UMS Concert Program, Friday Nov. 09 To 30: University Musical Society: Fall 2001 - Friday Nov. 09 To 30 --

Season: FALL 2001
University Of Michigan, Ann Arbor

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FALL 2001 SEASON
University Musical Society of the University of Michigan, Ann Arbor
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university musical society
University of Michigan Ann Arbor
UMS leadership 3 Letter from the Chair
4 Corporate LeadersFoundations
14 UMS Board of Directors
14 UMS Senate
14 Advisory Committee
15 UMS Staff
15 UMS Teacher Advisory Committee
UMSservices 17 General Information
19 Tickets
19 Group Tickets
19 Gift Certificates
21 The UMS Card
21 www.ums.org
UMSannals 23 UMS History
25 UMS Choral Union
27 VenuesBurton Memorial Tower
UMSexperience 29 The 20012002 UMS Season
35 Education & Audience Development
37 Dining Experiences
37 Restaurant & Lodging Packages
39 BRAVO
41 UMS Preferred Restaurant Program
43 UMS Delicious Experiences
UMSsupport 45 Advisory Committee
45 Sponsorship & Advertising
47 InternshipsCollege Work-Study
47 Ushers
48 Support
56 UMS Membership Affiliations
56 UMS Advertisers
Front Cover: Godfrey Reggio's Koyaanisqatsi, Gluck's Oifeo ed Euridice (David Smith)
Back cover: Dome of St. Nicholas Cathedral (ccohbis). Theatre de la Jeune Lune: Moliere's Tartuffe

leadership
LETTER FROM THE CHAIR
I
t is a pleasure to welcome you to this performance on the UMS 20012002 Season. With world-renowned per?formers, new community partnerships, and ever-expanding educational activi?ties, our 123rd season continues our
commitment to artistic and educational excel?lence and our dedication to our audiences and extended community. We are delighted that you
are here to share in the excitement of the live performing arts.
As we enjoy this performance, we want to recognize and thank the many generous supporters who help make this extraordinary season possible. As you know, the price of your ticket does not cover our costs of presenting this per?formance. To bridge the gap, we must
rely on the generosity of our many indi?vidual, corporate, governmental and foundation donors. In supporting UMS, they have publicly recognized the impor?tance of the arts in our community and helped create new educational opportu?nities for students and adults of all ages and backgrounds.
So, as you read through the program book and take pleasure in this perform?ance, please join me in thanking our many generous contributors. They are playing an important role in the artistic life of our community, and we are truly grateful for their support.
Sincerely,
Beverley Geltner
Chair, UMS Board of Directors
CORPORATE LEADERS FOUNDATIONS
Don Macmillan
President, Alcan Global Automotive Solutions "For 122 years, the University Musical Society has engaged and enriched our community with the very best in per?forming arts and educational programs. Alcan salutes your quality and creativity, and your devotion to our youth."
Douglass R. Fox
President, Ann Arbor Automotive
"We at Ann Arbor Automotive 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 corporate 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 pleased to be a supporter of the cultural enrichment that the University Musical Society brings to our community."
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 organization that provides such an important service to Ann Arbor."
Greg Josefowicz
President and CEO, Borders Group, Inc. "Borders shares with our customers and employees a deep appreciation for artistic expression in all its diverse forms. As a supporter of the University Musical Society, Borders is pleased to be a part of strengthening our community's commitment to the arts."
Carl A. Brauer, Jr.
Owner, Brauer Investments
"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."
Len Niehoff
Shareholder, Butzel Long
"UMS has achieved an international reputation for excellence in presentation, education, and most recently creation and commissioning. Butzel Long is honored to support UMS, its distinctive and diverse mission, and its important work."
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 privilege. 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.
"As you settle in for this performance, think for a moment how you anticipate a UMS event. Think also about what your ticket and, hopefully, additional donations brings you and, through UMS initiatives, thousands of others. Think what UMS contributes every day to Ann Arbor, U of M, our state and nation. We at CFI do, and that's why we join you so enthusiastically in helping ensure its permanence in our community."
