have barrier-free entrances. Wheelchair loca?tions are available on the main floor. Ushers are available for assistance.
Listening Systems
For hearing impaired persons, the Power Center, Mendelssohn Theatre, and Rackham Auditorium are equipped with infrared listen?ing systems. Headphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Rackham Auditorium, Power Center, and Mendelssohn Theatre please call University Productions at 734.763.5213. For items lost at St. Francis of Assisi Catholic Church and the Michigan Theater, please call the UMS Production Office at 734.764.8348.
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Limited street parking is also available. Please allow enough time to park
before the performance begins. Parking is complimentary for UMS members at the Principal level and above. Reserved parking is available for UMS members at the Leader level and above. j
UMS offers valet parking service for all performances in the Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before each performance. There is a $10 fee for this service. UMS members at the Leader level and above are invited to use this service at no charge.
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Smoking Areas
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
or phone orders and information,
lease contact:
IMS Box Office
urton Memorial Tower
81 North University Avenue
inn Arbor, MI 48109-1011
n the University of Michigan campus
inside the 734 area code, 11 toll-free 00.221.1229
)rder online at the UMS website:
isit our Power Center Box Office
n person
Due to the renovation of Burton Tower, our Box Office has been relocated to the Power Center. Mon-Fri: 10 a.m. to 6p.m. Sat: 10 a.m. to 1 p.m. Performance hall box offices open 90 minutes before each performance.
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the UMS Box Office. Refunds are not available; however, you will be given a receipt for an income tax deduc?tion. Please note that ticket returns do not count toward UMS membership.
1 any thanks to all of the groups who have joined UMS for an event in past seasons, and welcome to all of our new friends who will be with us in the coming years. The group sales program has grown incredibly in recent years, and our success is a direct result of the wonderful leaders who organize their friends, families, congregations, students, and co-workers and bring them to one of our events.
Last season over 10,000 people came to UMS events as part of a group, and they saved over $51,000 on some of the most popular events around! Many groups who booked their tickets early found themselves in the enviable position of having the only available tickets to sold out events including the Buena Vista Social Club, Yo-Yo Ma, the Berlin Philharmonic, the Chieftains, and; many other exciting performances.
This season UMS is offering a wide variety of events to please even the most discriminafc ing tastes, many at a fraction of the regular price. Imagine yourself surrounded by ten or more of your closest friends as they thank you for getting great seats to the hottest shows in town. It's as easy as picking up the phone and calling the UMS Group Sales hotline at 734.763.3100.
ooking for that perfect meaningful gift ?that speaks volumes about your taste Tired of giving flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than eighty
events throughout our season, wrapped and delivered with your personal mes?sage, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming
present when new friends move to town.
MS and the following businesses thank you for your generous support by pro?viding you with discounted products and services through the UMS Card, a privilege for subscribers and donors of at least $100. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe Ann Arbor Acura Ann Arbor Art Center The Back Alley
Gourmet Bivouac Outdoor
Clothing and
Equipment The Blue Nile
Restaurant Bodywise Therapeutic
Massage Cafe Marie Chelsea Flower Shop Dough Boys Bakery Fine Flowers Gandy Dancer Great Harvest John Leidy Shop
John's Pack and Ship Kerrytown Bistro King's Keyboard House Le Dog Michigan Car Services,
Inc. and Airport
Sedan, LTD Nicola's Books, Little
Professor Book Co. Paesano's Restaurant Randy Parrish Fine
Framing Regrets Only Ritz Camera One Hour
Photo Shaman Drum
Bookshop SKR Downtown SKR Uptown
oin the thousands of savvy people who log onto each month!
Why should you log onto
Tickets Forget about waiting in long ticket lines--order your tickets to UMS performances online! And now you'll know your specific seat location before you buy online, thanks to our new relationship with!
CyberSavers 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.
he goal of the University Musical Society (UMS) is to engage, edu?cate, and serve Michigan audiences by bringing to our community an ongoing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 121 years, strong leader?ship coupled with a devoted community has placed UMS in a league of internationally-recognized performing arts presenters. Indeed, Musical America selected UMS as one of the five most influential arts presenters in the United States in 1999. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, balanced by a commitment to dynamic and creative visions of where the performing arts will take us in the new millennium. Every day UMS seeks to cultivate, nurture and stimulate public interest and participation in every facet of the live arts. UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first performance of Handel's Messiah was in December of 1879, and this glorious oratorio has since been per?formed by the UMS Choral Union annually.
As a great number of Choral Union members also belonged to the University, the University
Musical Society was established in December 1880. UMS included the Choral Union and University Orchestra, and throughout the year presented a series of concerts featuring local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the perform?ing arts--internationally renowned recitalists and orchestras, dance and chamber ensem?bles, jazz and world music performers, and opera and theatre. Through educational endeavors, commissioning of new works,
Musical America selected UMS as one of the five most influential arts presenters in the United States in 1999.
youth programs, artist residencies and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction and innovation. UMS now hosts over eighty performances and more than 150 educational events each season. UMS has flourished with the support of a generous community that gathers in Hill and Rackham Auditoria, Power Center for the Performing Arts, Lydia Mendelssohn Theatre, Michigan Theater, St. Francis of Assisi Catholic Church, the Detroit Opera House, Music Hall and the Residential College Auditorium.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor cam?pus, and a regular collaborator with many University units, UMS is a separate not-for-profit organization that supports itself from ticket sales, corporate and individual contri?butions, foundation and government grants, and endowment income.
, hroughout its 121-year history, the University Musical Society Choral Union has performed with many of the world's distinguished orchestras __ and conductors.
Based in Ann Arbor under the aegis of the University Musical Society, the 150-voice Choral Union is known for its definitive per?formances of large-scale works for chorus and orchestra. Seven years ago, the Choral Union further enriched that tradition when began appearing regularly with the Detroit Symphony Orchestra. Among other works, the chorus has joined the DSO in Orchestra Hall and at Meadow Brook for subscription performances of Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe and Brahms' Ein deutsches Requiem, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
In 1995, the Choral Union began accepting invitations to appear with other major regional orchestras, and soon added Britten's War Requiem, Elgar's The Dream of Gerontius, the Berlioz Requiem and other masterworks to its repertoire. During the 1996-97 season, the Choral Union again expanded its scope to include performances with the Grand Rapids Symphony, joining with them in a rare presentation of Mahler's Symphony No. 8 (Symphony of a Thousand).
The Choral Union is a talent pool capable of performing choral music of every genre. In
addition to choral masterworks, the Choral Union has recently given acclaimed concert presentations of Gershwin's Porgy and Bess with the Birmingham-Bloomfield Symphony Orchestra and musical-theatre favorites with Erich Kunzel and the DSO at Meadow Brook. A 72-voice chorus drawn from the larger choir has performed Durufle's Requiem, the Langlais Messe Solenelle, the Mozart Requiem and other works. The Choral Union's 36-voice Chamber Chorale presented "Creativity in Later Life," a program of late works by nine composers of all historical periods, at the University of Michigan Museum of Art.
During the 1999-2000 season, the Choral Union performed in three major subscription series at Orchestra Hall with the Detroit Symphony Orchestra. Other programs included Mahler's Symphony No. 3 with the Ann Arbor Symphony Orchestra.
During the current season, the UMS Choral Union again appeared in two series with the Detroit Symphony Orchestra, both conducted by Neeme Jarvi. The chorus joined in the DSO's opening night performance of Mahler's Symphony No. 2 (Resurrection), followed later in the season by Carl Orff's Carmina Burana. The Choral Union's 122nd annual performances of Messiah followed, and the Choral Union's season will close on April 22, 2001, in a performance of Hector Berlioz' Requiem with the Greater Lansing Symphony Orchestra and members of the U-M School of Music Symphony Band in Hill Auditorium, conducted by Thomas Sheets.
Participation in the Choral Union remains open to all by audition. Representing a mixture of townspeople, students and faculty, members of the Choral Union share one common passion--a love of the choral art. For more information about the UMS Choral Union, e-mail or call 734.763.8997.
Hill Auditorium
tanding tall and proud in the heart of the University of Michigan campus, Hill Auditorium is associated with the best perform?ing artists the world has to offer. Inaugurated at the Twentieth Annual Ann Arbor May Festival in 1913, the 4,163-seat Hill Auditorium has served as a showplace for a variety of important debuts and long relationships throughout the past eighty-seven years. With acoustics that highlight everything from the softest notes of vocal recitalists to the grandeur of the finest orchestras, Hill Auditorium is known and loved throughout the world.
Former U-M regent Arthur Hill bequeathed $200,000 to the University for the construction of an auditorium for lectures, concerts and other university events. Then-UMS President Charles Sink raised an additional $150,000, and the concert hall opened in 1913 with the Chicago Symphony Orchestra performing Beethoven's Symphony No. 5. The auditori?um seated 4,597 when it first opened; subse?quent renovations, which increased the size of the stage to accommodate both an orchestra and a large chorus (1948) and improved wheelchair seating (1995), decreased the seating capacity to its current 4,163.------
Rackham Auditorium M
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 g 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). jgiiii
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 L 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
"lie 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. 'HJlHf
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
Power Cent 1,390 !
St. Francis 950
Detroit ( Ho-
University Musical
Sod etywijBBBm---
of the University of Michigan 2001 Winter Season
Event Program Book Friday, April 20, 2001 through Thursday, April 26,2001
General Information
Children of all ages ate 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 computers should be turned off during performances. In case of emergency, advise your paging service of auditorium and seat location and ask them to call University Security at 73-4.763.1131.
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. .
Mark Morris Dance Group
Friday, April 20, 8:00pmigjgJ Saturday, April 21, 8:00pm : Power Center
Berlioz' Requiem '-
Sunday, April 22,4:00pm Hill Auditorium
Viking Tales of Lust, Revenge and Family
Wednesday, April 25, 8:00pm Thursday, April 26, 8:00pm .,
McKinley Associates
Mark Morris Dance Group
Mark Morris Artistic Director .,,,?.?
p. The Company '] ' Joe Bowie :' CharltonBoyd " [, Marjorie Folkman : Shawn Gannon
r. '
E Lauren Grant ' John Heginbotham t David Leventhal ,; ; Bradon McDonald Gregory Nuber
June Omura
Matthew Rose Anne Sellery i Julie Worden ; Michelle Yard f
Barry Alterman, General Director Nancy Umanoff, Executive Directo,
The Detroit Symphony Orchestr
NeemeJarvi Music Director
The Ann Arbor Cantata Singers William Boggs Music Director
Friday Evening, April 20,2001 at 8:00 Power Center, Ann Arbor, Michigan
Lucky Charms (1994)
Beautiful Day (1992)
Dancing Honeymoon (1998)

Gloria (1981, revised 1984)
Detroit Symphony Orchestra, Ann Arbor Cantata Singers
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 sponsored by McKinley Associates.
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.
Additional support provided by media sponsors, WDET and Metro Times.
Special thanks to Dance Gallery Studio, the U-M Department of Dance and the U-M Museum of Art for their involvement in this residency.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan. BjjjfcieifettwWjiiy. ; "
Major support for the Mark Morris Dance Group is provided by the -Kjfej Andrew W. Mellon Foundation and The Howard Gilman Foundation, .$&.
The Mark Morris Dance Group's performances are made possible with pub?lic funds from the National Endowment for the Arts Dance Program and the New York State Council on the Arts, a State Agency.
Mark Morris Dance Group Neyy.WprksFund is sponsored by Philip Morris Companies Inc. "-V '
Large print programs are available upon request.
Lucky Charms (1994);
Mark Morris
Jacques Ibert Divertissement
v Introductio
' Cortege Valse
? Parade --
1 Finale. .
Performed by
Michael Chybowski
Charlton Boyd, Marjorie Folkman, Lauren Grant, John Heginbotham, Bradon McDonald, Gregory Nuber, June Omura, Mireille Radwan-Dana, Kim Reis, Anne Sellery, Julie Worden, Michelle Yard
Commissioned, in part, by Dance Umbrella, Boston.
x0Photo: Marc Royce
Attributed to J.S. Bach or Georg-Melchior Hoffmann. Schlage doch, gewiinschte Stunde, BWV 50"""?""
Craig Smith, Conducto' Megan Friar, Mezzo-soprano
James F. Ingalls .
Susan Ruddie Spring
Joe Bowie, Kim Reis
x0Photo: Marc Royce

Dancing Honeymoon (1998)
Mark Morris '.:
"Limehouse Blues," "You Were Meant for Me," WM . "Do Do Do," "Someone to Watch Over Me," "A Cup j of Coffee, A Sandwich, and You," "Wild Thyme," fe "Experiment," "Dancing Honeymoon," "And Her M I Mother Came Too," "Fancy Our Meeting," "Who," . "Two Little Bluebirds," "Goodnight, Vienna," "It's Not .You," "There's Always Tomorrow"
"Eileen Clark, Soprano " Sarah Roth, Violin . Ethan Iverson, Piano . Stefan Schatz, Percussion
Transcribed and arranged by
Lighting Costumes Performed by
Ethan Iverson from historical recordings of Gertrude Lawrence and Jack Buchanan
Michael Chybowski Elizabeth Kurtzman .j
Charlton Boyd, Shawn Gannon, John Heginbotham, Mark Morris, Mireille Radwan-Dana, Kim Reis, Julie Worden ;
This dance was created under the auspices of the Mark Morris Dance Group New Works Fund sponsored by Philip Morris Companies Inc. ,.,.

ft ?."1
Gloria (1981', revised 1984)
v , Choreography,,.
@@@@Lighting ; .Performed by
Mark Morris
Antonio Vivaldi Gloria in D

@@Detroit Symphony Orchestra Ann Arbor Cantata Singers Craig Smith, Conductor
Eileen Clark, Soprano Megan Friar, Mezzo-soprano
Michael Chybowski
Joe Bowie, Charlton Boyd, Marjorie Folkman, Shawn Gannon, Lauren Grant, David Leventhal, ,.; Bradon McDonald, June Omura, Mireille Radwan-Dana, Julie Worden __...i
x0Photo: Marc Royce

irk MornS'Was born dfi August 29, 1956 in Seattle, Washington, where he studied as a young man with Verla Flowers and Perry Brunson. He performed with a variety of companies in the early years of his career, including the Lar Lubovitch Dance Company, Hannah Kahn Dance Company, Laura Dean Dancers and Musicians, Eliot Feld Ballet, and the Koleda Balkan Dance Ensemble. He formed the Mark Morris Dance Group (MMDG) in 1980, and has since created over ninety works for the Dance Group, and over a dozen commissions for ballet companies, including San Francisco Ballet, Paris Opera Ballet, and American Ballet Theatre. From
1988-1991 he was Director of Dance at the Theatre Royal de la Monnaie in Brussels, the national opera house of Belgium. During his tenure there, he created twelve pieces Jfl including three evening-length works: The Hard Nut (his comic book-inspired version of The Nutcracker); L'Allegro, il Penseroso ed il Moderato; and Dido and Aeneas, and founded the White Oak Dance Project with Mikhail Baryshnikov. Mr. Morris is noted for his musicality--he has been described as "undeviating in his devotion to music"-and for his "ability to conjure so many con?tradictory styles and emotions." He has worked extensively in opera. He directed and choreographed a Royal Opera, Covent Garden production of Rameau's Platee that premiered at the Edinburgh International
Festival in 1997 and had its New York debut with The New York City Opera in April 2000 at Lincoln Center. Most recently, he directed and choreographed the June 2000 English National Opera production of Four Saints in Three Acts. Mr. Morris was named a Fellow of the MacArthur Foundation in 1991, and he is the subject of a biography by Joan Acocella (Farrar, Straus & Giroux). m
? ark Morris Dance Group was formed in 1980 and gave its first performance that year in New York City. In the following years, the Company's touring schedule steadily expanded to include cities in the US and in Europe and, in 1986, the Dance Group made its first national televi?sion program for the PBS Dance in America scries. In 1988, the Mark Morris Dance .j? Group was invited to become the national'? ' dance company of Belgium. During its three years as resident company of the Theatre J Royal de la Monnaie in Brussels, the Dance Group was the subject of several television programs, including the UK's South Bank Show. The company returned to the US in 1991 as one of the world's leading dance companies, performing across the US and at major international festivals. The Dance Group has maintained and strengthened its ties to several cities around the world, most notably Berkeley, CA where, for the past sev?eral years, the Dance Group has performed twice annually at CalPerformances--includ?ing presentations of The Hard Nut each December from 1996-2000. Audiences have also become accustomed to the Dance lit! Group's regular and frequent appearances in Boston, MA; Seattle, WA; Fairfax, VA; London, England; and at the Jacob's Pillow Dance Festival in Becket, MA. The Dance Group was named the official dance compa?ny (2000-2005) of the Virginia Waterfront International Arts Festival. In addition to a full international touring schedule, the .
Dance Group has completed three film pro?jects: an Emmy Award-winning collabora?tion with cellist Yo-Yo Ma entitled Falling '? Down Stairs using Bach's Suite No. 3 for unaccompanied cello, a film version of Mr. Morris' Dido and Aeneas and a video of The Hard Nut. In fall 2000, MMDG was the sub?ject of a second documentary for London's ' South Bank Show. In 1997 the Dance Group : won the Laurence Olivier Award for "Best i New Dance Production" for their British premiere performances of L'Allegro, il Penseroso ed il Moderato with English ?
National Opera. The Mark Morris Dance i Group celebrated its twentieth anniversary ? with a three-week season at the Brooklyn Academy of Music in March 2001. In spring ? 2001, MMDG will open the Mark Morris Dance Center in Brooklyn, New York. This 30,000 square-foot facility will feature three studios, and will be the company's first per?manent headquarters in the US. '; '??
These performances mark the Mark Morris Dance Group's seventh and eighth appear?ances under UMS auspices. The company first??' appeared under UMS auspices on March 20, ' 1993 at the Power Center. 1
Founded in 1914, the Detroit Symphony ':i Orchestra (DSO) is heard live by over j
450,000 people annually in a year-round 1 performance schedule that includes twenty-six weeks of Classical subscription concerts, as well as a Pops series, Ameritech Paradise 1 Jazz Series, Holiday Festival, The Detroit News Young People's Concerts and a diverse summer season. The DSO's educationout?reach activities include free annual concerts, j presented at Orchestra Hall, for 32,000 _; Detroit and metro-area school children.
Continuing its long broadcast tradition, the DSO is currently the most listened-to orchestra in the US. Its classical concerts are recorded live at Detroit's historic Orchestra Hall and broadcast nationally on General
Motors' "Mark of Excellence" radio series. Hosted by one of America's most famous radio and television personalities, Dick Cavett, the broadcasts are heard by over one million listeners each week on nearly 500 radio stations across the country.
In 1996, the DSO announced plans for a three-phase Orchestra Place Development Project, an educational, performing arts and officeretail complex to be located on eight acres of land adjoining Orchestra Hall. Phase I, now complete, is a five-story office build?ing that serves as the corporate headquarters for the DMC and the DSO. Scheduled to break ground in spring 2001, is Phase II, a major expansion to Orchestra Hall that will be named The Max M. Fisher Center for the Performing Arts and will provide a new multi-story atrium lobby, a state-of-the-art box office, elevators, restrooms, practice rooms and other critical support facilities. Additionally, the expansion will house a 550-seat recital hall, as well as the new Jacob Bernard Pincus Music Education Center.
Phase III, tentatively scheduled to open in the fall of 2004, is a new Detroit public high school and broadcast technology com?plex. The new high school will include a state-of-the-art digital telecommunications center, a new broadcast center and DPS' radio station WDTR-FM.
Please visit the DSO's website at for more infor.-.... mation on the Orchestra.
These performances mark the Detroit Symphony Orchestra's seventy-seventh and seventy-eighth appearances under UMS auspices.
Now in its fortieth season, the Ann Arbor Cantata Singers (AACS) continues a long tradition of professional excellence in the performance of fine choral music. Founded by Dr. Rosella Duerksen, who saw a need in the community for a small, independent,
high-quality chorus, the AACS was nurtured through the 1960s by directors Robert Pratt, Paul Foelber, Morris RisenhooVer, and Richard Crawford. Conductor Bradley Bloom, who retired in 1994, led the ensemble for twenty years and solidified its reputation as one of the finest choruses in the region. For the past six years, the AACS has continued to grow and flourish and under the enthusiastic leadership of William Boggs.
The AACS is a non-profit, semi-profes?sional chorus run by an elected board of directors. Singers are chosen by audition on the basis of musicianship, and the ensemble includes professional singers and instrumen?talists, as well as teachers, doctors, students, homemakers, retirees, and people from the business world. The high musical caliber of the membership makes it possible to draw the majority of soloists from within the group.
The AACS has been invited to perform throughout Michigan and has collaborated regularly with local ensembles such as the Ann Arbor Symphony Orchestra. Members of the chorus have performed at the Ann Arbor Summer Festival, have traveled to the Classical Music Seminar in Eisenstadt, Austria, and have sung for academic and professional conferences and meetings. ......