Eugene Miller
Chairman and CEO, Comerica Incorporated "Bravo to the University Musical Society! Their contribu?tions are vital to the arts community. Comerica applauds their tradition of excellence, and their commitment to the presentation of arts and promotion of arts education."
S. Martin Taylor
Sr. Vice President, Corporate & Public Affairs and President, DTE Energy Foundation
"The DTE Energy Foundation is proud to sponsor the University Musical Society because we share a mission of enhancing southeastern 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 tremendous educa?tional opportunities."
Edward Surovell
President, Edward Surovell Realtors
"It is an honor for Edward Surovell Realtors to be able to sup?port an institution as distinguished as the University Musical Society. For over a century it has been a national leader in arts presentation, 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 require?ments. UMS involves the community with new concepts of education, workshops, and performances."
John M. Rintamaki
Group Vice President, Chief of Staff, Ford Motor Company
"At Ford Motor Company, we believe that the arts speak a universal language that can educate, inspire, and bring people, cultures and ideas together. We invest in the long-term development of our arts and educational initiatives. We continue to support the University Musical Society and the enriching programs that enhance the lives of today's youth."
Donald Spence
Senior Vice President, Sales & Marketing GKN Sinter Metals
"GKN Sinter Metals is pleased to support the University Musical Society's arts programs. The quality of the music, dance and theatrical offer?ings is superb, and greatly enhances the cultural life of our community."
Joseph Borruso
President and CEO, Hella North America, Inc. 'Hella North America is delighted to support the University Musical Society. As our company's roots are in Germany, we especially appreciate that UMS brings so many great interna?tional artists to this area."
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 clients."
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 t than UMS, with its innovative cultural offerings and education for all ages. McKinley is proud to play a 'supporting role' in these time-honored efforts."
Michael Korybalski
Chairman and CEO, Mechanical Dynamics. "Just as Mechanical Dynamics has been a pioneer in the high-tech software industry, the University Musical Society has been a pioneer in bringing the best of the performing arts to audiences for more than 100 years. Our association over the years has been mutually beneficial, as our organizations actively work to enrich the local community. UMS is a world-class entity, and Mechanical Dymanics is proud and pleased to be a sponsor of the 20012002 season."
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."
Robert 3. Malek
Community President, National City Bank "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 performances in music, dance and theater to the diverse community that makes up southeastern Michigan. It is our pleasure to be among your supporters."
David Canter
Senior Vice President, Pfizer, Inc.
"The science of discovering new medicines is a lot like the art of music: To make it all come together, you need a diverse collection of very brilliant people. What you really want are people with world-class talent--and to get those people, you have to offer them a special place to live and work. The Musical Society is one of the things that makes Ann Arbor quite special. In fact, if one were making a list of the things that define the quality of life here, UMS would be at or near the very top. Pfizer is honored to be among UMS' patrons."
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 Volvo Mazda "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury Volvo Mazda team is delighted to sponsor such a fine organization."
Thomas B. McMullen
President, Thomas B. McMullen Co., Inc. "I used to feel that a U of MOhio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational entertainment."
Cruse W. Moss
Chairman and CEO, Walid Inc.
"At WALID, Inc., we believe it is through the transcendent language of the arts that we are able to cross borders and boundaries to achieve a meaningful understanding of one another. As an innovator and developer of internationalized domain name technology, WALID applauds the University Musical Society for bringing the world to Ann Arbor."
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 professional staff. Congratulations to UMS as it continues to enrich our wonderful Ann Arbor community."
FOUNDATION AND GOVERNMENT SUPPORT UMS gratefully acknowledges the support of the following foundations and government agencies.
$100,000 and above The Ford Foundation JazzNetDoris Duke Charitable
Foundation Michigan Council for Arts and
Cultural Affairs State of Michigan Arts, Cultural
and Quality of Life Grant
Program Wallace-Reader's Digest Funds
$50,000 99,999 Community Foundation for Southeastern Michigan National Endowment for the Arts The Power Foundation
$10,000 49,999
Ann Arbor Area Community Foundation Arts Midwest
Elizabeth E. Kennedy Fund Heartland Arts Fund Mid-America Arts Alliance New England Foundation for the Arts Raymond C. Smith Foundation Fund The Shiffman Foundation (Richard Levey and Sigrid Christiansen)
$1,000 9,999
Harold and Jean Grossman
Family Foundation The Lebensfeld Foundation THE MOSAIC FOUNDATION
(of R. and P. Heydon) Commonwealth of Pennsylvania Council
on the Arts Sams Ann Arbor Fund Rosalie EdwardsVibrant Ann Arbor Fund
$100 999
Chamber Music America
Erb Foundation
UNIVERSITY MUSICAL SOCIETY of the University of Michigan
UMS BOARD OF DIRECTORS
Beverley B. Geltner,
Chair Lester P. Monts,
Vice-Chair Prudence L Rosenthal,
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 Debbie Herbert 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
Maya Savarino Erik H. Serr Herbert Sloan Timothy P. Slottow Peter Sparling James L. Telfer Clayton Wilhite Karen Wolff Elizabeth Yhouse
UMS SENATE
(former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Paul C. Boylan Carl A. Brauer Allen P. Britton Letitia J. Byrd Leon S. Cohan Jon Cosovich Douglas Crary Ronald M. Cresswell John D'Arms
Robert F. DiRomualdo James J. Duderstadt Robben W. Fleming David J. Flowers Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon 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 Len Niehoff Joe E. O'Neal John D. Paul 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. Whitmai Iva M. Wilson
ADVISORY COMMITTEE
Robert Morris, Chair Sara Frank, Vice-Chair Louise Townley,
SecretaryTreasurer Raquel Agranoff Martha Ause Barbara Bach Lois Baru Kathleen Benton Mimi Bogdasarian Victoria Buckler Barbara Busch Laura Caplan Cheryl Cassidy Patrick Conlin
Elly Rose Cooper
Nita Cox
Mary Ann Daane
Norma Davis
Sally Stegeman DiCarlo
Lori Director
Betty Edman
H. Michael Endres
Andra Bostian Ferguson
Nancy Ferrario
Anne Glendon
Maryanna Graves
Linda Greene
Karen Gundersen
Nina E. Hauser
Kathy Hentschel Debbie Herbert Mercy Kasle Steve Kasle Anne Kloack 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 Schreibcr Sue Schroeder Meg Kennedy Shaw Aliza Shevrin Morrine Silvcrman Maria Simonte Loretta Skewes Cynny Spencer Bryan Ungard Suzette Ungard Dody Viola, ex officio Wendy Woods
UMS STAFF
Administration Finance
Kenneth C. Fischer,
President Elizabeth E. Jahn,
Assistant to the
President John B. Kennard, Jr.,
Director of
Administration Chandrika Patel,
Senior Accountant John Peckham,
Information Systems
Manager
Choral Union
Thomas Sheets,
Conductor Andrew Kuster,
Associate Conductor Jean Schneider-
Claytor, Accompanist Kathleen Operhall,
Manager Donald Bryant,
Conductor Emeritus
Development
Christina Thoburn,
Director Susan Bozell, Advisory
Committee and
Events Coordinator Mary Dwyer, Manager
of Corporate Support
William P. Maddix, Development Assistant
Lisa Michiko Murray, Manager of Foundation and Government Grants
M. Joanne Navarre, Manager of Individual Giving
Lisa Rozek, Assistant to the Director of Development
J. Thad Schork, Development Officer
EducationAudience Development
Ben Johnson, Director Kristin Fontichiaro,
Youth Education
Manager Dichondra Johnson,
Coordinator Warren Williams,
Manager
MarketingPublic Relations
Sara Billmann,
Director Aubrey Alter,
Marketing Manager Gulshirin Dubash,
Public Relations
Manager
Programming Production
Michael J. Kondziolka,
Director Emily Avers,
Production Manager Christine Field,
Production Assistant
Front-of-House Jeffrey Golde,
Production Assistant
Front-of-House Andrew Hause,
Technical Director Susan Hamilton,
Artist Services
Coordinator Mark Jacobson,
Programming Manager
Ticket Office
Michael L. Gowing,