In 1996, the Washtenaw County .!?? Council for the Arts honored the Ann Arbor Cantata Singers with its "Annie Award" for "Excellence in the Performing Arts."
These performances mark the Ann Arbor Cantata Singers' UMS debut.
Joe Bowie, born in Lansing, Michigan, began dancing while attending Brown University. After graduating with honors in English and American Literature, he moved to New York and performed in the works of Robert Wilson, Ulysses Dove, and danced with the Paul Taylor Dance Company for two years before going to Belgium to work with Mark Morris in 1989. v ..?,v. . .
Charlton Boyd was born in New Jersey where he studied and performed with Inner City Ensemble Theater & Dance Company. He is a graduate of The Juilliard School and has danced with the Limon Dance Company. He appears in the Jose Limon Technique Video, Volume 1, and other music videos. He first appeared with the Mark Morris Dance Group in 1989 and became a full-time company member in 1994. tmumm
Eileen Clark (soprano) got her start in the Gregg Smith Singers. She has sung Queen of the Night (The Magic Flute) with Syracuse Opera Company, and Adina (Elixer of Love) with Commonwealth Opera. She has also appeared in principal roles with Concert Royal and Mark Morris Dance Group. In concert she has made guest appearances with Syracuse Symphony, Voices of Ascension, Albany Symphony, and Newark Cathedral Symphony, and has sung with Limon Dance Company, New York Baroque Dance Co., and Anita Feldman Tap. On tour with Mark Morris Dance Group she sings works of Brahms, Monteverdi, Purcell, Vivaldi, and old Broadway. This spring will see the release of her two new CDs: duet Lemons Descending with cellist Matt Haimovitz and Bach's Cantata 51 with Gandharvas Ensemble. ltBiMliW'
Marjorie Folkman graduated summa cum laude from Barnard College. She has danced for Amy Spencer and Richard Colton, Sally Hess, Neta Pulvermacher, Kraig Patterson, the Repertory Understudy Group for the Merce Cunningham Dance Company, and Sara Rudner. She began dancing with Mark Morris in 1996. ?S&&3m
Megan Friar (mezzo-soprano) is a familiar face to audiences as a soloist in opera, orato?rio and musical theater. She has performed with the national tour of The Phantom of the Opera and has appeared with Sarasota Opera, Virginia Opera, Connecticut Opera,
NY Gilbert & Sullivan Players and Des Moines Metro Opera. She has been a soloist with many choirs and orchestras including AmorArtis Chamber Choir, Musica Sacra and the Jacksonville Symphony Orchestra. She has been a featured soloist on many recordings, including Stravinsky's Russian Peasant Songs with Robert Craft, and has appeared on the Garrison Keillor Radio Show, The David Letterman Show, The Guiding Light and made her Carnegie Hall . solo debut with AmorArtis. She recently j completed a CD entitled For Family and'M Friends with her husband, Ron Drotos. v
Shawn Gannon is from Dover, New Jersey, '' where he received his early dance training with Dorothy Wescott Rosen. He joined th Mark Morris Dance Group in 1995 after y dancing with Lee Theodore's Dance Machine, Mark Dendy Dance Group, Laura Dean Dancers and Musicians, and Jane j-Comfort and Company.. ,.. .M
Lauren Grant was born in Highland Park, Illinois, and began dancing at age three. She continued training, primarily in classical ballet, through high school. At New York University's Tisch School of the Arts, Lauren received her modern dance training and graduated with a BFA. Lauren joined MMDG in 1998. . . ?.,-: . ?-. ..-.. , ,.-? -
John Heginbotham grew up in Anchorage, Alaska. He graduated from The Juilliard School's dance division in 1993 and since then has performed with artists including ; John Jasperse, Ben Munisteri, and as a guest, artist with Pilobolus Dance Theater. He was ' a member of Susan Marshall and Company from 1995-1998. He joined MMDG in 1998.
Ethan Iverson {pianomusic director) took his place at the feet of the Mark Morris Dance Group in January 1998. A modern jazz pianist, Iverson's recordings for the Fresh Sound label include Construction Zone
(Originals), Deconstruction Zone (Standards), The Minor Passions, and Live at Smalls. These recordings have been placed on The New York Times "Ten Best of the Year" lists for 2000,1999, and 1998. In the year 2001 Iverson's regular trio with Reid Anderson and Billy Hart will be touring Italy and America, and he will also be performing with a quartet including Bill McHenry as co-leader. This past February marked his first major recital in New York with a solo con?cert at Weill Hall. Recent sideman appear?ances include gigs with the Dave Douglas Sextet and the Mark Turner Quartet, and last April he performed the Patrick Zimmerli Piano Concerto with Metamorphosen in Boston. His piano teachers are SophiaJ Rosoff and Fred Hersch. '
David Leventhal, a native of Newton,' Massachusetts, began his dance training at" Boston Ballet School, and continued his studies with Boston-area teachers and at Brown University, where he received a BA with honors in English Literature. He danced with the companies of Marcus Schulkind, SpencerColton, Ben Munisteri and Zvi Gotheiner before joining the Mark Morris Dance Group in January of 1998.
Bradon McDonald received his BFA from ' The Juilliard School in 1997. After gradua?tion he won the Princess Grace Award and joined the Limon Dance Company where, for three years, he performed such roles as Eros in Limon's The Winged, Iago in Limon's The Moor's Pavane and the third and fifth solos in Tudor's Dark Elegies, as well as works by Jiri Kylian, Doug Varone, Igal Perry, and Donald McKayle. Bradon has choreographed and presented his own works internationally and has served as choreographer for seven Juilliard Opera Company productions under the director Frank Corsaro. Recently Bradon was the choreographic assistant to Donald McKayle for his new work with Alvin Ailey American
Dance Theater. This is Bradon's first season with the Mark Morris Dance Group.
Gregory Nuber has appeared with the Mark Morris Dance Group since 1998 in produc?tions of The Hard Nut, L'Allegro, il Penseroso ed il Moderate, Platee; and with cellist, Yo-Yo Ma, in Rhymes With Silver. He was delighted to join the Dance Group as an apprentice in April 2000. Gregory has also danced in New York City Opera's production of Carmina Burana, which was directed and choreo?graphed by Donald Byrd, and was a member of Pascal Rioult Dance Theatre for three years. He is a graduate of Arizona State University with degrees in theatre and dance.
June Omura spent her first six years in New York City and then grew up in Birmingham, Alabama, appearing in local dance and the?ater productions from the age of eight. She returned to New York to attend Barnard College, graduating in 1986 with honors in dance and English. She first studied with Mark Morris that summer and happily joined the Dance Group in 1988.
Mireille Radwan-Dana joined the company in 1988. "The six Grandfathers have placed in this world many things, all of which should be happy. Every little thing is sent for something, and in that thing there should be happiness and the power to make happy. Like the grasses showing tender faces to each other, thus we should do, for this was the wish of the Grandfathers of the world {Black Elk).'
Kim Reis was raised in Vancouver, . . .,, Washington, where she competed in gym?nastics for eight years before leaving the sport to pursue dance at a performing arts high school. She received her BFA from the University of Utah, and is certified to teach Pilates. Kim first appeared with the Dance Group in 1998 and became a full-time com?pany member in April 2000. Endless thanks
to family, friends, and teachers for their ;' belief and support. ."'
Guillermo Resto has danced wjthMark
Morris since 1983.
Matthew Rose received his BFA from the
University of Michigan. He has appeared __
with the Martha Graham Dance Company, Pascal Rioult Dance Theater, and Ann Arbor Dance Works. Matthew began working with the Mark Morris Dance Group in 1997 and became a full-time company member in 1999.
Sarah Roth {violin) is from the Boston area and has performed with the Mark Morris Dance Group since 1995. She graduated with distinction in performance from the New England Conservatory of Music, where she began her early training in the Preparatory School. She is active as an orchestral musi?cian, playing with the Boston Pops Esplanade Orchestra and Cantata Singers. As a member of Boston's Emmanuel Music she has performed over 100 cantatas by J. S. Bach; has appeared as soloist, orchestral and chamber musician in Emmanuel's major 1 productions of Bach, Handel, Mozart, Brahms and Schubert; and was the violinist in the Peter SellarsCraig Smith production of Weill Bach: Mahagonny Songspiel; Conversations Between Fear and Death, presented in Paris and Frankfurt. Her principal teacher was James Buswell, and as a Tanglewood Fellow, she coached chamber music with Joel Smirnoff, Peter Serkin, and Yo-Yo Ma. j
Stefan Schatz (percussion) is a 1995 graduate . of New York's prestigious New School Jazz $?_ and Contemporary Music Program, with degrees in performance and creative writing. He has performed with some of the finest names in jazz, including Dakota Staton, Jon Hendricks, Milt Hinton, Mark Turner, Ray Bryant, and Buster Brown. As a member of the Glenn Miller Orchestra and an accompa?nist for the dance troupe Manhattan Tap,
Stefan toured extensively throughout the US Canada, Central and South America, and (Europe. In 1998, he was featured in a jazz trio rand traveled to over thirty different countries on the Crystal Symphony World Cruise.. Stefan has studied with Vernel Fournier,' Marvin "Bugaloo" Smith, Kenny Washington, Lewis Nash, and Bernard Purdie.
Anne Sellery attended the University of ; Washington, Seattle, where she studied piano performance and received her BA in dance. She is a certified instructor of the Gyrotonics Expansion System (GXS) at Studio Riverside, New York. Anne began working with the Mark Morris Dance Group in 1998 and became an apprentice in January 2001. She is honored to be performing with the Group and would like to thank all her friends and -family for their love and support. ????'" ' ":
Craig Smith (conductor) attended J Washington State University and the New = England Conservatory of Music in Boston. ','. Since 1970, he has been artistic director of ? Emmanuel Music in Boston, and, from .jH 1988-91, was the Permanent Guest I Conductor of the Theatre Royal de la Monnaie in Brussels. With Emmanuel Music, Mr. Smith conducts a weekly Bach cantata as part of the Sunday worship service at Boston's Emmanuel Church, and a popu?lar and critically acclaimed concert series which has included the St. Matthew and St. John Passions, Christmas Oratorio, and Mass i in b minor by Bach; Mozart and Handel ; operas; major symphonic works; chamber series surveying the complete vocal, piano and chamber works of great composers (cur, rently Schubert); and world premieres and ,; commissions by composer John Harbison. He has collaborated with stage director Peter Sellars in opera productions presented in the US at Pepsico Summerfare, the Brooklyn Academy of Music, the Chicago Lyric Opera, the Guthrie Theatre in Minneapolis, the L American Repertory Theatre, and the Opera
Company of Boston. Their productions of the three Mozartda Ponte operas, Cost fan Tutte, Le Nozze di Figaro, and Don Giovanni were premiered at Pepsico Summerfare, later performed throughout the US and Europe, filmed with the Vienna Symphony for European and American television, and later recorded on video compact disc for Decca Records. As principal guest conductor of the Monnaie Theatre, Mr. Smith collaborated with choreographer Mark Morris in produc?tions that have since been presented inSMf. Boston, Minneapolis, New York City's Lincoln Center, Hong Kong, Los Angeles, Holland, Israel, Los Angeles and New jg?j Zealand. Mr. Smith made his Houston ' Grand Opera debut conducting Handel's Giulio Cesare directed by Nicholas Hytner. With Emmanuel Music, on the KOCH International label, he has recorded three highly acclaimed CDs of a capella music by Heinrich Schiitz, a recording which features works by Pulitzer Prize-winning composer John Harbison, and a series that features Bach cantatas. Mr. Smith has taught at Julliard, MIT, the New England Conservatory of Music, and currently is on the faculty of Boston University. ; ' "
Julie Worden, from Naples, Florida, is a graduate of the North Carolina School of the Arts. She worked with Chicago choreog?raphers Bob Eisen, Jan Erkert and Sheldon B. Smith. She has been dancing with Mark Morris since 1994. ......? ,
Michelle Yard was born in Brooklyn, NY. She began her professional dance training at the New York City High School of the Performing Arts. Upon her graduation she received the Helen Tamiris and B'nai Brith awards. For three years she was also a schol?arship student at the Alvin Ailey Dance Center. She attended New York University's Tisch School of the Arts, where she graduat?ed with a BFA. Michelle began dancing with the Dance Group in 1997. rwrBH
Detroit Symphony Orchestra
Neeme Jarv i Music Director
Music Directorship endowed by the Kresge Foundation
Thomas Wilkins, Resident Conductor VIL Michael Daugherty, Composer-In-Residence,: Erich Kunzel, Pops Music Advisor _____JixA
First Violin
Emmanuelle Boisvert' Concerhnaster, Katherinc Tuck Chair
John Hughes' Associate Coticertmaster, Alati and Marianne Schwartz and Jean Shapero (Shapero Foundation) Chair '. ??
Laura Rowe' Assistant Concertmaster, Walker L CislerDetroit Edison Foundation Chair
Beatriz Budinszky' ,
Marguerite Deslippe-Dene
Alan Gerstel
Joseph Goldman
Elias Friedenzohn
Laurie Landers Goldman
Kimberly A. Kaloyanides Kennedy
Varty Manouelian
Bogos Mortchikian'
Linda Snedden-Smith
Ann Strubler
LeAnn Toth
Margaret Tundo j
Second Violin V
Geoffrey Applegate+ .
The Devereaux Family
Adam Stepniewski++' Alvin Score J
Lilit Danielyan. Ron Fischer . Hui Jin' Robert Murphy Felix Resnick Lenore Sjobergj_ _ Bruce Smith '?' ? Gregory Staples Joseph Striplin Marian Tanau Hai-XinWu' ' Gabrielle Robinson"'; Alice Saurp"
Viola -l-;, . Alexander Mishnaevski+'
Julie and Ed Levy, Jr.
James VanValkenburg++ Manchin Zhang Caroline Coade Glenn Mellow'
Hart Hollman Philip Porbe :
Catherine ComptonAA Dmitry Kustanovich Han Zheng" -
Marcy Chanteaux+4-i: lames C. Gordon Chair
John ThurmanM1
Mario DiFiore
Robert A. Bergma-'
Barbara Hassan
Debra Fayroian
Carole GatwoodJ
Haden McKay
Paul Wingert"
. ? '? ? .'..i
Robert Gladstone+ Van Dttsen Family Chair
Stephen Molina++?
Maxim lanowsky.
Linton Bodwin
Stephen Edwards"
Craig Rifel -,.?_;
Marshall Hutchinson
Richard Robinson
Patricia Masri-Fletcher+
Winifred E. Polk Chair
Ervin Monroe+
Women's Association for
the DSO Chair Sharon Wood Sparrow a Philip Dikeman++? Jeffery Zook ;;' !
Jeffery Zook p
Oboe ' Donald Baker+"'
Jack A. and Aviva
Robinson Chair Shelley Heron Brian Ventura++ Treva Womble
English Horn ? TreyaWomble .;
Clarinet :
Theodore Oien+ Robert B. Semple Chair
Douglas Cornelsen
PVS Chemicals, Inc.Jini and Ann Nicholson Chair ?.
Laurence Liberson++ '
Oliver Green
Alexander Laing ?
E-Flat Clarinet Laurence Liberson.
Bass Clarinet .
Oliver Green
Robert Williams+ John and Marlcne Boll Chair
Victoria King
Paul Ganson++
Marcus Schoon
Marcus Schoon .
French Horn
Karl Pituch+ Bryan Kennedy ''? Corbin Wagner Willard Darling', Mark Abbott David Everson++
Ramon Parcells+': Kevin Good Stephen Anderson++ William Lucas
Kenneth Thompkins+' Nathaniel Gurin++A Randall Hawes
Bass Trombone
Randall Hawes
Timpani :?S!!k-Brian Jones+ Robert Pangborn++
Robert Pangborn+
Ruth Roby and Alfred R.
Glancy III Chair Norman Fickett++ Sam Tundo
William Cody Knicely
Robert Conway'
+ Principal
++ Assistant Principal
$ Acting Principal
tt Acting Assistant Principal
A Extended Leave
aa On sabbatical
These members may voluntarily revolve seating within the section on a regular basis.
Substitute position
? Orchestra Fellow
" Performance musician
" Performance extra
Partial sponsorship provided by Howard & Howard and DSO's William Randolph Hearst Educational Endowment.
Elkhonon Yoffe, Head
Librarian Robert Stiles
Personnel Manager
Stephen Molina ?
Conducting Assistant
Charles Greenwell
Chairman of the Board
Peter D. Cummings
President and Executive -?-'? Director r'J
Emil J. Rang .-??Sii.-Jii
Activities of the Detroit Symphony Orchestra are made possible in part with the support of the National Endowment for the Arts, the Michigan Council for Arts and Cultural Affairs, and the City of Detroit. Detroit Symphony Orchestra is an affirmative action, equal opportunity institution.
Ann Arbor Cantata Singers
William Boggs Music Director

Kristin Boggs ----
Ann Marie Border Sophia Conti , Amy Emery ' . Mary Franceschi Angela Perino.
Stephanie Bertrand Pamela Brereton Cindy Kam Molly Lamb Amy Wade Esther Yost Betty Anne Younker
Stephan Hieke ' Gerald Leckrone Steven Pierce Brian White
Dan Andrews ; Lane Bertrand ' Anthony Cornish Paul Fossum Frederic Himebaugh Don Kenney Neil Kolberg Tom Litow
Mark Morris Dance Group Staff
Johan Henckens, Technical Director ''' Ethan Iverson, Music Director Guillermo Resto, Rehearsal Director Tina Fchlandt, School Director Rick Martin, Lighting Supervisor Patricia White, Wardrobe Supervisor Emanuele Corazzini, Sound Superviso

@@Michael Osso, Director of Development and Marketing
Eva Nichols, General Manager
Lynn Wichern, Fiscal Administrator :.
Lesley Berson, Associate Director of Development ??';
Lee Streby, Marketing Associate '
Lisa Belvin, Company Administrator
Michael Mushalla (Double M Arts & Events),. . ..
Booking Representative '?
William Murray (Better Attitude Media, Inc.
Media Representative -i
Mark Selinger (McDermott, Will and Emery), V:
Legal Counsel .]
Kathryn Lundquist, CPA, Accountant David S. Weiss, MD (NYU-HJD Department of ..;
Orthopedic Surgery), Orthopedist '})
Thanks to Maxine Morris.
Sincerest thanks to all the dancers for their dedicationi. support and incalculable contribution to the work. j'.'f-
Please visit on the Internet for morel information on Mark Morris Dance Group.
Jacques Ibert's Divertissement used by arrangement . with Theodore Presser Company, agents for Durand S.A., Paris, publisher and copyright owner.
Additional funding has been received from Booth Ferris Foundation; Booz Allen and Hamilton; Mary Flagler Cary Charitable Trust; Chase Manhattan Bank; The Aaron Copland Fund for Music; Dance Ink; The'.? Eleanor Naylor Dana Charitable Trust; Doris Duke Fund for Dance of the National Dance Project, a pro-8i gram of the New England Foundation for the Arts; Charles Engelhard Foundation; The Fan Fox and Leslie R. Samuels Foundation Inc.; Fund for US Artists at International Festivals; The Howard Gilman Foundation; Horace Goldsmith Foundation; GreenPoint Bank; The Harkness Foundation for Dance; Independence Community Foundation; Sydney & Francis Lewis Foundation; Leon Lowenstein Foundation; Andrew W. Mellon Foundation; MTV; N. Peal Cashmere; Philip Morris Companies Inc.; The Shubert Foundation, Inc.; Virgil Thomson Foundation; VOGUE; and the Friends of the Mark Morris Dance Group, .j
The Shiftman Foundation
Mark Morris Dance Group
Mark Morris Artistic Director ? ?
The Company Joe Bowie Charlton Boyd Marjorie Folkman Shawn Gannon Lauren Grant John Heginbotham David Leventhal Bradon McDonald Gregory Nuber
June Omura Mireille Radwan-Dana Kim Reis Guillermo Resto Matthew Rose Anne Sellery Julie Worden -Michelle Yard
f 'f--,w'''"
Barry Alterman, General Director Nancy Umanoff, Executive Director
The Detroit Symphony Orchestra
Neeme Jarvi Music Director
The Ann Arbor Cantata Singers William Boggs Music Director
@@@@Saturday Evening, April 21, 2001 at 8:00 Power Center, Ann Arbor, Michigan -B
Sang-Froid (2000)
@@@@M. Silhouettes (1999)
Dancing Honeymoon (1998)
Gloria (1981, revised 1984)
Detroit Symphony Orchestra, Ann Arbor Cantata Singers
Seventy-ninth . , .
of the 122nd Season-
Tenth Annual j 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 presented with the generous support of The Shiftman Foundation, Sigrid Christiansen and Richard Levey.
Funded in part by the National Dance Project of the New England Foundation; for the Arts, with lead funding from the National Endowment for the Arts and the Doris Duke Charitable Foundation. Additional funding provided by the Andrew W. Mellon Foundation and the Philip Morris Companies Inc.
Additional support provided by media sponsors, WDET and Metro Times.
Special thanks to Dance Gallery Studio, the U-M Department of Dance and the U-M Museum of Art for their involvement in this residency.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Major support for the Mark Morris Dance Group is provided by the Andrew W. Mellon Foundation and The Howard Gilman Foundation.
The Mark Morris Dance Group's performances are made possible with pub-i lie funds from the National Endowment for the Arts Dance Program and i the New York State Council on the Arts, a State Agency. A
Mark Morris Dance Group New Works Fund is sponsored by Philip Morris Companies Inc. , ... .?.. ...... .,..?.,,.,. .... ....,, _..:.... ?
Large print programs are available upon request.
Sang-Froid (2000)
Mark Morris
Frederic Chopin
Etude in a, Mazurka in a, Etude in G-flat, Mazurka in D, Berceuse in D-flat, Waltz in D-flat, Nocturne in f, Prelude in A, Etude in a
Ethan Iverson, Piano
Michael Chybowski
Elizabeth Kurtzman :
Performed by Joe Bowie, Marjorie Folkman, Lauren Grant,
John Heginbotham, David Leventhal, June Omura, Mireille Radwan-Dana, Matthew Rose, Julie Worden
Sang-Froid has been commissioned by the American Dance Festival through the Doris Duke Awards for New Work, with additional support from the John S. and James L. Knight Foundation.
Sang-Froid was also made possible by the Doris Duke Fund for Dance of the National Dance Project, a program administered by the New England Foundation for the Arts with funding from the National Endowment for the Arts, the Doris Duke Charitable Foundations, the Andrew W. Mellon Foundation, and the Philip Morris Companies Inc.
Additional support was provided by the Charles Englehard Foundation.
Silhouettes (1999)
Choreography Mark Morris
Music Richard Cumming
Silhouettes--Five Pieces for Piano
Ethan Iverson, Piano
Lighting Michael Chybowski
Performed by Joe Bowie, Matthew Rose
Silhouettes is performed courtesy of the composer.
Dancing Honeymoon (1998)
Transcribed and arranged by
lighting . Costumes
Mark Morris
"Limehousc Blues," "You Were Meant for Me," "Do Do Do," "Someone to Watch Over Me," ; "A Cup of Coffee, A Sandwich, and You," "Wild ; Thyme," "Experiment," "Dancing Honeymoon," "And Her Mother Came Too," "Fancy Our Meeting,' "Who," "Two Little Bluebirds," "Goodnight, Vienna,' "It's Not You," "There's Always Tomorrow"
Eileen Clark, Soprano
Sarah Roth, Violin 1
Ethan Iverson, Piano
Stefan Schatz, Percussion
Ethan Iverson from historical recordings of j Gertrude Lawrence and Jack Buchanan ,
Michael Chybowski
Elizabeth Kurtzman
Performed by Charlton Boyd, Shawn Gannon, John Heginbotham,
Mark Morris, Mireille Radwan-Dana, Kim Reis, Julie Worden
This dance was created under the auspices of the Mark Morris Dance Group New Works Fund sponsored by Philip Morris Companies Inc. ,. ,
x0Photo: Marc Royce

Gloria (1981, revised 1984) Choreography Mark Morris
Music Antonio Vivaldi
Gloria in D
Detroit Symphony Orchestra
Ann Arbor Cantata Singers . ' ? -
Craig Smith, Conductor -?--'
Eileen Clark, Soprano ..-,-.
Megan Friar, Mezzo-soprano
Michael Chybowski
Joe Bowie, Charlton Boyd, Marjorie Folkman, " Shawn Gannon, Lauren Grant, David Leventhal,. Bradon McDonald, June Omura, Mireille Radwan-Dana, Julie Worden
Please refer to pages 9-16 for biographical information on Mark Morris Dance Group, the Detroit Symphony Orchestra, and the Ann Arbor Cantata Singers.
x0Photo: Marc Royce

Jim and Millie
Berlioz' Requiem
UMS Choral Union
Greater Lansing Symphony Orchestra
U-M School of Music Symphony Band Brass and Percussion
Thomas Sheets Conductor Stanford Olsen, Tenor
Sunday Afternoon, April 22, 2001 at 4:00 Hill Auditorium, Ann Arbor, Michigan
(Grande Messe des Morts, Op. 5)
Requiem et Kyrie
Dies irae
Quid sum miser
Rex tremendae
Quaerens me
Agnus Dei
Eightieth Performance of the 122nd Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is presented with the generous support of Jim and Millie Irvvin.
Special thanks to Naomi Andre for leading this afternoon's Pre-performance Educational Presentation (PREP).
The pre-concert carillon music was performed by Julie Berra, a Master of Music degree candidate in Organ Performance.
Members of the Greater Lansing Symphony Orchestra perform the string, woodwind, horn and percussion parts. Members of the University of Michigan School of Music Symphony Band perform the lower brass and timpani parts.
Stanford Olsen appears by arrangement with Columbia Artists Management, Inc.
Large print programs are available upon request.
Requiem, Op. 5
Hector Berlioz
Born December 11, 1803 in La Cdte-Saint-
Andre, here, France Died March 8, 1869 in Paris
-----? t took the French a long time to
acknowledge Berlioz as one of their greatest composers. For many years after his death, his music was neglected in his own country. Neither Debussy nor Ravel thought very highly of him; the Berlioz renaissance of the twentieth century started from other countries, mainly Britain and Germany, and all the major critical studies were written there and in the US. Yet Berlioz is as French as the Eiffel Tower, and he is as unique and as "towering" as that famous Parisian landmark. But for all his bold innovations, he continues an earlier French musical tradition that is all but forgotten today. With whole generations of French composers before Berlioz having disappeared from the repertoire, it is not easy to understand the historical context of his music.
There are few works by Berlioz where the French national element is stronger than in the Requiem. But this is not the delicate, impressionistic writing associated with later French music, nor is there, of course, any folkloristic couleur locale to be found. The Requiem (or, as Berlioz called it, the Grande Messe des Morts) comes from a whole line of solemn and grandiose choral works that marked great public occasions during the Revolutionary and early Napoleonic eras. Composers such as Francois-Joseph Gossec, Etienne-Nicolas Mehul, and Berlioz' teacher Jean-Francois Le Sueur all wrote such works; in fact, Le Sueur composed a Symphonic Ode (1801) for four separate orchestras placed in the four corners of the Invalides, the very corners in which Berlioz placed his four groups of brass instruments at the pre?miere of his Requiem thirty-six years later.
Among composers who influenced the young Berlioz, we shouldn't forget the Italian-born Luigi Cherubini, a dominant personality in French musical life for many decades, whose Requiem in c minor was j regarded as an outstanding masterpiece by'" everyone, including Beethoven and Brahms, and whose echoes are evident at several points of the Grande Messe des Morts.
From his predecessors, Berlioz had inherited what Berlioz scholar David Cairns calls "the belief in the essentially dramatic nature of religious music," and the "use of : emphasize...the majesty of God and the littleness of humans."
If it is true that Berlioz is so heavily ?' indebted to his predecessors, what makes him a towering figure long after Gossec, Mehul, Le Sueur, and even Cherubini have become historical curiosities The answer may lie, in part, in the wider emotional range of Berlioz' music, in his innovative ideas in melody, harmony, and orchestra-;! tion, as well as a certain uncompromising,] way of writing in which there is nothing ? ? that does not contribute directly to dramatic expression. Throughout the Requiem, grandiose movements alternate with ones of great intimacy. Whenever Berlioz wanted to write dramatic music, as in the "Tuba mirum," even a hundred trombones would not have been too many for him. (His remark to that effect was quoted by Saint-Saens, who had known and admired him. Although Saint-Saens claimed that "Berlioz wrote badly," he also called the older com?poser "one of the commanding figures of musical art.") And whenever Berlioz wanted lyrical music, as in the next movement, "Quid sum miser," he wrote melodies of unequalled simplicity and beauty, where two notes for English horn can say as much as ..-the preceding pages of fanfares for "a hun? dred trombones" (in reality, "only" thirty-eight brass instruments of various kinds). All frills and mere ornaments were rejected;
Berlioz did not shy away from such ascetic effects as the combination of the flutes' high notes with the extreme depths of the trom?bones, as at the end of the "Hostias" (a pas?sage repeated in the "Agnus Dei"). For almost the entire Offertory, the chorus sings a single motif consisting of only two notes, surrounded with an elaborate contrapuntal web by the orchestra; this combination of economy and complexity is certainly one of the features that make this music unique.
In his celebrated Memoirs, Berlioz gave a vivid account of the Requiem's commis?sion and first performance. It is hard to resist the temptation of copying out the entire chapter containing this extraordinary story. No second-hand retelling can possibly match the flavor and the fervor of the origi?nal. The basic facts are as follows: Minister of the Interior Gasparin decided to commis?sion a requiem from the controversial young composer, shortly before his term was to expire. His subordinates, who were hostile to Berlioz, tried to sabotage the commission by a deliberate delay in carrying out the orders. Berlioz, tipped off by some rumors he had heard, went to see the Minister in person, received the official commission soon afterwards, wrote the Requiem in great haste, hired the musicians and had just begun rehearsals when the new Minister inexplicably cancelled the performance. The composer's dismay was compounded by the fact that he had already incurred consider?able expenses for which he was very slow in getting reimbursed. Then, just as suddenly, politics came to Berlioz' rescue. The French Army had captured the city of Constantine in Algeria, and its leader, General Damremont, had been killed in action. The Government ordered a memorial service for him, and, to get the constantly protesting Berlioz off their backs, they decided to have the Requiem performed at the ceremony.
The day of the premiere came. Berlioz was not allowed to conduct his own work;
the high prestige of the occasion demanded that the performance be led by Habeneck, the chief conductor at the Opera and a lead?ing figure in French musical life. Habeneck, who had introduced many of Beethoven's symphonies to France, was an old-fashioned musician who conducted from a first violin part with some cues written in. His relations with Berlioz had been strained for some " years; he was obviously apprehensive of his '' dangerous young rival. It is hard to know how much of Habeneck's behavior during the premiere was attributable to old-fash-ionedness and how much to outright mal?ice. What happened, according to Berlioz's account, is that Habeneck very nearly ruined the performance by ceasing to con?duct at one of the most crucial moments of the score, the beginning of the "Tuba mirum," to take a pinch of snuff from his snuff-box. Berlioz, standing right behind the conductor, sprang forward in a flash and gave the musicians the vital cue to prevent total disaster. After the performance, j Habeneck said to Berlioz: "God! I was in a cold sweat. Without you we would have been lost." According to his memoirs, Berlioz only replied, "I know," and looked '" the older man straight in the eye. Despite these vicissitudes, Berlioz could report that the "success of the Requiem was complete." It was one of the few works of his that found wide acceptance and popu?larity from the start.
Berlioz divided the liturgical text of the Latin Mass for the Dead into ten move?ments, sometimes taking considerable liber?ties with the words.
The first movement departs from tradi?tion right away by combining two distinct portions of the Mass, the Introit "Requiem aeternam" and the Kyrie into a single musi?cal utterance. Of the two, "Requiem aeter?nam" was much more important to Berlioz: than the Kyrie; its lugubrious melody is developed contrapuntally and embellished Ifl
by an ornamental counter-melody sung by the sopranos. The verse of the Introit, "Te decet hymnus," contains a striking new idea, after which the "Requiem" returns, and, at the words "et luxperpetua luceat eis" a stun?ning modulation brings a sudden flash of light somewhat similar to the passage "Let there be light" in Haydn's Creation. In con?trast, the Kyrie is barely whispered by the chorus; even with the chromatic melody of "Christe" and a brief fortissimo on the word "eleison" this passage is little more than an expressive coda to the Introit.
Berlioz'"Dies irae" (No. 2) differs from its two most famous counterparts in the requiems of Mozart and Verdi. Both of those composers (one writing forty-six years before Berlioz, the other thirty-six years after him) set these words to highly dramat?ic music that, in Verdi's case, functions as a motto for the entire work. Berlioz set these words to an austere melody that first appears in the unaccompanied cellos and basses. Its monophonic quality reminds us of plainchant, although the Gregorian melody of "Dies irae," which Berlioz had used in the last movement of his Symphonie fantastique, is not evoked here. Only gradu?ally does the music become more dramatic as the counter-voices become more and more agitated. The great moment comes at the beginning of "Tuba mirum" (the very place where Habeneck took out his snuff?box), in which the four groups of brass instruments, placed in the four corners of the hall, make their first entrance. The trumpets of the Last Judgement, and "Death and Nature stunned," are portrayed here with an immediacy that almost hurts.
No. 3 ("Quid sum miser") is brief and subdued. Only the tenor section of the cho?rus sings, with the basses adding the last few words in an undertone. The texture, mostly monophonic and never involving more & parts than two, expresses the anguish of the? soul before the great judgment. M
In No. 4 ("Rex tremendae") Berlioz inserted two lines ("de profundo lacu-Libera me de ore leonis") from a subsequent movement, the Offertory. He also changed the words "libera eas" (free them) to "libera me" (free me). The inserted lines create additional tension in a movement that is already full of dramatic excitement. Only at the end does the tension subside, and the words "salva me, fons pietatis" (save me, Source of mercy) are repeated in a tone sud?denly becoming intimate and imploring. M
No. 5 ("Quaerens me") is for the unac; companied chorus, which sings a simple melody in strict imitative counterpoint. The entire passage is then repeated, but the sec-ond time it is enriched by new voices recit?: ing the words of the supplication in a hushed monotone. [
No. 6 ("Lacrymosa") is one of the longest of the Requiem's movements. Again in contrast to Mozart and Verdi, who gave these words a mournful, melancholy charac?ter, Berlioz invested them with great passion and dramatic intensity. The melody is no less engaging than the corresponding ones in the other two works, but its phrases are of irregular length; as a result, the movement does not feel like a closed aria form, but rather like an open, constantly evolving dra-matic one, which takes an unusually long time to reach its tonal goal. Berlioz fash?ioned the words "Pie Jesu Domine, dona eis requiem" (Gentle Lord Jesus, grant them eternal rest) into a middle section, after which the "Lacrymosa" returns, even more tempestuous than before.
No. 7 (Offertory "Domine Jesu s
Christe"), like the "Dies irae" (No. 2) and the "Quaerens me" (No. 5), begins with ana unaccompanied melody, this time played by , the violins. A fugue for strings ensues, into which the chorus interjects, as already noted, a simple two-note motif carrying the entire text of the Offertory. As in "Rex ]
tremendae" (No. 4), the pattern is broken
only at the end: this time, the chorus is allowed a little imitative development of its own as the tonality suddenly changes from minor to major. The chorus finally returns to the initial motif for the word "Amen." Note, however, that the original motif (A-B-flat--A) is changed to A--B-natural--A for the "Amen," consistent with the major tonality.
No. 8 ("Hostias") is another one of the Requiem's extremely brief movements, scored for men's voices, flutes, trombones, and strings only. The text is sung in a simple homophonic (chordal) fashion, although the choice of the chords and the modula?tions are far from simple. (The special effect of the flute-trombone combination has already been commented upon.)
No. 9 ("Sanctus") is the only movement featuring a soloist. The tenor sings a melody accompanied by what Berlioz specified as a "very intense tremolo" in the strings. The
"Sanctus" is followed by the "Hosanna," treated, in accordance with tradition, as a fugue. Both the "Sanctus" and the "Hosanna" are then repeated, but surpris?ingly, Berlioz omitted the "Benedictus qui venit" altogether.
The beginning of No. 10 ("Agnus Dei") is remarkable both for its bold harmonic progressions and its orchestration: a full woodwind complement alternates with a string section represented only by violas, divided into four parts. After the supplica?tion "Agnus Dei" has been repeated three times as dictated by the liturgy, Berlioz unexpectedly returns to the first movement, quoting the sections "Te decet hymnus" and "Requiem aeternam" in their entirety. The movement--and the whole work--ends with an otherworldly coda on the word "Amen."
Program note by Peter Laki.
I. Requiem et Kyrie
{Chorus, woodwinds, horns, and strings)
Requiem aeternam dona eis, Domine, et lux perpetua luceat eis! ]
Te decet hymnus Deus in Sion, et tibi reddetur votum in Jerusalem. Exaudi orationem meam, ad te omni caro veniet. Kyrie eleison, Christe eleison.
II. Dies irae
{Chorus, woodwinds, and strings)
Dies irae, dies ilia, solvent saeculum in favilla, teste David cum Sibylla. Quantus tremor est futurus quando Judex est venturus, cuncta stride discussurus1
Grant them eternal rest, Lord, and let perpetual light shine upon them! You are praised, God, in Zion, and to you a promise will be kept in Jerusalem. Hear my prayer, to you all flesh will come. Lord, have mercy upon us, j
Christ, have mercy upon us. ,3
Day of wrath, that day of anger will dissolve the world in ashes, as prophesied by David and the Sibyl. Great trembling there will be when the judge will appear to strictly examine all things.
Tuba mirum
(Chorus and orchestra, with percussion and four additional brass orchestras)
Tuba mirum spargens sonum, per sepulchra regionem, tuba coget omnes ante thronum. Mors stupebit et natura, cum resurget creatura, judicanti responsura.
Liber scriptus proferetur, in quo totum continetur, unde mundus judicetur. ,j ' Judex ergo cum sedebit, &' quidquid latet, apparebit, fj nil inultum remanebit.
The trumpet will send its wondrous sound throughout the tombs of every land, the trumpet will gather all before the throne. Death will be astounded, and nature also, when all creation rises again to answer the judgement.
A book will be brought forth in which everything will be written, by which the world will be judged. When the Judge takes His place, whatever is hidden will be revealed, nothing will remain unavenged.
III. Quid sum miser
(Chorus tenors and basses, with English horns, bassoons, cellos, and string basses)
Quid sum miser tune dicturus, quem patronum rogaturus, cum vix Justus sit securus ...
Recordare, Jesu pie, j___
Quod sum causa tuae viae," ne me perdas ilia die. f
Oro supplex et acclinis, cor contritum quasi cinis, ! gere curam mei finis.
What shall a wretch like me say
Of what patron shall I ask for help
when the good and just are barely protected
Remember, merciful Jesus,
that I am the cause of your suffering,
do not destroy me on that day.
I pray, suppliant and kneeling,
my heart contrite as ashes,
take me into your care at the last.
IV. Rex tremendae
(Chorus and all orchestral forces);
Rex tremendae majestatis, : qui salvandos salvas gratis,; salva me, fons pietatis. Recordare, Jesu pie, quod sum causa tuae viae, ne me perdas ilia die.
Confutatis maledictis, Jesu, flammis acribus addictis, voca me et de profundo lacu! Libera me de ora leonis ne cadam in obscurum, ne absorbeat me tartarus.
Monarch of terrible majesty, '
who freely saves those worthy of redemption,
save me, source of mercy.
Remember, sweet Jesus,
that I am the cause of your suffering,;
do not forsake me on that day.
When the accursed are confounded, Jesus
and assigned to the burning flames,
call me from the bottomless pit!
Free me from the lion's mouth
so that I will not fall into darkness,
so that hell will not engulf me. ," ' ' ''
V. Quaerens me
(Chorus a cappella)
Quaerens me sedisti lassus, redemisti crucem passus; tantus labor non sit cassus. Juste judex ultionis, donum fac remissionis, ante diem rationis.
Ingemisco tanquam reus, culpa rubet vultus meus, supplicanti parce, Deus. Preces meae non sunt dignae: sed tu, bonus, fac benigne, ne perenni cremer igne.
Qui Mariam absolvisti, et latronem exaudisti, mihi quoque spem dedisti. Inter oves locum praesta et ab haedis me sequestra, statuens in parte dextra.
Seeking me, you have descended wearily,
You redeemed me by suffering on the cross;
may such great effort be not in vain.
Just judge of vengeance,
give me the gift of redemption
before the day of reckoning.
I moan as one accused, guilt reddens my face, suppliant before you, Lord. My prayers are unworthy, but, good one, have mercy, lest I burn in everlasting fire.
You who absolved Mary
and inclined your ear to the thief,
help me also.
Grant me a place among the sheep,
and separate me from the goats,
keeping me at your right hand.
VI. Lacrymosa
(Chorus and all orchestral forces)
Lacrymosa dies ilia, qua resurget ex favilla judicandus homo reus. Pie Jesu Domine, dona eis requiem.
That day full of tears,
on which the guilty shall rise from the ashes
to be judged.
Gentle Lord Jesus,
grant them eternal rest.
VII. Offertorium
(Chorus and principal orchestra) ".i
Domine Jesu Christe, Rex gloriae, -
Libera animas omnium fidelium ?-. : . defunctorum de poenis. " . .,
Domine, libera eas de poenis inferni
et de profundo lacu!