Manager Sally A. Cushing,
Associate
Ann Hause, Assistant Laurel Hufano, Assistant Ronald J. Reid,
Assistant Manager
and Group Sales
Work-Study
Eric Blanchard Jo Chen Patricia Cheng Tamara Dawson Joel Edel
Mariela Flambury Jamie Freedman Milena Grubor David Her Benjamin Huisman Laura Kiesler Christopher Lee Dawn Low Rossalyn Quaye Rosie Richards Jennifer Salmon Angela Sitz Corey Triplett Sean Walls
Interns
Robert Frey Jenny Graf Claire Molloy Ryan Suit
President Emeritus
Gail W. Rector
UMS TEACHER ADVISORY COMMITTEE
Fran Ampey Kitty Angus Alana Barter Joseph Batts Linda Batts Kathleen Baxter Elaine Bennett Lynda Berg Yvette Blackburn Barbara Boyce Letitia Byrd
Doug Cooper Nancy Cooper Gail Davis Barnes Ann Deckert Gail Dybdahl Keisha Ferguson Doreen Fryling Yulonda Gill-Morgan Brenda Gluth Louise Gruppen Vickey Holley Foster
Linda Jones Deborah Katz Deb Kirkland Rosalie Koenig Sue Kohfeldt David Leach Rebecca Logie Dan Long Laura Machida Ed Manning Kim Mobley
Ken Monash Eunice Moore Denise Murray Michelle Peet Rossi Ray-Taylor Gayle Richardson Victoria Scott Rondeau Katy Ryan Nancy Schewe Karen Schulte Derek Shelton
Joan Singer Sue Sinta Grace Sweeney Sandy Trosien Melinda Trout Sally Vandeven Barbara Wallgren Jeanne Weinch
UMSservices
GENERAL IN FORMATION
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 and Mendelssohn Theatre are equipped with infrared listening systems. Headphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Power Center, and Mendelssohn Theatre please call University Productions at 734.763.5213. For items lost at St. Francis of Assisi Catholic Church and the Michigan Theater, please call the UMS Production Office at 734.764.8348.
Parking
Parking is available in the Tally Hall, Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. Parking is
complimentary for UMS members at the Principal level and above. Reserved parking is available for UMS members at the Leader level and above.
UMS offers valet parking service for all performances in the Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before each performance. There is a $10 fee for this service. UMS members at the Leader level and above are invited to use this service at no charge.
Refreshments
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Smoking Areas
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
TICKETS
In Person
The UMS Ticket Office and the University Productions Ticket Office have merged! Patrons will be able to purchase tickets for UMS events and School of Music events with just one phone call.
As a result of this transition, the walk-up window will be conveniently located at the League Ticket Office, on the north end of the Michigan League building at 911 North University Avenue. The Ticket Office phone number and mailing address will remain the same.
Mon-Fri: 10am-6pm Sat: 10am-lpm
ByPhone 734.764.2538
Outside the 734 area code, call toll-free 800.221.1229
By Fax 734.647.1171 By Internet WWW.ums.org
By Mail
UMS Ticket Office
Burton Memorial Tower
881 North University Avenue
Ann Arbor, MI 48109-1011
Performance hall ticket offices open 90 minutes prior to each performance.
Returns
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the Ticket 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.
GROUP TICKETS
T
he group sales program has grown incred?ibly in recent years, and our success is a direct result of the wonderful leaders who organize their friends, families, congrega?tions, 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 exclusive performances of the Royal Shakespeare Company, Itzhak Perlman, Nina Simone, and Ravi and Anoushka Shankar.
This season UMS is offering a wide variety of events to please even the most discriminat?ing tastes, many at a fraction of the regular price. Imagine yourself surrounded by ten or more of your closest friends as they thank you for getting great seats to the hottest shows in town. It's as easy as picking up the phone and calling the UMS Group Sales hotline at 734.763.3100.