Libera eas! ;
Et signifer sanctus Michael repraesentet eas
in lucem sanctam,
quam olim Abrahae et semini ejus promisisti. Domine Jesu Christe, Amen.
Lord Jesus Christ! Monarch of glory! liberate the souls of the faithful so as to end their suffering.
Lord, free them from the suffering of hell
and from the bottomless pit!
Deliver them! .
And let the holy standard-bearer Michael lead
them into the holy light,
which you promised to Abraham and his children. Lord Jesus Christ, Amen.
VIII. Hostias
(Chorus, trombones, flutes, and strings)
Hostias et preces tibi laudis offerimus. Suscipe pro animabus illis, quarum hodie memoriam facimus.
Sacrifices and prayers of praise we offer. Receive them on behalf of those whose souls we call to memory today.
IX. Sanctus
{Chorus, Mr. Olsen, principal orchestra, solo flute, and four solo violins)
Sanctus, sanctus, sanctus, Dominus Deus Sabaoth! Pleni sunt coeli et terra gloria tua. Hosanna in excelsis!
Holy, holy, holy,
Lord God of hosts!
Heaven and earth are full of your glory.
Hosanna in the highest!
X. Agnus Dei
(Chorus, principal orchestra, and trombones)
Agnus Dei, qui tollis
peccata mundi,
dona eis requiem sempiternam.
Te decet hymnus, Deus, in Sion, et tibi reddetur votum in Jerusalem, s Exaudi orationem meam, -;;jyj?jj ad te omnis caro veniet.
Requiem aeternam dona defu'ncfis,' "" Domine, et lux perpetua luceat eis, cum sanctis tuis in aeternum, ;-Domine, quia pius es.
y&n .,
Lamb of God, who takes away
the sins of the world, ';,
grant them eternal rest. ??
You are praised, God, in Zion,
and to you homage will be paid in Jerusalem.
Hear my prayer,
for unto you all flesh will come.
Grant them eternal rest, Lord,
and let perpetual light shine upon them
and forever on all that is holy,
Lord, for you are merciful.
--------' homas Sheets is an accomplished
conductor whose work with community choruses, academic institutions and opera companies has received widespread acclaim. Mr. Sheets is Music Director of the 150-voice Choral Union, based in Ann Arbor under the aegis of the University Musical Society (UMS). Following his appointment to that position in 1993, the Choral Union began performing on a regular basis with the Detroit Symphony Orchestra. In the past seven seasons, he has prepared the Choral Union for several notable performances given by the DSO under the direction of Neeme Jarvi, Jerzy Semkow, Gennady Rozhdestvensky and John Adams. He also prepared the chorus for its first major recording, Tchaikovsky's The Snow Maiden, conducted by Maestro Jarvi with the DSO and released internationally by Chandos, Ltd.
Before moving to Ann Arbor, Mr. Sheets was Associate Conductor of two prominent Southern California choruses, the William Hall Chorale and the Master Chorale of Orange County, both conducted . by his mentor, the distinguished choral con?ductor William Hall. During that time, hv ' assisted in preparing all the major ,;;
choralorchestral works in the current inter?national repertoire, in some instances for ?[ performances led by Robert Shaw, Jorge Mester, Joann Faletta and Michael Tilson-Thomas. As chorusmaster in 1988 for Long Beach Opera's highly-acclaimed American premiere of Szymanowski's King Roger, his efforts on behalf of the chorus received accolades from critics on four continents. He was engaged in the same role in 1992 for that company's avant-garde staging of Simon Boccanegra, where the chorus again received singular plaudits.
In the 1996-97 season, Mr. Sheets col?laborated with the University of Michigan's , Dance Company, conducting four perfor-
mances of Orff's Carmina Burana in which dancers joined the established musical forces. During that season he made his debut with the Toledo Symphony in two performances of Bach's Mass in b minor, and also conducted performances of Handel's Messiah with the Ann Arbor Symphony Orchestra and the Perrysburg (OH) Symphony. During the 1997-98 season, Mr. Sheets conducted the Choral Union and the
Ann Arbor Symphony Orchestra in perfor?mances of Messiah and Mendelssohn's Elijah in Ann Arbor's Hill Auditorium. In the 1998-99 season, he conducted an acclaimed performance of Bach's monumental St. Matthew Passion at the
historic Fort Street Presbyterian Church of Detroit. During the past season, he conduct?ed Haydn's The Creation with the Jackson Chorale and Orchestra, and led another per?formance of Bach's St. Matthew Passion with the UMS Choral Union and the Ann Arbor Symphony Orchestra.
In the current season, Mr. Sheets con?ducted the Kodaly Missa brevis and Brahms's Liebeslieder Walzer with the Jackson Chorale, and two performances of Handel's Messiah with the Ann Arbor Symphony Orchestra. Later in the year, he led the Jackson Chorale and Orchestra in the Mozart Requiem and the Beethoven Fantasy for Piano, Chorus and Orchestra.
Thomas Sheets is a graduate of Chapman University and CSU Fullerton, and received the degree Doctor of Musical Arts from the University of Southern California. He has held appointments as Director of Choral Activities at several col?leges and universities, serving now in that capacity at Oakland Community College in Farmington, Michigan; he also teaches grad-
uate choral music classes at Wayne State University. A church musician for thirty years, he is employed as Director of Music at First United Methodist Church in Ann Arbor. Dr. Sheets is a frequent conference leader and clinician; his editions of choral music are published by Augsburg-Fortress, and he is a regular contributor of articles on choral music performance.
This afternoon's performance marks Thomas Sheets' eighteenth appearance under UMS auspices.... ,
, tanford Olsen, who made his Metropolitan Opera debut on an hour's notice as Arturo in Puritani opposite the legendary w soprano Dame Joan Sutherland, has fulfilled his initial promise as one of the world's outstanding artists. :,
I The 20002001 season features several JS performances of Carmina Burana, first with Charles Dutoit and the Montreal Symphony
(repeated at Carnegie Hall), then with Donald Runnicles and the Atlanta Symphony Orchestra (to be recorded by Telarc). He also sings the Mozart Requiem with the Cincinnati Symphony, both of Bach's Christmas
Oratorios, and Beethoven's Symphony No. 9 with the New York Philharmonic, Britten's Serenade with the Milwaukee Symphony, Rossini's Stabat Mater at Carnegie Hall, Mendelsohn's Lobgesang with the St. Louis Symphony, The Creation in Washington DC, St. Matthew Passion with the Los Angeles Philharmonic, Fidelio (Jacquino) with the Dallas Symphony, and the Mozart Requiem with San Francisco Symphony.
Mr. Olsen's operatic experience is broad, and includes appearances as Nemorino in L'Elisir d'Amore, the title role of Le Comte Ory, Tonio in La Fille du Regiment, Don Ottavio in Don Giovanni., Ferrando in Cost fan tutte, Belmonte in Die Entfiihrung aits dem Serail, Count Almaviva in Barbiere di Siviglia, Idreno in Semiramide (which, with James Conlon and the Metropolitan Opera, was taped for tele?vision and subsequently released on LaserDisc), Fenton in Falstaff, Alfred in Die Fledermaus, Lindoro in L'ltaliana in Algeri and the Italian Singer in Der Rosenkavalier.
In addition to regular performances with the Metropolitan Opera, Mr. Olsen has performed with La Scala, Landestheater Stuttgart, Netherlands Opera, Deutsche Oper Berlin, Theatre du Chatelet, Hamburger Staatsoper, Australian Opera, Brussels' La Monnaie, Madrid's Teatro la Zarzuela, San Francisco Opera, Houston . _. Grand Opera, Santa Fe Opera, Opera Company of Philadelphia, Ravinia Festival, Teatro Massimo Bellini di Catania, and Opera Theatre of Saint Louis.
Stanford Olsen's orchestral career is similarly impressive. His European concert debut took place in 1989, when he appeared with the Berlin Philharmonic in the Berlioz Requiem, conducted by James Levine. He has appeared with the New York Philharmonic, Philadelphia Orchestra, Chicago Symphony, St. Louis Symphony, and San Francisco Symphony, among others.
Mr. Olsen has been featured in Handel's Messiah throughout North America and Europe. Other concert repertoire Mr. Olsen performs regularly includes Haydn's Creation and The Seasons, Britten's tenor showpiece Serenade for Tenor, Horn and Strings, Berlioz' Requiem, Britten's War Requiem, Elgar's Dream of Gerontius, Mozart's Mass in c minor and Requiem, Orff's Carmina Burana, Rossini's Stabat ; Mater and Stravinsky's Pulcinella. Mr.,
Olsen's winning of the 1989 Walter W. . ,.., Naumburg Award led to his New York recital debut at Alice Tully Hall in 1990, for which he sang Schubert's Die schone Miillerin. In the final year of the Schubertiade at the 92nd Street Y in New York, he again sang Schubert's great song cycle, accompanied by James Levine.
In addition to the Naumburg award, Stanford Olsen was the winner of the Metropolitan Opera National Council Auditions in 1986, and has received awards from the Richard Tucker Foundation and the Eleanor Steber Foundation.
This afternoon's performance marks Stanford Olsen's third appearance under UMS aus?pices. Mr. Olsen made his UMS debut on December 2, 2000 as tenor soloist in UMS' annual production of Handel's Messiah.
Please refer to "UMS Annals," page 25, for biographical information on the UMS J Choral Union. ?'?"? " -v '
This afternoon's appearance marks the UMS Choral Union's 380th appearance under UMS auspices.
The Greater Lansing Symphony Orchestra
(GLSO) is in the midst of its seventy-second season, under the leadership of Maestro Gustav Meier and Associate Conductor Karen Nixon Lane. [
Established in 1929 under the artistic direction of Izler Solomon, the Greater Lansing Symphony Orchestra has evolved into a professional, metropolitan orchestra presenting a broad range of musical and educational programs for the greater ---7 Lansing community. In 1982, the Symphony's audience potential doubled with its move to the splendid new 2,400-seat Great Hall of the Wharton Center for the jag
Performing Arts. With a wider audience base, the "Lansing Symphony" expanded its name to its current working title. Broadcasts of GLSO concerts by NPR affiliate WKAR-FM Radio, beginning in 1980, and the tele?vising of its annual Messiah by WLNS-TV in 1993 and Holiday Pops concerts between 1995-97, have further expanded the Symphony's listening audiences.;
The exceptional artistic standards ""j upheld by music director and conductor .. Gustav Meier have produced heightened ., musical excellence and increased audience participation and community support. Since Maestro Meier's appointment as music ';_ _ director of the GLSO in 1979, following his " appointment as Director of Orchestras and Opera at the University of Michigan, the SSE GLSO has drawn excellent area musicians' and distinguished guest artists to the Orchestra. 'WMtiKU
The Greater Lansing Symphony '.
Orchestra's highly acclaimed educational i outreach programs continue to impart imagination and artistic discovery to thousands of young listeners throughout mid-wl Michigan. Last season, more than 20,000 'Is students in the greater Lansing area benefit?ed from a variety of programs, including the Young People's Concerts, the Mentor pj Program, the Symphony Youth wi
Competition, Music In Our Schools, the Docent Program and the School Partnership Program. These programs have become an m essential part of the GLSO's offerings to th community. JR
This afternoon's performance marks the ? "lM Greater Lansing Symphony Orchestra's UMS'M dehu L ????'??' ??'? ??
UMS Choral Union
Thomas Sheets, Conductor ': Andrew Kuster, Assocmre Conductor ' Jean Schneider Claytor, Pianist Kathleen Operhall, Ciorws Manager Donald Bryant, Conductor Emeritus ;
Debra Joy Brabenec
Ann Burke
Susan F. Campbell J
Patricia M. Cheng
Young Cho
Cheryl D. Clarkson
Marie A. Davis
Kathy Neufeld Dunn
Kathryn Elliott-
Hudson S
Laurie Erickson i Gena Gable Keiko Goto Darby Grande Kyoung Kim Mary Kay Lawless Carolyn Leyh $ ' Linda Liu : ".-' Loretta Lovalvo Cristina Mallard-Bru Melissa Hope Marin Linda Selig Marshall Marilyn Meeker Margaret Dearden
Petersen a-rattr SaraPeth "? Judith A. Premin Mary A. Schieve Heidi Swan Shriver Elizabeth Starr Sue Ellen Straub ' Barbara Hertz
Wallgren 3
Rachelle Barcus . Warren I
Margaret Warrick Mary Wigton Linda Kaye Woodman Kathleen Young Denise Rae Zellner
Alto :
Paula Allison-England Mary Jo Baynes Wendy Bethune' Emily Chan Laura Clausen . Joan Cooper v Judy Fettman Marilyn Finkbeiner. Carolyn Gillespie Hilary Haftel Mary Halbeisen Margo Halsted Sook Han Lisa Hills Carol Hohnke' Jean Leverich Mary Lou Lindquist. Cynthia Lunan Beth McNally Lisa Michiko Murray : Carol Milstein Holly Ann Muenchow Nancy L. Murphy Kathleen Operhall Lynn Powell Carren Sandall Cindy Shindledecker Beverly N. Slater Marisa Smith j Cynthia Sorensen i Gayle Stevens ' Ruth Theobald Cheryl Utiger ,( Madeleine Vala -Marnie Van Weelden
Ronald Bemrich '; Fr. Timothy J.
Dombrowski ' Stephen Erickson John W. Etsweiler III Steven R. Fudge Roy Glover Arthur Gulick Robert Hamel Stephen Heath Derek Jackson i Henry Johnson Bob Klaffke Andrew Kuster A.T. Miller Stephen Morris ; Sam O'Connor
Divelbiss Phillip Rodgers William Rubin -"J Chris Rush Thomas Sheffer ; Elizabeth Sklar James Van Bochove
Nath Anderson ! William Baxter Donald Billings ??'? Harry Bowen Daniel Burns Kee Man Chang Roger Craig ;
George Dentel ,:, John Dryden Mark D. Gardner $1 Michael GarrahanI Philip Gorman David Hoffman Charles T. Hudson Michael S. Khoury Charles Lever Mark Lindley f George Lindquist Rod Little Lawrence Lohr Joseph D. McCadden Michael Pratt pO William Premin Sheldon Sandweiss Robert P. Schikora Marshall S. Schuster Michael Semaan Rodney Smith Jeff Spindler Robert Stawski Robert Strozier Terril O.Tompkins
Greater Lansing Symphony Orchestra
Gustav Meier, Music Director Judith Moore, Executive Director .
Violin I ??
Carolyn Stuart,;iK
Concertmaster Wendy Olsen,
Assistant '?
Concertmaster Joel Fuller Chunyan Gao..' Sam Spurbeck Susanne Garber Anne Ristich Dorian Vandenberg
Rodes =
Sherry Hong Elizabeth Lamb Kate Massagli Mary Golden
Violin II
Grace Oh, Principal Julianna Athayde,
Assistant Principal Jan Burchman James West j
Michaella Jacoby Sarah Whitney i Emilia Mettenbrink Michelle Davis Bethany Widmer ; Mary Crasser
Emily Watkins,
Principal Jose Dclgado-Gucvara,
Assistant Principal Olga Ziabrikova Youming Chen : Kerry Floyd :
Devorah Matthews ?' Sarah Tyriver-Bogle' Stephen Rometti ?
Alison Bazala,
Principal Diane Winder,
Assistant Principal Eva Ell .' '
Marilyn Kessle Stefan Koch Nicole Charboneau -
Edward Fedewa, ': Principal -,
Gregg Powell, Assistant Principal
Melissa Angel
David Rosin
MollyDoernberg .n
Richard Sherman,
Principal Danilo Mezzadri Jennifer Lau i Leslie Young ?
Daniel Stolper,
Principal ,
Thomas Guest.
English Horn
Gretchen Morse, J
Principal " Sara Bunin
Frank Ell, Principal. Paul Hartley Kevin Streich Amanda McCandless
Bassoon '
Christine Prince, Principal -k I-Shan Lee Nate Zeigler Andrea WarfuL
Horn .
Janine Gaboury-Sly, Principal .fM Stephen Foster $? a Anna Plaskett " Nick Murdick . Melanie Jahr Heather Stutzenstein
,. ytM-'
Percussion '?? Mark Johnson,
Co-Principal i Eric Baldwin,
Co-Principal ? Don Peterson Eric Jones j
University of Michigan School of Music Symphony Band Brass and Percussion
H. Robert Reynolds, Director of Bands
Jesse Tubb Dara Chapman Tim Krohn Matthew Ernst Brian Winegardner Jordan Olive jp David Rosh --
DaviH P.rniohpaH
Ronald Papke -"? Michael Velzo; Nick Tandy t Ryan Schrauben Carly Pichini ;
Alexandra Zacharella Drew Leslie Mark Mallamo Michael Mannella Joseph Mclnchak, Jr. Steven Peterson Mitsuru Saito Miller Asbill -Kristof Schneider j Benjamin Huisman
Bass Trombone
Garret Mendez Justin Hammis
Travis Siehndel Kevin Wass Anthony Halloin
Tomoko Azuma Mark S. Berry ? Jay Bordeleau David John Endahl Larry B. Ferguson .? Carrie Magin Jjjjj,, Jason Markzon Isaac Rains Nicole Turney Brian Zator
Robert and Pearson Maceic
Ping Chong & Company

@@@Lena Susanne Norin, Voice (Gu3run) Agnethe Christensen, Voice (Brynhild) Benjamin Bagby, Voice, Lyre Elizabeth Gaver, Fiddle
Norbert Rodenkirchen, Flutes, Lyre . ji.-4 with ,;i
Christopher Caines (Seeress) : J?
Conceived and Directed by
Benjamin Bagby and Ping Chong 5_________
English Text co-adapted by Ping Chong and Victoria Abrash
Randy Ward, SetsLighting DesigivJ&ty Stefani Mar, Costume Design David Meschter, Sound Design Christopher Caines, Assistant Director
Wednesday Evening, April 25, 2001 at 8:00 :
Thursday Evening, April 26, 2001 at 8:00
Lydia Mendelssohn Theatre, Ann Arbor, Michigan
,Revenge and Family
Eighty-first and
of the 122nd Season
First Annual "" International Theate. Festival f
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is presented with the generous support of Robert an Pearson Macek, with additional funding from the Wallace-Reader's Digest ? Funds and the National Endowment for the Arts.
This production is co-commissioned and produced by the University Musical Society and the 2001 Lincoln Center Festival, New York in association with ' Ping Chong & Company. The Ann Arbor residency is a collaboration betwe UMS and the U-M Institute for the Humanities. PWffltfiifcfffit:YitfffcM
Additional support provided by media sponsors, Michigan Radio and Metro Times.
Special thanks to the U-M Institute for the Humanities, U-M School of Art and Design, Center for Chinese Studies, U-M Theater Department, and the Asian American Student Association for their involvement in this residency.
Ensemble Sequentia and this production of Edda appear by arrangement with Aaron Concert Artists, Inc.
Large print programs are available upon request, i
Edda: Viking Tales of Lust, Revenge and Family
Hli63s bid ek allar helgar kindir (The Prophecy of the Seeress, Part I) Hvat er tat fiska, er renn flo3i i (The Lay of Regin) Sveinn oc sveinn, hveriom ertu sveini um borinn (The Lay of Fafhir) Hvat beit brynio, hvi brd ec svefni (The Lay of Brynhild) ijSKSli'
Instrumental Interlude -T' "
Ar var, Iatz Sigur3r sotti Giiika (The Lay of SigurS, Part T) ' ?
Ar var, iaz Gudriin gordiz at deyia (The First Lay of GuSnin)
Kona varp ondo, enn konungr fiorvi (The Lay of Sigurd, Part II) '
Maer var ec meyia, mo3ir mic foeddi (The Second Lay of Gu3run)
Atli sendi ar til Gunnars (The Lay of Attila the Hun)
tat man hon folkvig fyrst i heimi (The Prophecy of the Seeress, Part II)
Musical reconstructions by Benjamin Bagby.
Philological consultation, and training in the pronunciation of Old Icelandic by Heimir Palsson (Reykjavik). ? ? ?;? -. ?: ?? .-,:??.
Sources: Sung texts from the thirteenth-century Codex Regius (Stofnun Arna Magniissonar, Reykjavik, Iceland) in the editions of Gustav NeckelHans Kuhn (Heidelberg, 1962) and Ursula Dronke (Oxford, 1969 and 1997). Additional story material for the video titles taken from the Volsunga Saga.
Instruments: Six-string lyres by Rainer Thurau (Wiesbaden, 1997 and 2001); Four-string fiddle by Richard Earle (Basel, 2001); Wooden flutes by Neidhart Bousset (Berlin, 1992-98); Swan's bone flute by Friedrich van Huene (Boston, 1998).
Sequentia wishes to thank Heimir Palsson (Reykjavik) for his inspiring help with these ?? difficult texts and their pronunciation. Thanks also to the Stofnun Arna Magniissonar (Reykjavik) for generous use of its sound archives during three research visits to Iceland, and to Professor Ursula Dronke (Cambridge, UK) for access to her important work on the Edda prior to its publication. ?mSgJSjmS'MBBS
Special thanks to Don Drapeau, Virginia Tech School of Theater, Paol King, Erica Zielinski, Lincoln Center Festival, La Mama Etc, and the entire University Musical Society Staff.
seeress tells of the beginning of the
i world. She describes the ordering of the cosmos, the creation of the earth '. and sea, of time, tools, men and women 1 and fate. This begins the history of J gods and men.
One day, three gods kill an otter they find by a waterfall. They show the otter's skin to King Hrei3mar, their host for the night, only to discover that the otter was the king's son, transformed to catch fish. '
Hreidmar vows to kill the gods unless they ] cover the otter's skin, inside and out, with gold. The god Loki goes back to the water' fall and catches the enchanted pike that lives-there, guarding a hoard of gold. The pike, a transformed dwarf, gives Loki all of his gold, except for one dazzling ring. When , Loki takes the ring, the pike warns him that; it is cursed and will bring misery to whoever holds it. Loki covers the otter skin with the gold, inside and out. A single whisker pokes 1 out, and Hrei3mar demands that Loki coved it with the dazzling ring. Loki tells the king j of the curse, but Hrei3mar claims all the " gold and drives the gods away.
King Hrei3mar refuses to share the gold with his two remaining sons, Fafhir and Regin. Fafnir kills his father but refuses to share the gold with Regin. Fafnir transforms into a dragon, nesting on his brood of gold. Regin bides his time while he grooms the young 4 warrior SigurcJ to win back the gold for him.
Regin makes Sigurd a sword called Gram, sharp enough to slice the anvil that forged it. At Regin's urging, Sigur3 slays Fafnir and roasts the dragon's heart. When i drop of the dragon's blood touches SigurcFs tongue, he suddenly understands the lan?guage of birds. The birds tell him to kill;! Regin before Regin kills him, and take the "; gold for his own. So SigurcJ hacks off Regin's" head while he sleeps. Following the bird's advice, Sigur3 takes the gold and goes to
seek a wife. "iff"1 Sigurd rides his horse, Grani to the mountain where a valkyrie sleeps and through an enchanted ring of fire that sur-'' rounds her. He finds Brynhild, a supernat?ural warrior woman who is fated to marry whomever can ride through the ring of fire the god Odin has placed around her. Sigurd and Brynhild fall in love, but before they can marry, Sigurd must follow his fate to the court of King Gjuki and Queen Grimhild.
Grimhild decides to win the hero and his gold for her daughter, Gudriin. She gives Sigurd a potion of forgetfulness. He forgets his vows to Brynhild. He marries Gudrun and swears an oath of brotherhood with her brothers, Gunnar and Hogni. Then Grimhild decides that Gunnar should marry Brynhild. Sigur3 rides with Gunnar to the valkyrie's mountain, but Gunnar cannot pass through the ring of fire. So Sigurd shape-shifts with Gunnar and rides through the fire to Brynhild in Gunnar's form. Brynhild must' ?; marry the warrior who rides through the fire, . and so she marries Gunnar, though she still loves Sigur3. When Brynhild realizes that she was tricked into marrying Gunnar, her sor?row turns to rage. She presses Gunnar to kill Sigurd and he sorrowfully agrees. He and Hogni have sworn brotherhood with Sigur3, so they convince their brother Guthorm to do the deed. Guthorm kills the hero, but as he dies, Sigurd slices Guthorm in half. The 1 cursed gold passes on to Gunnar and his kin.
Her revenge accomplished, Brynhild plunges a knife into her own breast, and fl?E asks to be burned on a funeral pyre with her beloved Sigurd. Gudrun is devastated by her loss of her love. She wanders the wilderness like a mad woman. Her mother presses her to marry King Atli, Brynhild's wealthy and powerful brother. Gudrun protests, but to a no avail. And as she predicts, Atli soon plots to acquire the gold Sigurd left when he died.
Atli invites Gunnar and Hogni to visit, but when they arrive, they are captured. Atli offers to trade their lives for Sigurd's gold. ? j.
Gunnar demands his brother's heart instead, and Hogni laughs as his heart is cut out. Gunnar too chooses to die rather than tell Atli where the gold is hidden. The secret of the gold dies with him in a pit of vipers.
GucJnin gives Atli food and drink, which turn out to be the flesh and blood of their two young sons. Mourning fills the hall, but Atli has drunk himself to sleep, ggs
Gudrun stabs her husband and then tosses '' flames across the doors, barring exit. Fire consumes all within. "JPSiitl
The seeress returns. She recalls the first war in the world, the first oath to be broken, misery, death and destruction for gods and men. Then she sees life return and all is well. But a dark dragon too has returned. And over the land it casts a dark shadow.
Introduction to the "Project Edda"
by Benjamin Bagby
t a time when the Romans were loosing their grip on a vast colo;? nial empire, a wandering tribe of warlike Germanic people from th Baltic coast came to central . j Europe, finally settling on the'' . Rhine River in 413 and agreeing to 2? an alliance with the Empire. But these ambi-3i tious folk, who were called Burgundians, yi: expanded a little too fast and too far, and jg PH were eventually wiped out in 436 by another ssf tribal alliance of fighters called Huns. The Burgundian survivors followed a long, ?jjg?' ?j Roman-dictated "trail of tears" and after . pj? many years ended up in the region we still '? l call Burgundy today. One of their kings was m called Gundaharius: he is the man named pS Gunnar in our story.
j?Most of early Germanic history is a col-Tlection of fragments, hearsay, reports from i P' homesick Romans and the randomly scat-:l pg tered contents of burial mounds. The legend p of the cursed Rhinegold, of the boy-hero &t-Sigurd, of King Gunnar and his beautiful ? p sister Gu3run, of Attila the Hun and his . ?Valkyrie-sister Brynhild, are contradictory,:
scape which easily includes both Mirkwood forest, the Rhine River and the glaciers of Iceland. It is a legend based on names of places and people (some of whom existed), freely mixed with the old Germanic gods, cunning dwarves, dragons, shape-changers,
magical swords and horses, supernatural ?,? beings and talking birds; an archaic story: which enthralled many generations of Europeans as they listened to the bards and minstrels who formed the fabric of their ,_, tribal memories. As centuries passed, the.;1
Romans went home, Christianity wasJiSL__-
imposed, new stories were heard, and many old orally-transmitted tales lost their imme?diacy or were transformed into mere adven?tures until they were utterly unrecognizable or lost. But in a far corner of Europe, in Iceland, dozens of these stories lived on in the language of the Vikings and--luckily for us--were copied in the thirteenth century into a small parchment book: a humble, , untitled manuscript which is now the great?est single cultural treasure of the Icelanders and is called the "Edda." The poems found there, which serve as the basis for our recon?structions, represent the highest art of bardic story-tellers and singers, whose tradi?tion stretches into the people's remote pagan past. Their masterful style makes use of ingenious meters, a telegraphic, pithy dic?tion perfect for vocalization, employing gnomic devices and poetic circumlocutions intended more to arouse associative imaging than to deliver information. Despite a marked tendency towards unsentimentality, pragmatism, even grisly humor, these Old Norse stories are full of the uncanny, the ,-dreamlike: the reconstructions we present;
here bear witness to this. The Edda manu?script includes these tales of envy, gold-lust, revenge and the horrible power they have over that most sacred and holy human insti-; tution: the family. These are the archaic sto-' ries which we have liberated from the writ?ten page, where they were never really at home, and put back into the mouths of 1 bards and the hands of minstrels. 1
We do not limit ourselves to this one dreadful family epic, but frame it with a prophecy taken from the same manuscript. The northern peoples' uncommon respect for worlds beyond their own was manifested in a willingness to heed what was spoken in prophetic and poetic modes. Voluspd is the name of one of the central poems of Old Icelandic tradition and can be translated as ' "the prophecy or vision (spa) of the seeress (vdva)." These are the words of an immortal female being who speaks in the enigmatic expressions of oracle to a questioning but silent god Odinn; she speaks of time's flux, of the urges for growth and order, and the unconquerable forces of chaos. She tells how the world came about, and she also tells how it will end, stopping to ask her ques?tioner: "Do you really want to know more"
If this story is at all familiar to us today, it is probably thanks to the nineteenth-cen?tury German Romantics' fascination with all medieval stories and legends. We find these Eddie poems translated into German and published (by the Brothers Grimm!) already in 1815, and it is this edition, among other sources, which an industrious young com-.= ' poser named Richard Wagner consulted ' " when working on the libretto for his Ring of the Nibelung music drama cycle, re-working and re-weaving a conflation of medieval sources and his own fertile imagination, in which Brynhild becomes Briinnhilde, Sigur9 becomes Siegfried, and the terrifying apoca?lyptic battle between giants and gods becomes Gotterdammerung. But Wagner did not "rediscover" these stories any more than we did: 800 years ago an anonymous south?ern German court poet produced a hugely
successful and extravagant verse retelling of the story, the Nibelwtgenlied; and not long thereafter the famously literary Icelanders fj themselves were re-acquainted with the whole deadly family affair through the prose Volsunga Saga. Indeed, we are using material from this saga to fill in the gaps in the story where the Edda is silent. Sequentia and Ping . Chong are in good company. ;
The Reconstruction of Eddie Performance
-lthough we know that mediev
epic poetry was the domain of : , bards and singers, no written musical sources of the Eddie i i poems dating from the Middle " ? Ages are known to exist; indeed, we would have no reason to expect such sources to have been written at all. The milieu in which these poems were originally transmitted, P sung, and acted out was that of a uniquely-oral culture, and professional minstrels '.? passed on repertoires and techniques from, generation to generation without the hin-drance and expense of writing. As is almost always the case with medieval song, the use of musical notation is linked to the world of the monkish scriptorium and the noble or ecclesiastical collector, not to the world of ??? the practicing musician. We can assume that the performing traditions of the Edda were , probably already in decline by the time th main text manuscript, Codex Regius, was copied in the thirteenth century. Given this(
sung performances of Eddie poems as th would have been known in pre-Christian. Iceland
The earliest witness which we possess to musical settings from the Edda is an account found in Benjamin de la Borde's Essai sur la musique ancienne et moderne, published in 1780. Among other examples (collected by a musician at the Danish Royal Court, Johann
Ernst Hartmann), we find a strophe from the Voluspd set to a simple melody. Unfortunately, we will never know if this melody represents part of an unrelated Icelandic folk tradition of the seventeenth and eighteenth centuries, or if it indeed survived in this form from its origins as an oral formula for the vocaliza, tion of Eddie poetry. ;i
Wi In searching for paths to the vocaliza, tion of these texts, it was obvious to me that more musical information would be needed than this scrap of melodic material from the late eighteenth century, and I decided to make use of the techniques of "modal lan?guage" which Sequentia has developed over l the years in work with medieval song. Briefly, we identify a mode not as a musical scale, but rather as a collection of gestures and signs which can be "interiorized," var_ ied, combined and used as a font to create musical "texts" which can be completely new while possessing the authentic integrity, of the original material. But like the power?ful magic mead that gives the god Odin the gift of poetry, this "modal mead" is a con.-.] coction that is both inspiring and danger. ous. We need a strong knowledge of the ?; practice of singing epic poetry as it still j exists in various world cultures to show us "j how such performances must be given a j form and a soul, to temper the limitless , freedom of modal intoxication. ._._.r. Having temporarily put aside Monsieur de la Borde, where did I turn first for the basic ingredients of this modal brew Iceland, of course. To give one example: in F .r,a:: the sung oral poetry known as rimur-j 1&j which in itself is a tradition dating from the fifteenth century, but whose roots may touch 'V$ much earlier skaldic poetry--I found a vast & repertoire of modal material, which clearly i could be grouped into several types. During E research residencies in Reykjavik in 1995 and Wagain in 2001,1 was graciously permitted to & work in the tape archives of the Stofnun I
B X .. _ l r.......... _1 __ t 1 _____ J ._ 1_____ 1
fdreds of recorded performances of rimur and related song-types, making notes and
analyses of the types and uses of modal materials. The result of this process of diges?tion (which included a weeding-out of obvi?ously later melodic types) was a series of modal vocabularies grouped by structural "signals," which could then be taught to the other singers and applied to the metrics of vr the Eddie texts as taught to us by the Icelandic philologist Heimir Palsson. ] Everything was learned in a process very ?"; much resembling oral tradition: we have only worked with our Edda texts and our ? memories; there were rarely any written ' musical documents. And in light of this '--, knowledge, the melody found in de la Borde began to make sense. However one chooses to see its transmission, the fact is that this melody demonstrates characteristics that point to the use of a specific modal vocabu?lary consisting of a few limited elements that are repeated and varied. And so, the attentive listener might hear its "genetic code" echoed in our reconstructions, just as an experi?enced Icelandic n'mwr-singer hearing us sing these poems might find at times that some indefinable element makes him feel he actu?ally knows the unknown piece being sung.
In cases where two singers declaim the same text, different versions of the modal gestures may sometimes be heard simulta?neously, resulting in a kind of heterophonic texture (verging on improvised polyphony) typical of traditional musical cultures. The sound of parallel-fifths, still sung in Iceland today in the two-voiced tvisongur, is also heard. "21; Other aspects of the reconstructive work include a study of Icelandic sources besides rimur, as well as a study of the ancient dance-song melodies of. the Faroe Islands and certain Baltic traditional song forms.
Equally important in these musical reconstructions are the instruments that play independent pieces and also accompany the vocalists. In the twelfth century, the two most important European instruments for courtly entertainment were certainly the fid?dle and the harp, although other types of instruments (for instance, wind and percus-
sion) were certainly known in popular cul?ture. The harp that is used in this perfor?mance is copied from remains of instru?ments found in seventh-century Germanic burial sites. This type of "lyre" would have been known throughout northern Europe, together with the related triangular cithara that we recognize as the most common harp form. These instruments have very few strings (the lyre, for instance, has six gut strings), and the tuning systems, based on medieval theories of consonance, yield a series of basic intervals that, in turn, can inform the text being accompanied. The tuning system of the instrument is closely related to the mode that the singer has cho?sen, so that the instrument must be re-tuned to accompany in a new mode. Regarding playing technique, it hardly needs stating that an instrument of six strings is not suited to playing chords and elaborate melodies. Instead, we have here a harp type (such as is still known in several non-European musical cultures) that has as its means of expression the use of pattern and variation, and on the playing of modal vocabularies. Just as the singers rely on a small repertoire of potent modal gestures for the vocalization of their texts, the harp makes a virtue of its seeming limitations and, like an interlaced Viking design, brings a richness of articulation to the expression of the mode. The fiddle used here is based on one of the earliest depic?tions of a fiddle in Europe, dating from the eleventh century, and was created especially for this production. Techniques of early northern fiddle playing can still be found today hidden within the thriving hardingfele tradition of Norway, and Elizabeth Gaver's own in-depth researches into the possible medieval antecedents to this tradition have yielded a convincing style of stringing, tun?ing and articulation which harmonizes easily with general medieval ideas about the use of bowed instruments in courtly music. Likewise, the use of flute in this production is based on concepts of tuning and conso?nance from the early Middle Ages, and one
instrument in particular has an almost shamanistic aura, making it ideal for the announcement of the oracular volva: a tiny flute made from a swan's bone. Fragments of such bone flutes have been found in early ; Germanic burial sites. In developing the 1 instrumental pieces and accompaniments fori' this production, the players have made use ; of the same modal vocabularies and Ianwjit guage as the vocalists (we share a common'1'. prima materia) but then they have factored 1 in the particular playing and tuning charac?teristics of their own instruments, so that in ; the end each piece is unique and can only be ? played by the musician and instrument which shaped it. There is no "improvisation" as such, but then there are also no written scores aside from a few sketches, and we pre?fer to think of ourselves as working within a rather strict oral tradition.
.--Benjamin Bagby ,.;
ing Chong (Director) is a theatre director, playwright, choreograph-er and video and installation artist. He was born in Toronto, Canada, and raised in New York City's Chinatown. He is recognized as a leading : contemporary theatre artist and a seminal figure in the Asian American Arts Movement. In May 2000, Mr. Chong was awarded an "Obie," his second, for Sustained Achievement. He is also the recipient of six NEA fellowships, a Playwrights USA award, a Guggenheim fellowship, a TCGPew Charitable Trust National Theatre ----
Fellowship, a National Institute for Music Theatre award and two "Bessie" awards, one in 1992 for Sustained Achievement and one in 1999 for his collaborations with choreog?rapher Muna Tseng. A former Bellagio fel?low, Ping Chong held the Wynton Chair at the University of Minnesota in 1994 and. ii received an honorary doctorate in Fine Arts from Cornish College in 1999. He was also Artist-in-Residence at NYU's AsianPacific
American Studies Programs 1999-2000 and at the University of Wisconsin-Madison Art Institute January-March 2001.
Since 1972, Ping Chong has created over thirty-five works for the stage including Nosferatu, Angels of Swedenborg, KIND NESS, Undesirable Elements, and the acclaimed East-West quartet, Deshima, Chinoiserie, After Sorrow and Pojagi. These and other works have been performed at major muse?ums, festivals and theatres throughout the Americas, Europe and Asia. His puppet w theatre work, Kwaidan, premiered at the -Atlanta Center for Puppetry Arts, was pre?sented at La MaMa ETC as part of the 1998 . Henson International Festival of Puppet Theater and has toured extensively in the US, Great Britain, and Japan. He is currently working on his second puppet theatre work,, Obon: Tales of Rain and Moonlight, which is ' scheduled to premiere in Spring 2002. -,i
i ocalist, harpist and scholar Benjamin R. Bagby has been an . important figure in the field of T medieval musical performance for over twenty years. He was the first graduate to earn a voice degree specializing in early music at the Oberlin Conservatory s. (Ohio) and he also received a degree in 3 German Literature from Oberlin College (1974). During his student years, he worked, professionally in New York City, performing in North America and Europe as a member, of the New York Pro Musica. Following graduation from Oberlin, he was awarded a Thomas J. Watson Foundation Fellowship, specifically intended to finance a Wanderjahr for the study of medieval song. Subsequently he received an advanced degree (Diplom fiir Musik des Mittelalters) from the Schola Cantorum (Basel, Switzerland) in 1977, .. where he and Barbara Thornton first ? formed Sequentia. Following Barbara Thornton's death in 1998, Benjamin Bagby is now the sole director of Sequentia. ;
The years 1977-2001 have been almost. uniquely devoted to the work of Sequentia. Mr. Bagby, often in collaboration with Barbara Thornton, created over sixty innovative concert programs that encompass the entire spectrum of medieval music, giving perfor?mances all over the world. They also pro?duced music-theater projects like Hildegard von Bingen's Ordo Virtutum, the Cividale Planctus Marie, the Bordesholmer Marienklage and Heinrich von Meissen's Frauenleich.
Apart from the small ensemble work of Sequentia, Mr. Bagby devotes his time to the solo performance of Anglo-Saxon oral poet?ry (an acclaimed bardic performance of Beowulf receives at least twenty perforjfe mances yearly worldwide), the medieval harp, and directing the Sequentia ensemble of men's voices, Sons of Thunder, a vocal igfc ensemble for the performance of medieval' liturgical polyphony and chant. S..
In addition to researching and writing program books for festivals, concert series and booklets, Mr. Bagby has written about performance practice. As a guest lecturer and professor, he has taught courses and workshops all over Europe and North America. In 2000 he was a Krieger Fellow f? at Case Western Reserve University JS
(Cleveland), and in 2001 he is a Patten . Lecturer at Indiana University.
These performances mark Benjamin Bagby's debut appearances under UMS auspices.
x0Photo: Stephanic Berger
ounded in 1977, Sequentia has grown to become the international?ly acclaimed leader in its field--an ensemble that combines vocal and instrumental virtuosity with innov?ative research and programming to reconstruct the living musical traditions of medieval Europe. Under the direction of co-founder Benjamin Bagby, Sequentia celebrates its twenty-forth year as a multi-faceted ensemble whose size and composition vary with the demands of the repertoire being performed. Through international tours and more than twenty recordings with Deutsche Harmonia Mundi (available worldwide through BMG Classics) and major European radio networks, as well as films for television and independent film-makers, Sequentia brings to life long-forgotten repertoires from the tenth to fourteenth centuries. Sequentia performs extensively in Europe and North America, and since 1979 has undertaken numerous far-reaching tours under the auspices of the Goethe Institute, performing in South America, India and the Middle East, Japan, Korea, Australia, and North Africa. During the past several years, the ensemble has become active in the Eastern European countries as well.