6
IFT CERTIFICATES
L
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 message, 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.
THE UMS CARD
U
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 Automotive Ann Arbor Art Center The Back Alley
Gourmet Bivouac The Blue Nile
Restaurant Bodywise Therapeutic
Massage Cafe Marie Chelsea Flower Shop Dough Boys Bakery Fine Flowers Gandy Dancer Great Harvest 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 Washington Street
Gallery
I
WWW.UMS.ORG
J
oin the thousands of savvy people who log onto www.ums.org each month!
Why should you log onto www.ums.org
Tickets Forget about waiting in long ticket lines--order your tickets to UMS performances online! And now you'll know your specific seat location before you buy online.
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 information detailing educational opportunities surrounding each UMS performance.
Development Events Current informa-
tion on UMS Special Events and activ?ities outside of the concert hall. Find details on how to support UMS and the arts online!
Choral Union Audition information and performance schedules for the UMS Choral Union.
UMSannals
UMS HISTORY
T
hrough a deep commitment to Presentation, Education, and the Creation of new work, the University Musical Society (UMS) serves 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 122 years, strong leadership 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 com?mitment to dynamic and creative visions of where the performing arts will take us in this 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 performing arts--internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theatre. Through educational endeavors, commissioning of new works, youth programs, artist residencies and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction and innovation. UMS now hosts approximately eighty per?formances 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, and the EMU Convocation Center.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organ?ization that supports itself from ticket sales, corporate and individual contributions, foundation and government grants, and endowment income.
UMS CHORAL UNION
T
hroughout its 122-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. Eight years ago, the Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra. The chorus has joined the DSO in Orchestra Hall and at Meadow Brook for subscription performances of Stravinsky's Symphony of Psalms, 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.
The current season includes performances of Messiah, Ives' Symphony No. 4 with Michael Tilson-Thomas and the San Francisco Symphony Orchestra and Brahms' Ein deutsches Requiem with Thomas Sheets conducting the Ann Arbor Symphony Orchestra, all in Hill Auditorium. To con?clude its 123rd season, the Choral Union will join the Detroit Symphony Orchestra and Neeme Jarvi in three performances of Beethoven's Missa Solemnis.
In 1995, the Choral Union began accepting invitations to appear with other major regional orchestras, and soon added Britten's War Requiem, Elgar's The Dream ofGerontius, the Berlioz Requiem and other masterworks to its repertoire. During the 199697 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 given acclaimed presenta?tions of Gershwin's Porgy and Bess with the Birmingham-Bloomfield Symphony Orchestra and other musical-theatre favorites with Erich Kunzel and the DSO at Meadow Brook. The 72-voice Concert Choir drawn from the full chorus has performed Durufle's Requiem, the Langlais Messe Solennelle, the Mozart Requiem and other works. Recent programs by the Choral Union's 36-voice Chamber Chorale include "Creativity in Later Life," a program of late works by nine composers of all historical periods, a joint appearance with the Gabrieli Consort and Players and a performance of Bach's Magnificat.
In the 19992000 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 Scriabin's Symphony No. 5 with the Russian National Orchestra.
During the past season, the UMS Choral Union appeared in two series with the Detroit Symphony Orchestra. The season cul?minated in a performance of Hector Berlioz' Requiem with the Greater Lansing Symphony Orchestra, along with tenor Stanford Olsen and members of the U-M School of Music Symphony Band in Hill Auditorium.
Participation in the Choral Union remains open to all by audition. Representing a mix?ture 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 choralunion@umich.edu or call 734.763.8997.
VENUESBURTON MEMORIAL TOWER
Hill Auditorium
S
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-eight 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 auditorium seated 4,597 when it first opened; subsequent renovations, which increased the size of the stage to accommodate both an orchestra and a large chorus (1948) and improved wheel?chair seating (1995), decreased the seating capacity to its current 4,163.