Sequentia has received prizes for several recordings, including the International CD Prize Frankfurt, the Netherlands' Edison Prize (twice), the Innsbruck Radio Prize, a i Grammy nomination (US) and both the French Disque D'Or and Diapason D'Or. After receiving the 1993 Deutsche Schallplatten-.; preis for their three-CD series of medieval Spanish music, Sequentia entered into a long-term relationship with BMG ClassicsDeutsche Harmonia Mundi. This has resulted in a pro?ject to record the complete works of the German mystic and abbess, Hildegard von Bingen (1098-1179); the third CD in this , series, Canticles of Ecstasy, has sold over 400,000 copies worldwide. Sequentia's most recent releases include recent additions to the Hildegard von Bingen complete works O Jerusalem (1997), the re-recording of Ordo
Virtutum (1998), and the double-CD contain?ing songs to St. Disibod, Saints (1998), as well as two CDs featuring Christmas music from twelfth-century Aquitanian cloisters, Shining Light (1996) and Aquitania (1997). For all of these recordings, the accompanying booklets are generally considered to be of a high i
scholarly quality, with great attention to detail, to the sources, and to the work of philologists who collaborated on the textual editions.
Sequentia's first Edda production (1995-1997, culminating in an award-win?ning CD which was recorded in Iceland in and released in 1999) was entitled Edda Eins and was staged by the German regisseur Franz-Josef Heumannskamper. It was per-r formed in Europe, North America and Africa, mostly under the sponsorship of the Goethe Institute. The focus of that produc?tion, and the CD, was on the songs dealing r with the Norse Gods (Odinn, torr, Loki, Freya, and Baldur) and their stories, battles with their enemies, the Giants, and the fate of gods at the end of the world. Three mem?bers of the original project are taking part in this new production. Sequentia is based in Cologne, Germany, and in Paris.
These performances mark Sequentia's third and fourth appearances under UMS auspices. The ensemble last appeared under UMS aus?pices in performance of Hildegard von Bingen's Ordo Virtutum on November 13, 1998 at St. Francis ofAssisi Catholic Church. Sequentia made their UMS debut on February 25, 1996. ':"
Norbert Rodenkirchen was born in Koln, where he studied flute at the Hochschule fur Musik with Hans Martin Muller and later J! Baroque flute with Giinther Holler. Since completing his studies, he has been in demand as a versatile performer and composer in the realms of new music, early music, theater and film-music. He is especially interested in the shared characteristics of much con-
temporary experimental music with music from the Middle Ages, and organized a music festival in 1992 to address this very concept. It was here that he first came into active con?tact with Sequentia. Norbert Rodenkirchen has been musical director of several theatre productions at the Staatstheater Darmstadt and Stadttheater Bremen and has composed works for Radio Bremen as well as WDR television. As a flautist he has appeared widely in various European festivals, and ? has participated in numerous recordings for CD, radio and television.
With the acclaimed singer Maria Jonas, Norbert Rodenkirchen founded the ensem-' ble Diphona in 1998, which also concen-..-trates on early music. PS.
Elizabeth Gaver earned degrees in music from both Stanford University and The Juilliard School and has also studied medieval performance practice with Thomas Binkley at the Early Music Institute of Indiana University. For the past nine years, she has performed and recorded extensively with Sequentia, taking part in many varied projects. She is currently involved in researching possible medieval Nordic fiddle' styles, and is also studying the playing techi niques of the earliest Norwegian hardingfele. In these Edda performances, she is perform?ing on a four-string fiddle reconstructed by Richard Earle, Basel, from a drawing found in an English Psalter, ca. 1050...__ -_ ;_-
Lena Susanne Norin was born in Stockholm, where she began her vocal stud?ies. She continued her studies at the Schola Cantorum Basiliensis (studying with ; $$? Dominique Vellard and Rene Jacobs) in Basel, Switzerland, where she later joined am'the voice faculty. Ms. Norin is much in pi. demand as an oratorio and ensemble soloist p" in early repertoires, and has performed and Us recorded with Sequentia since 1988. She has Jj! also recorded and performed extensively H with the Ensemble Gilles Binchois, the m. Ferrara Ensemble (Basel), the Rheinische
Kantorei (Koln), and Rene Jacobs and Cantus Colin.
Agnethe Christensen, originally from Sweden, studied at the Royal Danish "??_ Conservatory and specialized in renaissance and medieval singing with Andrea von Ramm in Basel and furthermore in Rome and Paris. Well known for her unconven?tional interpretations of modern and classi?cal works, and with intriguing vocal clarity, she presents a thrilling exponent for the ,, recent wave of, and exploratory marriage '" between, contemporary, folk and early vocal music. Agnethe has worked with modern ? composers Luca Lombardi, Palle -
Mikkelborg, Wolfgang Rihm, Luciano Berio and John Cage, with opera, folk and film music, and with baroque orchestras and ... directors such as Les Arts Florissants, SffKlft' Reinhard Goebel, Frieder Bernius, Concerto Copenhagen, and in her own medieval
group, ALBA, with which she has released S__
several CDs. She also appears at opera stages worldwide performing mainly modern and baroque opera, most recently with the inter?nationally well-known Danish performance group Hotel Proforma in the picture opera Operation Orfeo. lfiji&
Christopher Caines directs and choreo?graphs for his own ensemble, Christopher Caines Dancers and Singers. His recent works include two evening-length solos; an audio installation for the Atlanta Olympics; three full-length dance-music-theater works with his own music; the evening-length Arias (2000), an ensemble dance suite set to classical vocal music; and Dark Drop, to a recently discovered score by Paul Hindemith. Caines' work has been present?ed by several downtown New York venues, in Boston, and in Canada since 1990. He has received grants from Meet the Composer, Russell Sage College, The Field, and the Astral Foundation. From 1986 to 1993 he danced with more than twenty NYC choreo?graphers and has also worked as a singer ,.r
and actor. He has composed scores for numerous downtown choreographers and two full-length scores for plays by W. B. Yeats and George Fitzmaurice, directed by Richard Nash. Caines first performed with Ping Chong in Nocturne in 1200 Seconds for the Journey to the East Festival in Hong Kong (1998); his recorded voice has also traveled the world with Chong's acclaimed puppet play Kwaidan (1999). .._
Victoria Abrash has worked as a dramaturg on staff at the Second Stage, Manhattan Theatre Club, the Women's Project and Productions, and the Philadelphia Drama Guild. She has also worked on a wide range of productions, from classics to new plays to performance art, at the Acting Company, New York Shakespeare Festival, Juilliard, the Young Playwrights Festival, INTAR, and Dance Theatre Workshop. She is a site eval-uator for the National Endowment for the Arts and has served as a panelist and script evaluator for the O'Neill, New Dramatists, and McKnight Fellowships, and Lincoln Center Theatre. She has taught theatre at ' Williams College, Temple University, SUNY Stonybrook, Fordham University, and Marymount Manhattan College. She is cur?rently the director of the TCG National J$ Conference, the only national gathering off the not-for-profit theatre community i nationwide, which will be held in "" Philadelphia this June.
David Meschter, sound designer and com?poser, received a degree in Audio Technology from American University in Washington, DC. He was the sound consultant and reper?tory musician with the Merce Cunningham Dance Company from 1981 to 1988, and created sound designs for a variety of orga?nizations and artists, including John Cage, " LaMonte Young, Pandit Pran Nath, the M Kronos Quartet, the American Ballet -J_ Theater, Lincoln Center and Houston Grand Opera. His recent sound designs include Ten Years Apart at the Ordway Center for M
the Performing Arts in St. Paul; The Peony Pavilion, the epic eighteen-hour opera recon-structed and revived by Chen Shi-Zheng and Lincoln Center; After Sorrow and Kwaidan, both directed by Ping Chong; Black Water by Joyce Carol Oates and John Duffy; Magic ? Frequencies by Meredith Monk; and Tongue of a Bird by Ellen McLaughlin, directed by Lisa Peterson. David Meschter is also the f sound supervisor and designer for the ' ? ? Lincoln Center Festivals 1996-2001, and has designed various interactive computer sys?tems such as a Tap-to-MIDI converter for Charles Moulton's dance Tapnology and a . Flute-to-Haiku poetry creationcomputer ' speech system for composer Yasunao Tone.
Stefani Mar is happy to work with Ping Chong on their fourth production together, i Past projects include: Pojagi (2000), Curlew River (1997) and After Sorrow (1997). Am:?: artist and costume designer, Ms. Mar has been the recipient of NYSCA Sponsored "i. .. Project grants for self-initiated projects in public spaces and her work has been shown in numerous exhibitions. Her costumes have been featured on stages nationally and inter-nationally. Past costume commissions ?" include C Street 6B-Flat Avenue (1999) for Alvin Ailey American Dance Theatre, Soul Deep (2000), and Bones & Ash, 1995 for Urban Bush Women, Gina Gibney Dance (1999) and Asia Society (1998).
Randy Ward is a designer and theatre edfl cator at Virginia Tech in Blacksburg, Virginia where he has designed over 150 produc-. tions. He designs sets and lighting and hellis designed the Studio Theatre in Blacksburg where he collaborated with Ping Chong on 1 Truth and Beauty in October 1999. I
Courtney Golden stage managed Ping Chong's Secret History, Undesirable Elements, Pojagi, After Sorrow, Chinoiserie, Deshima and American Gothic with Ping Chong and Muna Tseng; and stage managed Ambiguous Ambassador, SlutForArt and 98.6: a conver-'i
?gence in 15 minutes. Other NYC credits include Wise Guys (directed by Sam Mendes), En Garde Arts and Primary Stages. She is also working as a design assistant to Jan
I'-Hartley. James W. Larkin, a native of Houston, Texas, has served as a production manager and technical director to theatre, opera, dance, festival, television, and industrial production companies in the US and abroad. Past f .projects have included Ralph Lemon's Tree.'iH Part 2 of the Geography Triology, Chen Shi "?fa Zung's Forgiveness, Elizabeth Streb's 'Jp
Ringside, and The Return Festival 1999 in 1 Pristina, Kosovo. .??'-?-,'??-;M
$$.Bruce Allardice has been Managing
August, 1988 and of the Pick Up Performance Company since February, 1998. In his twenty-plus-year career in the arts, he has worked with River Arts Repertory, INTAR Hispanic American Arts Center, and CSC Repertory. He has been a site reporter for the NEA for the past nine years and has served as a field representative for thelJHH NYSCA and a panelist for the NEA, Theatre ' Communications Group,.ARTNY, and Arts
Jon Aaron has been manager and agent for Sequentia and Benjamin Bagby since 1982 and was executive producer of Sequential last stage production of Hildegard's Ordo Virtutum, which was presented at the 1998 Lincoln Center Festival, in a national tour the following fall, and at the Melbourne Festival in 1999. As director of Aaron Concert Artists (formerly Aaron Concert Management) he has been responsible for the touring activity in North America of numerous artists including Jordi Savall's Hesperion XXI, Musica Antiqua Koln, the Tallis Scholars, Les Arts Florissants, Australian Chamber Orchestra, and Noche Flamenca.
ing CHong and Company (a.k.a.
Fiji Theater Company) was founded in 1975 to create innovative works
of theatre and art that explore the
intersection of race, history, culture and technology in the modern world. The company has produced over thirty-five works by Ping Chong and his collaborators, toured widely in the US and throughout the world, and received numerous honors and awards. Ping Chong and Company is supported by the National Endowment for the Arts, jg New York State Council on the Arts, New ;j York City Department of Cultural Affairs,. A.R.T.New York--The Fund for Small ?' Theatres, Arts International, Mary Flagler Cary Charitable Trust, Philip Morris Companies Inc., the James E. Robison Foundation, the Rockefeller Foundation, Lila Acheson Wallace Theater Fund at the, New York Community Trust, and many =' generous individuals. -??
, -7T.
These performances mark Ping Chong and: Company's debut appearances under UMS;-auspices. ?'.
Viking Tales of Lust, Revenge and Family ,'??-?"'????
Randy Ward, SetsLighting Design ' ?iY Stefani Mar, Costume Design David Meschter, Sound Design Victoria Abrash, Dramaturg {
Christopher Caines, Assistant Director S J.W. Larkin, Production Manager '
Courtney Golden, Stage Mana[cr '? Leo ]anks, Lighting Supervisor
Executive Producers, )on Aaron and Bruce Allardice'"
Ping Chong and Company ' ?'' '
Ping Chong, Artistic Director ?Hy Bruce Allardice, Managing Director ' Sachiko N. Willis, General Manager:
Visit Ping Chong and Company on the Internet at ?--?---
Visit Sequentia on the Internet at
1 11 educational activities
are free and open to the public unless otherwise noted ($). Many events with artists are yet to be planned--please call the UMS Education Office at 734.647.6712 or the UMS Box Office at 734.764. , 2538 for more informaJ tion. Activities are also posted on the UMS website at M
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. U; Power Center PREP "Galloping Sofas, the Appendectomy, and Hairballs: The Method and Movement Vocabulary of Pilobolus" by Kate Remen-Wait, UMS Dance Education Specialist. Saturday, January 6, 7:00 p.m., Michigan League, Koessler Library (3rd Floor). Media sponsor WDET.
UMS Kennedy Center Workshop "Responding to Visual Art Through Movement" by Kimberli Boyd. Wednesday, January 10,4:30 p.m., Washtenaw Intermediate School District, 1819 S. Wagner, Ann Arbor. Contact the UMS Youth Education
Department at 734.615.0122 or e-mail for more infor?mation. In collaboration with Ann Arbor Public Schools.
Moses Hogan Singers
Moses Hogan, conductor Wednesday, January 10, 8 p.m. St. Francis of Assisi Catholic Church
Community Choir Workshop with Moses Hogan Featuring Ann Arbor's Our Own Thing Chorale and U-M vocal choirs. Tuesday, January 9, 7:30 p.m., Bethel A.M.E. Church, 900 John A. Woods Drive, Ann Arbor. Call 734.647.6712 for more information. Media sponsor WEMU.
Vermeer Quartet
Saturday, January 13, 8 p.m. Rackham Auditorium PREP by Inna Naroditskaya, Professor, Northwestern University. A discussion of the evening's repertoire. Saturday, January 13,7:00 p.m., Rackham Auditorium, U-M Assembly Hall (4th Floor).
Mingus Big Band Blues and Politics
with Kevin Mahogany, vocals Monday, January 15, 8 p.m. Hill Auditorium
Pre-performance Interview with Sue Mingus "This Aint's No S@ 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 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 StafftngArbor Temporaries, Inc. Saturday performance presented with the generous support of Susan B. Ullrich. Additional support provided by GKN Sinter Metals. Media sponsors WDET and Metro Times.
Dubravka Tomsk, piano
Sunday, February 11,4 p.m.
Hill Auditorium
This performance is made possible by
the H. Gardner Ackley Endowment
Fund, established by Bonnie Ackley in
memory of her husband.
Media sponsor WGTE.
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 WGTF.
Swedish Radio Choir and Eric Ericson Chamber Choir
Eric Ericson, conductor
Saturday, February 17, 8 p.m.
St. Francis of Assisi Catholic
PREP by Naomi Andre, Assistant
Professor, U-M School of Music.
Friday, February 16, 7:00 p.m., ;
Michigan League, Henderson Room .
(3rd Floor).
Presented with the generous support
of Kathleen G. Charla.
Manuel Barrueco, guitar
Sunday, February 18,4 p.m. Rackham Auditorium
Ballet Preljocaj Paysage apres la Bataille
Angelin Preljocaj, artistic director Wednesday, February 21,8 p.m. Power Center
PREP "Angelin Preljocaj and the Legacy of Dance-Theater" by Kate Remen-Wait, UMS Dance Education Specialist.
Wednesday, February 21,7:00 p.m., Michigan League, Vandenberg Room (2nd Floor). Media Sponsor Metro Times, ["
Texaco Sphinx Competition Concerts
Junior Division Honors Concert Friday, February 23, 12 noon Hill Auditorium Complimentary Admission
Senior Division Finals Concert Sunday, February 25, 3 p.m. Orchestra Hall Detroit The Sphinx Competition is generously presented by the Texaco Foundation.
Prague Chamber Orchestra with the Beaux Arts Trio
Wednesday, March 7, 8 p.m. Hill Auditorium Sponsored by CFI Group, Inc. Additional support provided by 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 ________
UMS Performing Arts Workshop "Teaching Richard III: A Theater-based Approach" by Mary Johnson, Education Department, Royal Shakespeare Company. Tuesday,
January 23,4:30-7:30 p.m., Washtenaw Intermediate School District, 1819 S. Wagner, Ann Arbor. Focus on grades 7-12. $20. For location and registration, contact the UMS Youth Education Department at 734.615.0122 or e-mail Family Workshop "Shakespeare is for Everyone" led by Clare Venables, Education Department, Royal Shakespeare Company. Wednesday, January 24, 7:00 p.m., Ann Arbor Hands on Museum, 220 East Huron, Ann Arbor. Children and parents wel?come--all ages. Call 734.615.0122 or 734.995.5437 for more information. RSC Ralph Williams Lecture Series: All lectures begin at 7 p.m. in Rackham Auditorium, given by U-M Professor of English, Ralph Williams. Lecture on Henry VI, Part I Monday, January 29,7:00-9:00 p.m., Lecture on Henry VI, Part II Monday, February 5, 7:00-9:00 p.m., Lecture on Henry VI, Part III Monday, February 12, 7:00-9:00 p.m., Lecture on Richard III Monday, February 19,7:00-9:00 p.m., Lecture "Dream of Kingship: Ghostly Terror in Shakespeare's Richard 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 and Linda Binkow. Media sponsor WGTE.
Academy of
St. Martin-in-the-Fields
Murray Perahia, conductor and piano
Saturday, March 24, 8 p.m. Hill Auditorium
Sponsored by Pfizer. Media sponsor WGTE.
Chamber Music Society of Lincoln Center
David Shifrin, artistic director Heidi Grant Murphy, soprano Ida Kavafian, violin Heidi Lehwalder, harp Paul Neubauer, viola Fred Sherry, cello Ransom Wilson, flute with cellists from the U-M School of Music Wednesday, March 28, 8 p.m. Lydia Mendelssohn Theatre Support provided by 77 Group Automotive Systems. Media sponsor WGTE.
Brass Band of Battle Creek Paul W. Smith, emcee
Friday, March 30, 8 p.m. Hill Auditorium Sponsored by Ideation, Inc.
Ronald K. BrownEvidence
Ronald K. Brown, artistic director
Saturday, March 31,8 p.m.
Power Center
Meet the Artist post-performance
dialogue from the stage.
Funded in part by the National Dance
Project of the New England Foundation
for the Arts, with lead funding from the
National Endowment for the Arts and
the Doris Duke Charitable Foundation.
Additional funding provided by the
Andrew W. Mellon Foundation and the
Philip Morris Companies Inc.
Media sponsors WEMU and Metro Times.
Orion String Quartet and Peter Serkin, piano
Sunday, April 1, 4 p.m. Rackham Auditorium Presented with the generous support of Ami and Prue Roscnthal.
Royal Concertgebouw Orchestra Amsterdam
Riccardo Chailly, conductor Matthias Goerne, baritone Wednesday, April 4, 8 p.m. Hill Auditorium Sponsored by Forest Health Services. Media sponsor WGTE.
Emerson String Quartet
Friday, April 6, 8 p.m. Rackham Auditorium Sponsored by Bank of Ann Arbor.
John Relyea, bass-baritone
Warren Jones, piano Saturday, April 14, 8 p.m. Lydia Mendelssohn Theatre PREP "John Relyea: An Introduction To His Art" by Richard LeSueur, Music Specialist, Ann Arbor District Library. Saturday, April 14, 7:00 p.m., Michigan League, Koessler Library (3rd Floor). Sponsored by Miller, Canfield, Paddock and Stone, P.LC. Media sponsor WGTE.
Mark Morris Dance Group
Mark Morris, artistic director with The Detroit Symphony Orchestra Neeme Jarvi, music director and The Ann Arbor Cantata Singers William Boggs, music director Friday, April 20, 8 p.m. Saturday, April 21,8 p.m. Power Center .
Friday performance sponsored by McKinley Associates, Inc. Saturday performance sponsored by The Shiffman Foundation, Sigrid Christiansen and Richard Levey. Funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from the National Endowment for the Arts and the Doris Duke Charitable Foundation. Additional funding provided by the Andrew W. Mellon Foundation and the Philip Morris Companies Inc. Media sponsors WDETand 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 i.
Sponsored by Jim and Millie Irwin.
UMS Co-Commission & World Premiire 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.
I-'orti Hanoi Program Honorces
Van Cliburn
Jessye Norman
Garrick Ohlsson
Canadian Brass
Isaac Stern
n the past several seasons, UMS' Education and Audience Development program has grown significantly. With a goal of deepening the understanding of the importance of the live performing arts and the major impact the arts can have in the community, UMS now seeks out active and dynamic collabora?tions and partnerships to reach into the many diverse communities it serves.,
Family Performances
For many years, UMS has been committed to providing the opportunity for families to enjoy the arts together.