This season marks the last UMS Choral Union Series in Hill Auditorium before it closes for renovations in May 2002. Hill Auditorium will reopen during the 20032004 season, UMS' 125th season.
Rackham Auditorium
D
uring the 20012002 season, Rackham Auditorium will be closed due to extensive renovations. The Auditorium is scheduled to reopen in Fall 2002.
Sixty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented 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 stud?ies. Even more remarkable than the size of the gift, which is still considered one of the most ambitious ever given to higher-level edu?cation, is the fact that neither of the Rackhams ever attended the University of Michigan.
Power Center for the Performing Arts
T
he Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities was mentioned "a new theatre." The Powers were immediately inter?ested, realizing that state and federal government were unlikely to provide financial support for the construction of a new theatre.
The Power Center opened in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote).
No seat in the Power Center is more than seventy-two feet from the stage. The lobby of the Power Center features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
St. Francis of Assisi Catholic Church
I
n 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 splen?did three manual "mechanical action" organ with thirty-four stops and forty-five ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through ded?ication, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church build?ing, and the reverberant sanctuary has made the church a gathering place for the enjoy?ment and contemplation of sacred a cappella choral music and early music ensembles.
Lydia Mendelssohn Theatre
N
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.
Due to the closing of Rackham Auditorium, Lydia Mendelssohn Theatre has been chosen as the venue of choice for five chamber music performances comprising part of UMS' 39th Annual Chamber Arts Series.
Michigan Theater
T
he historic Michigan Theater opened January 5, 1928 at the peak of the vaude?villemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ. At its opening the theater was acclaimed as the best of its kind in the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation. With broad community support, the Foundation has raised over $8 million to restore and improve the Michigan Theater. The beautiful interior of the theater was restored in 1986. In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addi?tion, which also included expanded restroom facilities for the historic theater. The gracious facade and entry vestibule was restored in 2000 and balcony restorations have been completed
Burton Memorial Tower
S
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.
UMS Administrative offices have returned to our familiar home at Burton Memorial Tower in August 2001, following a year of significant renovations to the University landmark.
This past summer also marked the exciting merger of the UMS Ticket Office and the University Productions Ticket Office. Due to this new partnership, the UMS walk-up tickei window will be conveniently located at the League Ticket Office, across Ingalls Mall froi Burton Tower, on the north end of the Michigai League building at 911 North University Avenu The UMS Ticket Office phone number and mailing address will remain the same.
betcol
University Musical Society
of the University of Michigan 2001 Fall Season
@@@@Event Program Book
Friday, November 9 through Friday, November 30, 2001
General Information
Children of all ages are welcome at UMS Family and Youth Performances. Parents are encouraged not to bring children under the age of three to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS perfor?mance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment are
prohibited in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "information superhighway" while you are enjoying a UMS event: electronic-beeping or chiming digital watches, beeping pagers, ringing cellular phones and clicking portable comput?ers should be turned off during perfor?mances. In case of emergency, advise your paging service of auditorium and seat location and ask them to call University Security at 734.763.1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS performances included in this edition. Thank you for your help.
Gluck's Orfeo ed Euridice
Friday, November 9, 8:00pm 5
Saturday, November 10, 8:00pm 23
Sunday, November 11,4:00pm 25 Michigan Theater
Anne-Sophie Mutter and the 29
Trondheim Soloists
Tuesday, November 13, 8:00pm Hill Auditorium
Sweet Honey in the Rock 39
Saturday, November 17, 8:00pm Hill Auditorium
Andreas Scholl 45
Tuesday, November 20, 8:00pm Lydia Mendelssohn Theatre
Joshua Redman Quartet and 53
Brad Mehldau Trio
Friday, November 30, 2001 Michigan Theater
Dear UMS patrons,
Thank you for attending this performance. Your support of UMS through your ticket purchase and presence at this event means a lot to us, especially in the aftermath of September 11. Arts groups across the nation, including UMS, have experienced a softening in their ticket sales this fall, but we are optimistic that attendance will improve as the season progresses. We're glad you're here. I invite you to join us for our other theater, dance, and music events. Check out our complete 200102 offerings beginning on page 29 in the glossy pages toward the back of the book.