The 2001 Winter Season's Family Performances include:
Pilobolus I2MM
Alvin Ailey American Dance Theater
Specially designed for family participation that creates an environment where both chil?dren and adults can learn together, the UMS Family Performances are a great way to spend quality time with your children. Contact the UMS Box Office at 734.764.2538 for tickets and more information.
Master of Arts Interview Series
Now in its fifth year, this series is an opportunity to showcase and engage the choreographers in academic, yet informal, dialogues about their art form, their body of work and their upcoming performances.
PREPs (Performance-Related Educational Presentations)
This series of pre-performance presentations features talks, demonstrations and workshops designed to provide context and insight into the performance. All PREPs are free and open to the public and usually begin one hour before curtain time.
Meet the Artists: Post-Performance Dialogues
The Meet the Artist Series provides a special opportunity for patrons who attend perform?ances to gain additional understanding about the artist, the performance they've just seen and the artistic process. Each Meet the Artist event occurs immediately after the perform?ance, and the question-and-answer session takes place from the stage.
Artist Residency Activities
UMS residencies cover a diverse spectrum of artistic interaction, providing more insight and greater contact with the artists. Residency activities include interviews, open rehearsals, lecturedemonstrations, in-class visits, master classes, participatory workshops, clinics, visiting scholars, seminars, communi?ty projects, symposia, panel discussions, art installations and exhibits. Most activities are free and open to the public and occur around the date of the artist's performance.
Major residencies for the 2001 Winter Season are with:
Alvin Ailey American Dance Theater
Royal Shakespeare Company
Ping ChongBenjamin Bagby
Youth Performances
These performances are hour-long or full length, specially designed, teacherand stu?dent-friendly live matinee performances.
The 2001 Youth Performance Series includes:
Mingus Big Band: Blues and Politics
Alvin Ailey American Dance Theater
Hubbard Street Dance Chicago
Royal Shakespeare Company: Richard III
Ronald K. BrownEvidence
Teachers who wish to be added to the youth performance mailing list should call 734.615.0122 or e-mail
The Youth Education Program is sponsored by
Teacher Workshop Series
This series of workshops for all K-12 teachers is a part of UMS' efforts to provide school?teachers with professional development oppor?tunities and to encourage ongoing efforts to incorporate the arts in the curriculum.
This year's Kennedy Center Workshops are:
? Responding to Visual Art Through Movement
? Songs of the Underground Railroad
Workshops focusing on the UMS youth per?formances are:
? Drama for Literacy--Telling Tales from Shakespeare: A Practical Approach for Primary Teachers
? Teaching Richard III: A Theater-based Approach
For information and registration, please call 734.615.0122.
The Kennedy Center Partnership
The University Musical Society and Ann Arbor Public Schools are members of the Performing Arts Centers and Schools: Partners in Education Program of the John F. Kennedy Center for the Performing Arts. Selected because of its demonstrated com?mitment to the improvement of education in and through the arts, the partnership team participates in collaborative efforts to make the arts integral to education and creates a multitude of professional development opportunities for teachers and educators.
Special Discounts for Teachers and Students to Public Performances
UMS offers special discounts to school groups attending our world-class evening and weekend performances. Please call the Group Sales hotline at 734.763.3100 for more infor?mation about discounts for student and youth groups.
UMS Camerata Dinners
Now in their fifth season, Camerata Dinners are a delicious and convenient beginning to your UMS concert evening. Our dinner buffet is open from 6:00 to 7:30 p.m., offering you the perfect opportunity to arrive early, park with ease, and dine in a relaxed setting with friends and fellow patrons. Catered this year by the very popular Food Art, our Camerata Dinners will be held prior to the Choral Union Series performances listed below. All upcoming dinners will be held in the Alumni Center. Dinner is $35 per person. UMS members at the Benefactor level ($500) and above are entitled to a discounted dinner price of $30 per person. All members receive 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?ments:
The Artful Lodger Bed & Breakfast
1547 Washtenaw Avenue Call 734.769.0653 for reservations Join Ann Arbor's most theatrical host and hostess, Fred & Edith Leavis Bookstein, for a weekend in their massive stone house built in the mid-1800s for U-M President Henry Simmons Frieze. This historic house, located just minutes from the performance halls, has been comfortably restored and furnished with contemporary art and performance memorabilia. The Bed & Breakfast for Music and Theater Lovers!
The Bell Tower Hotel & Escoffier Restaurant
300 South Thayer ' ''
734.769.3010 for reservations and prices Fine dining and elegant accommodations, along with priority seating to see some of the world's most distinguished performing artists, add up to a perfect overnight holiday. Reserve space now for a European-style guest room within walking distance of the per?formance halls and downtown shopping, a special performance dinner menu at the Escoffier restaurant located within the Bell Tower Hotel, and priority reserved "A" seats to the show. All events are at 8 p.m. with din?ner prior to the performance.
Package includes valet parking at the hotel, overnight accommodations in a European-style guest room, a continental breakfast, pre-show dinner reservations at Escoffier restaurant in the Bell Tower Hotel, and two performance tickets with preferred seating reservations.
Package price is $228 per couple.
Gratzi Restaurant
326 South Main Street
888.456.DINE for reservations
Pre-performance Dinner
Package includes guaranteed reservations
for a preor post-performance dinner (any
selection from the special package menu plus
a non-alcoholic beverage) and reserved
"A" seats on the main floor at the performance.
Packages are available for select perform?ances. Call 734.763.5555 for details.
Vitosha Guest Haus
1917 Washtenaw Avenue Call 734.741.4969 for reservations Join proprietors Christian and Kei Constantinov for afternoon tea, feather duvets and owls in the rafters in their expan?sive stone chalet home. Catering to "scholars, artists and the world-weary," this historic complex features old English style decor, ten guest rooms, each with their own private bath and many with a gas fireplace, a neo-Gothic parsonage, coach house tearoom, and a Frank Lloyd Wright-inspired church. The Vitosha Guest Haus also offers group dis?count rates and can accommodate confer?ences, musical and performing arts events, weddings and family celebrations. Call 734.741.4969 for reservations or to inquire about special package prices.
isit and enjoy these fine area restaurants. Join us in thanking them for their gener?ous support of UMS.
Bella Ciao Trattoria
118 West Liberty 734.995.2107 Known for discreet dining with an air of casual elegance, providing simple and elabo?rate regional Italian dishes for you and your guests' pleasure. Reservations accepted.
Blue Nile
221 East Washington Street 734.998.4746 Join us for an authentic dining adventure to be shared and long remembered. Specializing in poultry, beef, lamb and vegetarian special?ties. Outstanding wine and beer list. http:annarbor.orgpagesbluenile.html
Cafe 303
303 Detroit Street 734.665.0700 Modern American cooking, daily eclectic specials, seafood, pasta & steaks. Full bar, wines by-the-glass, and courtyard dining. Open 7 days at 11:00 a.m., weekend brunch. Meetings, banquets, and parties easily accommodated. Coming soon: live entertainment and other exciting surprises.
Cafe Marie
1759 Plymouth Road 734.662.2272 Distinct and delicious breakfast and lunch dishes, creative weekly specials. Fresh-squeezed juice and captivating cappuccinos! A sunny, casual, smoke-free atmosphere. Take out available.
The Chop House
322 South Main Street 888.456.DINE Ann Arbor's newest taste temptation. An elite American Chop House featuring U.S.D.A. prime beef, the finest in Midwestern grain-fed meat, and exceptional premium wines in a refined, elegant setting. Open nightly, call for reservations.
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 1 World class Italian cuisine and thirty-five wines by the glass in sleek atmosphere. Entrees changed daily, private meeting area. Rated 'four stars' by the Detroit Free Press. Lunch weekdays, dinner every night. Reservations welcome.
Gandy Dancer
401 Depot Street 734.769.0592 Located in the historic 1886 railroad depot. Specializing in fresh seafood. Lunches Monday-Friday 11:30-3:30. Dinners Monday-Saturday 4:30-10:00, Sunday 3:30-9:00.
Award-winning Sunday brunch 10:00-2:00. Reservations recommended........ ? :
326 South Main Street 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 I wines, ports, sherries, martinis, rare scotches,: hand-rolled cigars and much more. Open nightly.
The Moveable Feast
326 West Liberty 734.663.3278 Located just west of Main Street in the restored Brehm estate. Fine American cuisine with a global fare. Full service catering, bakery, wedding cakes.
347 South Main Street 888.456.DINE Zestful country Italian cooking, fresh flavors inspired daily. Featuring the best rooftop seating in town. Open for dinner nightly. Reservations accepted, large group space available. ,
Real Seafood Company mT
341 South Main Street 888.456.DINE As close to the world's oceans as your taste can travel. Serving delightfully fresh seafood and much more. Open for lunch and dinner. Reservations accepted.
Red Hawk Bar & Grill
316 South State Street 734.994.4004 Neighborhood bar & grill in campus historic district, specializing in creative treatments of traditional favorites. Full bar, with a dozen beers on tap. Lunch and dinner daily. Weekly specials. Smoke-free. No reservations.
314 East Liberty 734.662.1111 Providing fresh, imaginative vegetarian cui?sine since 1973. All dishes, including desserts, are made in-house daily. Be sure to look over our extensive beverage menu.
Weber's Restaurant
3050 Jackson Avenue 734.665.3636 Great American restaurant since 1937. Featuring prime rib, live lobster, roast duck, cruvinet wine tasting flights, home-made pastries. Award-winning wine list. Ports, cognacs, entertainment nightly.
Zanzibar ,
216 South State Street 734.994.7777 Contemporary American food with Mediterranean & Asian influences. Full bar featuring classic and neo-classic cocktails, thoughtfully chosen wines and an excellent selection of draft beer. Spectacular desserts. Space for private and semi-private gatherings up to 120. Smoke-free. Reservations encouraged.
ack by popular demand, friends of UMS 'are offering a unique donation by hosting a variety of dining events. Thanks to the generosity of the hosts, all proceeds go directly to support UMS' educational and artistic programs. Treat yourself, give a gift of tickets, or come alone and meet new -m people! Call 734.936.6837 to receive a J brochure or for more information.
' MS volunteers are an integral part of the success of our organi?zation. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome you to the UMS family and involve you in our exciting programming and activities. We rely on volunteers for a vast array of activities, including staffing the edu?cation residency activities, assisting in artist services and mailings, escorting students for our popular youth performances and a host of other projects. Call 734.936.6837 to request more information.
ow fifty-nine members strong, the UMS Advisory Committee serves an integral function within the organization, supporting UMS with a volunteer corps and contribut?ing to its fundraising efforts. Through the Delicious Experiences series, Season Opening Dinner, and the Ford Honors Program gala, the Advisory Committee has pledged to donate $300,000 to UMS this season. Additionally, the Committee's hard work is in evidence at local bookstores with BRAVO!, a cookbook that traces the history of UMS through its first 120 years, with recipes submitted by artists who have performed under our aus?pices. If you would like to become involved
with this dynamic group, call 734.936.6837 for more information.
The Advisory Committee also seeks people to help with activities such as escorting students at our popular youth performances, assisting with mailings, and setting up for special events. Please call 734.936.6837 if you would like to volunteer for a project.
dvertising in the UMS program book or sponsoring UMS performances enables you to reach 130,000 of southeastern Michigan's most loyal concertgoers.
When you advertise in the UMS program book you gain season-long visibility, while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descriptions that are so important to performance experi?ences. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book, ;
As a UMS corporate sponsor, your organiza?tion comes to the attention of an educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treasures, and also receive numerous
benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
? Enhancing corporate image
? Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic groups
? Making highly visible links with arts and education programs
Recognizing employees
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
nternships with UMS provide experience in performing arts administration, mar?keting, publicity, promotion, production and arts education. Semesterand year-long internships are available in many of UMS' departments. For more information, please call 734.764.9187.
tudents working for UMS as part of the College Work-Study program gain valu?able experience in all facets of arts manage?ment including concert promotion and marketing, fundraising, event planning and production. If you are a University of Michigan student who receives work-study financial aid and who is interested in working at UMS, please call 734.764.9187.
ithout the dedicated service of UMS' Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing program books and pro?viding that personal touch which sets UMS events above others.
The UMS Usher Corps comprises over 300 individuals who volunteer their time to make your concert going experience more pleasant and efficient. The all-volunteer group attends an orientation and training session each fall. Ushers are responsible for working at every UMS performance in a specific hall (Hill, Power Center, or Rackham) for the entire concert season. g"
If you would like information about becoming a UMS volunteer usher, call the UMS usher hotline at 734.913.9696.
t,, ?
Musical Society because of the much-needed and appreciated gifts of UMS supporters, mem?bers of the Society. J The list below represents names of current donors as of November 13,2000. If there has been an error or omission, we apologize and would appreciate a call at 734.647.1178 so that we can correct this right away. UMS would also like to thank those generous donors who wish to remain anonymous.
Mrs. Gardner Ackley Carl and Isabelle Brauer Dr. Kathleen G. Charla Charlotte McGeoch Randall and Mary Pittman Herbert Sloan
Bank One, Michigan ____
Ford Motor Company Fund Forest Health Services
Hudson's Project Imagine Office of the Provost,
University of Michigan Pfizer Global Research and
Development; Ann Arbor
Community Foundation for
Southeastern Michigan Ford Foundation JazzNetDoris Duke Charitable
Foundation Michigan Council for Arts
and Cultural Affairs National Endowment
for the Arts State of Michigan Arts and
Quality of Life Grant Program Wallace-Reader's Digest Funds
Herb and Carol Amster
Peter and Jill Corr
Ronnie and Sheila Cresswell
Comerica Incorporated Dow Automotive KeyBank
MASCO Charitable Trust McKinley Associates National City Bank Sesi Lincoln Mercury Thomas B. McMullen
Company Wolverine Technical Staffing,
Detroit Edison Foundation Elizabeth E. Kennedy Fund Mid-America Arts Alliance
Heartland Arts Fund New England Foundation '-
for the Arts, Inc. Shiffman Foundation Trust
(Richard Levey and Sigrid
Christiansen) The Texaco Foundation
VIRTUOSI Individuals
David Eklund and Jeff Green Prudence and Amnon Rosenthal
Bank of Ann Arbor CFI Group
Maurice and Linda Binkovv Barbara Everitt Bryant Douglas D. Crary Ken and Penny Fischer Beverley and Gerson Geltner David and Phyllis Herzig Lawrence and Rebecca Lohr Robert and Pearson Macek Robert and Ann Meredith Joe and Karen Koykka O'Neal Loretta M. Skewes Dr. Isaac Thomas III and
Dr. Toni Hoover Don and Carol Van Curler Marina and Robert Whitman Ann and Clayton Wilhite Roy Ziegler (
Alcan Global Automotive
Solutions Ann Arbor Acura AutoCom Associates Personnel Systems, Inc.
Arbor Technical Staffing
Arbor Temporaries, Inc. Butzel Long Attorneys Cafe Marie Consumers Energy Edward Surovell Realtors Elastizell Corporation of
GKN Sinter Metals SHI Hella North America, Inc. Miller, Canfield, Paddock
and Stone P.L.C. O'Neal Construction Pepper Hamilton LLP TI Group Automotive Systems Visteon---------
Chamber Music America THE MOSAIC FOUNDATION (of R. & P. Heydon)
Martha and Bob Ause
A. J. and Anne Bartoletto
Bradford and Lydia Bates
Kathy Benton and Robert Brown
Raymond and Janet Bernreuter
Joan Akers Binkow
Mr. and Mrs. William Brannan
Amy and Jim Byrne
Edward and Mary Cady
Edwin and Judith Carlson
Maurice and Margo Cohen
Tom Cohn
Mr. Ralph Conger
Katharine and Jon Cosovich
Molly and Bill Dobson
Jim and Patsy Donahey
Mr. and Mrs. Thomas C. Evans
John and Esther Floyd
James and Anne Ford
Otto and Lourdes E. Gago
Betty-Ann and Daniel Gilliland
Sue and Carl Gingles
Debbie and Norman Herbert
Keki and Alice Irani
Thomas and Shirley Kauper
Judy and Roger Maugh
Paul and Ruth McCracken
Hattie and Ted McOmber
Cruse W. and Virginia Patton Moss
Shirley Neuman
Gilbert Omenn and K
Martha Darling John and Dot Reed Barbara A. Anderson and
John H. Romani Don and Judy Dow Rumelhart Carol and Irving Smokier Lois A. Theis ,
Richard E. and Laura A. Van Housr Mrs. Francis V.Viola III Marion Wirick and James Morgan
Alf Studios
AAA Michigan
Blue Nile Restaurant
Dennis A. Dahlmann Inc. "' '" "
Ideation, Inc.
Joseph Curtin Studios
Masco Corporation
Ann Arbor Area Community
Foundation The Lebensfeld Foundation
Dr. and Mrs. Gerald Abrams
Jim and Barbara Adams
Bernard and Raquel Agranoff
Lloyd and Ted St. Antoine
Lesli and Christopher Ballard
Emily W. Bandera, M.D.
Dr. and Mrs. Robert Bartlett
Karen and Karl Bartscht
Ralph P. Beebe
Ruth Ann and Stuart I. Bergstein
Philip C. Berry
Suzanne A. and Frederick J. Beutler
Elizabeth and Giles G. Bole
Susan Steiner Bolhouse
Lee C. Bollinger and
Jean Magnano Bollinger Howard and Margaret Bond Laurence and Grace Boxer Dale and Nancy Briggs Helen L. Brokaw Jeannine and Robert Buchanan Robert and Victoria Buckler Lawrence and Valerie Bullen Mr. and Mrs. Richard J. Burstein Letitia J. Byrd Betty Byrne Jim and Priscilla Carlson
Jean and Kenneth Casey -------
Janet and Bill Cassebaum
Anne Chase
Don and Betts Chisholm
Mr. and Mrs. John Alden Clark
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 lack 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 j
James and Cathie Gibson William and Ruth Gilkey Drs. Sid Gilman and Carol Barbour Alvia G. Golden and
Carroll Smith-Rosenberg Norm Gottlieb and
Vivian Sosna Gottlieb
Principals, continued
Victoria Green and
Matthew Toschlog Linda and Richard Greene Frances Greer John and Helen Griffith David and
Pamela Colburn Haron Taraneh and Carl Haske Anne and Harold Haugh Bertram Herzog Julian and Diane Hoff Janet Woods Hoobler Robert M. and Joan F. Howe Sun-Chien and Betty Hsiao John and Patricia Huntington Stuart and Maureen Isaac Lennart and
Karin Johansson Elizabeth Judson Johnson Robert L. and
Beatrice H. Kahn Robert and Gloria Kerry Amy Sheon and
Marvin Krislov Bud and Justine Kulka Barbara and Michael Kusisto Lenore Lamont Jill Latta and David S. Bach Leo and Kathy Legatski Evie and Allen Lichter Carolyn and Paul Lichter Richard and Stephanie 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
leri Rosenberg Gustave and
lacqueline Rossecls Dr. Nathaniel H. Rowe Mr. and Mrs.
Charles H. Rubin Maya Savarino Mrs. Richard C. Schneider Rosalie and
David Schottenfeld Dr. John J. H. Schwarz Robert Sears and
Lisa M. Waits Joseph and Patricia Settimi Janet and Michael Shatusky Helen and George Siedel J. Barry and Barbara M. Sloat Tim Sparling and
Lynne Tobin
Steve and Cynny Spencer Gus and Andrea Stager James and Nancy Stanley Mrs. Ralph L. Steffek Mr. and Mrs.
John C. Stegeman Victor and
Marlene Stoeffler Bengt L. and
Elaine M. Swenson James L. and Ann S. Telfer Susan B. Ullrich Bryan and Suzette Ungard Jerrold G. Utsler Charlotte Van Curler Mary Vanden Belt Elly Wagner. John Wagner Gregory and
Annette Walker Barry and Sybil Wayburn Willes and Kathleen Weber Elise and Jerry Weisbach Robert O. and
Darragh H. Weisman Roy and JoAn Wetzel Max Wicha and
Sheila Crowley Dr. and Mrs. Clyde Wu Paul and Elizabeth Yhouse Ed and Signe Young Gerald B. and
Mary Kay Zelenock Nancy and Martin
Charles Reinhart
Company Realtors Shar Products Company
Harold and Jean Grossman Family Foundation Hudson's Community
Montague Foundation The Power Foundation Vibrant of Ann Arbor
Robert Ainsworth Dr. and Mrs. Robert G. Aldrich Michael and Suzan Alexander Carlene and Peter Aliferis Michael Allemang and
Denise Boulange Dr. and Mrs. Rudi Ansbacher lanet and Arnold Aronoff Max K. Aupperle Gary and Cheryl Balint Norman E. Barnett Mason and Helen Barr Astrid B. Beck and
David Noel Frcedman 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 Jack and Wendy Carman James S. Chen Janice A. Clark John and Nancy Clark Edward J. and Anne M. Comeau Carolyn and L. Thomas Conlin Jim and Connie Cook Susan and Arnold Coran Clifford and Laura Craig George and Connie Cress Kathleen J. Crispell and
Thomas S. Porter Mary R. and John G. Curtis Roderick and Mary Ann Daane Pauline and Jay J. De Lay Katy and Anthony Derezinski Lloyd and Genie Dethloff Marnee and John DeVine Delia DiPietro and
Jack Wagoner, M.D. Steve and Lori Director A) Dodds
Charles and Julia Eisendrath Dr. Alan S. Eiser Kathryn A. Eklund Stefan S. and Ruth S. Fajans Dr. and Mrs. S.M. Farhat
Claudine Farrand and
Daniel Moerman Sidney and Jean Fine Clare M. Fingerle Phyllis W. Foster Deborah and
Ronald Freedman Gwyn and Jay Gardner Drs. Steve Geiringer and
Karen Bantel Thomas and
Barbara Gelehrter Beverly Gershowitz Elmer G. Gilbert and
Lois M. Verbrugge Joyce and Fred Ginsberg Paul and Anne Glendon Susie and Gene Goodson Cozette Grabb
Dr. and Mrs. William A. Grade William and Deborah Gray Leslie and Mary Ellen Guinn Carl E. and Julia H. Guldberg Don P. Haefner and
Cynthia J. Stewart Helen C. Hall
Mr. and Mrs. Elmer F. Hamel Susan Harris Paul Hysen and
Jeanne Harrison Anne Vance Hatcher Karl and Eleanor Hauser Nina E. Hauser Jeannine and Gary Hayden Margaret and
Walter Helmreich J. Lawrence and Jacqueline
Stearns Henkel Carl and Charlene Herstein Mrs. W.A. Hiltner Mr. and Mrs.
William B. Holmes David and Dolores Humes Ronald R. and
Gaye H. Humphrey Eileen and Saul Hymans Wallie and Janet Jeffries 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 Klinrworth 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 )udy Lucas Brigittc and Paul Maassen Edwin and Catherine Marcus Nancy and Philip Margolis Claude and Marie Martin Irwin and Fran Martin Sally and Bill Martin Marilyn Mason Chandler and Mary Matthews Elaine J. McFadden Eileen Mclntosh and
Charles 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 Jim and Bonnie Reece Rudolph and Sue Reichert Ray and Ginny Reilly Maria and Rusty Rcstuccia 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 Shcvrin 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. Win 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 I. D. and Joyce Woods Mr. and Mrs. A. C. Wooll David and April Wright Don and Charlotte Wyche
The Barfield Company'' '
Bartech Bcllanina Day Spa Dupuis & Ryden P.C.CPAs
and Business Advisors Guardian Industries
Corporation Lewis Jewelers Public Sector Consultants, Inc.
The Sneed i-'oundation, Inc.
Dr. Diane M. Agresta
Anastasios Alexiou
Christine Webb Alvcy
Dr. and Mrs. David G. Anderson
David and Katie Andrea
Harlcne and Henry Appclman
Patricia and Bruce Arden
Jeff and Deborah Ash
Mr. and Mrs. Arthur I. Ashe, III
Dwight Ashley
Dan and Monica Atkins
Jonathan and Marlcne Ayers
Robert L. Baird
fohn R. Bareham
Cy and Anne Barnes :
Associates, continued
Victoria and Robin Baron Lois and David Baru Gary Beckman and Karla Taylor Srirammohan S. and
Shamal Bcltangady Erling and
Merete Blondal 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 Buckner Trudy and Jonathan Bulkley Arthur W. and Alice R. Burks Bob Caldwell and
Terry Hirth Caldwell Susan and Oliver Cameron Margot Campos Charles F. Cannell Nancy Cantor
Marshall K and Janice L. Carr Jeannette and Robert Carr Carolyn M. Carty and
Thomas H. Haug Dr. and Mrs. Joseph C. Ccrny 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
(ay Sim rod Sunil and Mcrial Das Charles and Kathleen Davenport Ed and Ellie Davidson Peter and Norma Davis Ronald and Dolores Dawson John and jean Debbink Elena and Nicholas Dclbanco Ellwood and Michele Derr Elizabeth Dexter Martha and Ron DiCecco Bill and Peggy Dixon Jean Dolega
Heather and Stuart Dombey Dr. and Mrs. Edward F. Domino Thomas and Esther Donahue Eugene and Elizabeth Douvan Mr. and Mrs. Daniel G. Dow Phillip Duryea Jane E. Dutton Martin and Rosalie Edwards Judge and Mrs. S. J. Elden Ethel and Sheldon Ellis Mackenzie and Marcia Endo Joan and Emil Engel Patricia Enns
Dr. and Mrs. James Ferrara Yi-tsi M. and
Albert Fcuerwcrker Karl and Sara Fiegenschuh
Dr. James F. Filgas Carol Finerman Hcrschcl and Annette Fink Beth B.Fischer (Mrs. G.J.) Dr. C. Peter and
Beverly A. Fischer Susan R. Fisher and
John W. Waidley Jennifer and Guillermo Flores Mr. and Mrs. George W. Ford Doris E. Foss Paula L. Bockenstedt and
David A. Fox
Howard and Margaret Fox Betsy Foxman and
Michael Boehnkc Andrew and Deirdre Freiberg Lela J. Fuester
Mr. and Mrs. William Fulton Harriet and Daniel Fusfcld Bernard and Enid Galier Eugene and Mary Anne Gargaro David and Marian Gates Wood and Rosemary Geist Mr. and Mrs. Michael Gillis James and Janet Gilsdorf Maureen and David Ginsburg Albert and Almeda Girod Edward and Ellen Goldberg Irwin Goldstein and
Martha Mayo Charles Goss
James W. and Maria J. Gousseff Elizabeth 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. John and Susan Halloran Yoshiko Hamano ;
Mr. and Mrs. Michael Hanna Martin D. and Connie D. Harris Robert and Sonia Harris Robert and Jean Harris Naomi Gottlieb Harrison and
Theodore Harrison DDS Clifford and Alice Hart Thomas and Connie Hcffner Bob and Lucia Heinold Fred and Joyce Hershenson Peter G. Hinman and
Elizabeth A. Young Frances C. Hoffman Matthew C. Hoffmann and
Kerry McNulty [
Carol and Dieter Hohnke ( Ronald and Ann Holz , Drs. Linda Samuelson and
Joel Howell Jane H. Hughes Ann D. Hungerman Thomas and Kathryn Huntzicker Susan and Martin Hurwitz Robert B. Ingling Margaret and Eugene Ingram Harold and Jean Jacobson Kent and Mary Johnson Elizabeth and Lawrence Jordan Douglas and Mary Kahn Dr. and Mrs. Mark S. Kaminski George Kaplan and Mary Haan David and Sally Kennedy
Frank and Patricia Kennedy Don and Mary Kiel Tom and Connie Kinnear Rhea and Leslie Kish James and Jane Kister Beverly Kleiber Shira and Steve Klein Laura K!em
Clyde and Anne Kloack Ruth and Thomas Knoll Nick Knuth
Dr. and Mrs. Melvyn Korobkin Michael and Phyllis Korybalski Ron and Barbara Kramer Bert and Catherine La Du Mr. and Mrs. Henry M. Lapeza Neal and Anne Laurance John and Theresa Lee Peter Lee and Clara Hwang Mr. and Mrs. Fernando S. Leon Richard LeSueur Harry and Melissa LeVine Myron and Bobbie Levine Donald J. and
Carolyn Dana Lewis Jacqueline H. Lewis Earl Lewis
Leons and Vija Liepa Alene and Jeff Lipshaw Rod and Robin Little Naomi E. Lohr E. Daniel and Kay Long Armando Lopez Rosas Helen B. Love
Mr. and Mrs. Carl J. Lutkehaus Edward and Barbara Lynn Donald and Doni Lystra Jeffrey Mackie-Mason Pamela J. MacKintosh Steve and Ginger Maggio }-Virginia Mahle i
Mefvin and Jean Manis Marcovitz Family '
Sheldon and Geraldine Markcl 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 Mcrlanti Bernice and Herman Merte Henry D. Messer Carl A. House Helen Metzner Deanna Rclyea and
Piotr Michalowski Jeanctte and Jack Miller John Mills
Thomas and Doris Miree Kathleen and James Mitchiner Dr. and Mrs.
William G. Moller, Jr. Jane and Kenneth Moriarty Frederick C. Neidhardt and
Germaine Chipault Laura Nit.berg and
Thomas Carl! Donna Parmelee and
William Nolting Marysia Ostafin and
George Smillie Julie and Dave Owens David and Andrea Page Drs. Sujit and Uma Pandit William and Hcdda Panzer Rene and Hino Papo Elizabeth M. Payne Zoe and Joe Pearson Margaret and Jack Petersen Joyce H. and Daniel M. Phillips
William and Barbara Pierce Frank and Sharon Pignanelli Richard and Meryl Place Donald and Evonne Plantinga Mary Alice Power Philip and Kathleen Power , Bill and Diana Pratt Jerry and Lorna Prescott I.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 Kj? Constance O. Rinehart ? Jay and Machree Robinson Mr. and Mrs. Stephen J. Rogers Mary R. Rom ig-dc Young W. Robin Rose Robert and Joan Rosenblum Gay and George Rosenwald Craig and Jan Ruff I
Bryant and Anne Russell Robert E. Sanecki i
Mike Savitski and
Christi Balas Savitski Albert J. and Jane L Sayed Christine J. Schcsky-Black David and Marcia Schmidt Monica and David E. Schtcingart Suzanne Selig Harriet Selin Erik and Carol Serr Ruth and Jay Shanberge Hollis and Martha A. 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 Tcrril 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 I.iina M. Wallin Dr. and Mrs. Jon M. Wardner Mr. and Mrs. Robert M. Warner Deborah Webster and
George Miller John and loanne Werner Susan and Peter Westerman B. Joseph and Mary White Iris and Fred Whitehouse Reverend Francis E. Williams Christine and Park Willis Thomas and Iva Wilson Charles Witke and
Aileen Gatten Charlotte A. Wolfe Kathy and Alan Wright MaryGrace and Tom York Ann and Ralph Youngrcn Gail and David Zuk
A. F. Smith Electric, Inc.
Atlas Tool, Inc.
Bodywisc Therapeutic Massage
Clark Professional Pharmacy
Coffee Express Co.
Complete Design & Automation
Systems Inc. Garris, Garris, Garris & Garris
Law Office
Edwards Brothers, Inc. Malloy Lithographing, Inc. Quinn EvansArchitects
John R. Adams
Tim and Leah Adams 1
Or. Dorit Adler Thomas Aider Michael and Hiroko Akiyama Gordon and Carol Allardycc James and Catherine Allen Barbara and Dean Alseth Nick and Marcia Alter Pamela and Gordon Amidon Mayank M. Amin Helen and David Aminofi" Dr. and Mrs. Charles T. Anderson Clarence Anderson Sandra and David Anderson Joseph and Annette Anderson Timothy and Caroline Andresen Martha Andrews-Schmidt Mary C. Arbour Catherine S. Arcure H. C. and Doris Arms Bert and Pat Armstrong Eric M. and Nancy Aupperle John and Rosemary Austgen Shirley and Donala Axon Virginia and Jerald Bachman Drs. John and Lillian Back Prof, and Mrs. J. Albert Bailey Richard W. Bailey and Julia Huttar Bailey Laurence R. and Barbara K. Baker Barbara and Daniel Balbach Helena and Richard Balon Peter and Paulett Banks David and Monika 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. John C. Beatty
and Mrs. Steven R. Beckcrt
ert Becklev and Judy Dinesen
and Mrs. Bruce Beier Steve and Judy Bemis Walter and Antje Bcncnson Bruce Bcnncr and
Hely Merlc-Bcnner Linda Bennett and Bob Bagramian Mr. and Mrs. Ib Bentzen-Bilkvist Dr. Rosemary R. Berardi Mr. and Mrs. Joel S. Bcrger ""-bara Levin Bergman
i 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. Halstcad Naren and Nishta Bhatia John and Marge Biancke Eric and Doris Billes John E. Billic 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 anojoyce Blum Mr. and Mrs. Ralph O. Boehnke, Jr. Beverly J. Bole Mark and Lisa Bomia Dr. and Mrs. Frank P. Boneiorno Harold W. and Rebecca S. Bonnell Edward and Luciana Borbely Lola J. Borchardt Morris and Reva Bornstein Jeanne and David Bostian Victoria C. Botek and
William M. Edwards Bob and Jan Bower Dean Paul C. Boylan Marvin J. and Maureen A. Boyle Dr. and Mrs. Ralph Bozell Stacy P. Brackens Dr. and Mrs. C. Paul Bradley Melvin W. and Ethel F. Brandt William R. Brashear Enoch and Liz Brater Mr. and Mrs. Gerald Bright Paul A. Bringer -Sf" Amy and Clifford Broman ? Razelle Brooks Olin L. and Aleeta Browder Linda Brown and loci Goldberg Cindy Browne Molly and John Brueger Mrs. Webster Brumbaugh Phil Bucksbaum and _'________
Roberta Morris Dr. Frances E. Bull Margaret E. Bunge Ml Bh
Margaret E. Bung Marilyn Burhop Tony and Jane Bu h
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 Schindlcr Carter Joseph and Nancy Cavanaugh K. M. Chan
Bill and Susan Chandler J. Wehrley and Patricia Chapman Dr. Carey Charles-Angclos
Barry and Marjorie Checkoway
Joan and Mark Chesler
Felix and Ann Chow
Catherine Christen
Edward and Rebecca Chudacoff
Sallie R. Churchill
Pat Clapper
Brian and Cheryl Clarkson
Roger and Mary Coe
Dorothy Coffcy
Alice S. Cohen
Jill Kronheim Cohen ?'
Hilary and Michael Cohen
Mr. and Mrs. William Cohen
Willis Colburn and Denise Park
Marion Collier
Ed and Cathy Colone
Gordon and Marjorie Comfort
Wendy and Mark Comstock
Carolyn and L. Thomas Conlin :
Patrick and Anneward Conlin
Sandra S. Connellan
M. C. Conroy
Philip and Jean Converse
Lolagene C. Coombs
Dr. and Mrs. William W. Coon
Gage R. Cooper :
Dr. and Mrs. Richard Cooper
Alan and 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. Davidgc Judi and Ed Davidson Laning R. Davidson, M.D. Wayne and Patricia Davis Robert and Barbara Ream Debrodt Joe and Nan Decker Dr. and Mrs. Raymond F. Decker Rossanna and George DeGrood Mr. and Mrs. Rolf A. Deininger Pamela DeTullio and
Stephen Wiseman Don and Pam Devine Sheryl Diamond Macdonald and Carotin Dick Gordon and Elaine Didier Ruth I. Doane Patti Dobbs Judy and Steve Dobson Ed and Betty Doezcma Rev. Dr. Timothy J. Dombrowski Steven and Paula Donn Deanna and Richard Dorner Roland and Diane Drayson Cecilia and Allan Dreyfuss John Dryden and Diana Raimi Gulshirin Dubash and
Jeremy Mistry Mary P. Dubois Rosanne 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. Dushanc George C. and Roberta R. Earl Elaine Economou and
Patrick Conlin Richard and Myrna Edgar Morgan H. and Sara O. Edwards Julie and Charles Ellis James Ellis and lean Lawton H. Michael and Judith L. Endres Mr. and Mrs. Fred A. Erb
Erb Foundation Roger E. Erickson Steve and Pamela Ernst
Leonard and Madeline Eron
Dorothy and Donald Eschms
Sally Evaldson and John Fosa
Barbara Evans
Don and Jeanette Fabcr
Mr. and Mrs. Robert B. Fair. Jr.
Elly and Harvey Falit
Dr. Chervl C. Farmer
Mike and Bonnie Fauman
Inka and David Felbeck
Fhil and Phvllis Fcllin Ronda and Ron Ferber Larry and Andra Ferguson Dennis and Claire Fernly Susan FilipiakSwing City
Dance Studio Clarisse (Clay) Finkbeiner Marilyn Finkbeincr 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 Fossee Jason I. Fox
William and Beatrice Fox Dan and Jill Francis Mark and Gloria Frank Lynn A. Freeland Lucia and Doug Freeth Richard and Joann Freethy Sophia French Marilyn L. Friedman Esther and Peretz Fricdmann Susan Froelich and Richard Ingram Gail Fromes Jerry Frost
Philip and Rence 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 Gclman Ms. utta Gerber W. Scott Gerstcnberger and
Leo and Renate Gcrulaitis
Beth Genne and Allan Gibbard
Paul and Suzanne Gikas
Matthew and Debra Gildea
Dr. and Mrs. Gary Gillespic
Zita and Wayne Gillis
Beverly Jeanne Gilt row
Albert and Barbara Glover
Albert L. Goldberg
David and Shelley Goldberg
Joyce and Janice Golding
Ed and Mona Goldman
Arna and Michael J. Goldstein
Beryl and David Goldsweig
Mitch and Barb Goodkin
Ann F. Goodman
Sclma and Albert Gorlin
Enid M. Gosling
Jean and Bill Gosling
Michael L. Gowing
Mr. and Mrs. Gordon J. Graham
Mr. and Mrs. Robert C. Graham
Pearl E. Graves
Whitmore and Svea Gray
Ivan Green
Lewis R. and Mary A. Green
Phyllis Green
Sandra Gregerman
G. Robinson and Ann Gregory
Martha J. Greiner
Linda and Roger drekin
Raymond and Daphne M. Grew
Marshall J. and Ann C. Grimm
Marguerite M. Gritenas
Laurie Gross
Richard and Marion Gross
Advocates, continued
Frederick and Iris Gruhj Lionel and Carol Guregian Lorraine Gutierrez and i
Robert Peyser Margaret Gutowski and
Michael Marietta leff and LeAnn Guyton Dr. Merle Haanes Caroline and Roger Hackett Marco Halsted Sarah 1. Hamcke David Hamilton Mrs. Frederick G. Hammitt Dora E. Hampel
Dr. and Mrs. Carl T. Hanks Grace H. Hannenin Lourdes S. Bastos Hansen
Charlotte Hanson Mary C. Harms
Stephen G. and Mary Anna Harper Laurelynnc Daniels and
George Harris Susan S. Harris Elizabeth C. Hassinen James B. and Roberta Hause Ian and Barbara Hawkins Maureen Hawley D. Keith and Lori Hayward Anne Heacock
Kenneth and Jeanne Heininger Jim and Esther Heitler Bill Heifer Sivana Heller Paula B. Hcnckcn and
George C. Collins Karl Henkel and Phyllis Mann Dr. and Mrs. Keith S. Henley Kathryn Dekoning Hentschel
and Rudi Hentschel Jeanne Hernandez 1
C.C. Herrington.M.D. " Ronald D. and Barbara J. Hertz Stuart and Barbara Hilbcrt 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 Huetteman 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 Andrec 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
Linda Atkins and Thomas Kenncy
George L Kenyon and
Lucy A. Waskell Paul and Leah Kileny Jeanne M. Kin
Robert and Vicki Kiningham John and Carolyn KirkcndaJJ Leilani and Steven Kitler Rosalie and Ron Koenig Michael J. Kondziolka Charles and Linda Koopmann Alan and Sandra Kortesoja Dimitri and Suzanne KosachefF Sara Kring William G. Kring Alan and Jean Krisch Syma and Phil Kroll Bert and Geraldine Kruse Helen and Arnold Kuethe Danielle and George Kupcr Alvin and I.ia Kushner Dr. and Mrs. R. A. Kutcipal Tim and Kathy Laing Alvin and Susan Lake Magdalene Lampert Mr. and Mrs. Seymour Lampert Henry and Alice Landau Janet Landsberg Patricia M. Lang Mrs. David A. Lanius Lois H. Largo
Joan Larscn and Adam Pritchard Carl F. and Ann L. LaRue Beth and George Lavoic Judith and Jerold Lax Chuck and Linda Leahy Francois and Julie Lebel Cyril and Ruth Lcder Fred and Ethel Lee Skip and Mary LeFauve Diane and Jeffrey Lehman Ron and Leona Leonard Sue Leong --
Margaret E. Leslie i David E. Levine Tom and Judy Lewis Margaret K. Liu and
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Please note: Friday evening's performance oDancing Honeymoon has been replaced by Peccadillos. Tonight's revised program order is listed below along with performance information on Peccadillos.
Friday Evening, April 20, 2001 at 8:00 Power Center, Ann Arbor, Michigan
Lucky Charms (1994)
Peccadillos (2000)
Beautiful Day (1992)
Detroit Symphony Orchestra
Gloria (1981, revised 1984)
Detroit Symphony Orchestra Ann Arbor Cantata Singers
Peccadillos (2000)
Lighting Performed by
Mark Morris
Erik Satie
Menus propos enfantins Enfantillages pittoresques Peccadilles importunes
Ethan Iverson, Piano Michael Chybowski Mark Morris

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