Collaboration. It is such an important concept in the performing arts today. As you read this program book, you'll see that UMS regularly works together with education?al units, community organizations, corporate and media sponsors, religious and ethnic groups, and other arts organizations to mount our performances, educational events, and other activities. These partnerships have helped us build new audiences, deepen the commitment of existing audiences, and enrich the overall experience for our patrons. They have also made it possible for us to produce some bold and excit?ing artistic projects that we couldn't have done without our partners' involvement.
Such is the case with Orfeo ed Euridice. UMS is able to bring this stunning new pro?duction of Gluck's "dance-opera" to our community November 9-11 because many of Ann Arbor's finest artists committed to working together three years ago to make it happen. Artistic director and choreographer Peter Sparling, music director Martin Katz, the Ann Arbor Symphony Orchestra, UMS Choral Union, University of Michigan School of Music, Peter Sparling Dance Company, and local set and cos?tume designers have joined forces with a cast of renowned vocal soloists, enabling UMS to bring to the Michigan Theater stage one of the largest and most ambitious projects in UMS history. Those who saw the preview performances last May told us that this production of Orfeo is of such high quality that it could appear on the finest stages anywhere in America. This overwhelming positive response is one of the reasons we put Orfeo on UMS' 123rd Annual Choral Union Series along with the other world-class events that make up our oldest and most prestigious series. It deserves to be there.
I'd like to know your thoughts about the performance you're attending. I'd also like to learn from you about anything you feel we can do to make your experience with UMS the best possible. If we don't see each other in the lobby, feel free to call my office at 734.647.1174, drop me a note, or send me an e-mail message at kenfisch@umich.edu.
Very best wishes,
@@@@Kehneth C. Fischer
UMS Education
through Thursday, November 30, 2001
All UMS educational activities are free and open to the public unless otherwise noted ($). Please visit www.ums.org for complete details and updates.
Orfeo ed Euridice
Meet the Artists
Post-performance interview with Peter Sparling, Martin Katz, Graceann Warn, Lisa Catrett-Belrose and Julianne O'Brien Pederson. Friday, November 9. Michigan Theater.
Exhibit
"Orfeo in Music and Art." Curated by the Ann Arbor District Library, this exhibit will include a display of books and recordings that relate to the myth of Orfeo. November 1 through 30. Ann Arbor District Library, 343 S. Fifth Avenue. Please call the Ann Arbor District Library at 734.327.4200 for library hours.
Roundtable Discussion
"Overtures: A Discussion of Orfeo ed Euridice in Music and Dance." Keynote Speaker: Dr. Clifford Cranna, Artistic Administrator, San Francisco Opera.
Discussants: Melissa Gross, David Halperin, Yopie Prins, and Peter Sparling. Saturday, November 10, 2:00-4:00 p.m. Michigan League, Hussey Room, Second Floor. A collaboration with the U-M Faculty Consortium on Contexts for Classics.
The UMS Youth Education Program visited the following schools to prepare students for the Orfeo ed Euridice Youth Performances:
Brick Elementary, Ypsilanti (Lincoln Consolidated Schools)
Brooklyn Elementary, Brooklyn (Columbia School District)
Clague Middle School, Ann Arbor (Ann Arbor Public Schools)
Go Like the Wind, Ann Arbor (Private)
Miller Elementary, Brooklyn (Columbia School District)
Owl and Friends Homeschools (Homeschool)
Williamston MiddleHigh School (Williamston)
Andreas Scholl
Lecture
History of American Art Song: "The First Half of the Twentieth Century." Richard LeSueur, Ann Arbor Vocal Arts Information Services. The third of six lectures discussing the pro?gression of American classi?cal song. Sunday, November 18, 3:00 p.m. Ann Arbor District Library, 343 S. Fifth Avenue.
Vocal Master Class
Andres Scholl, countertenor. Mr. Scholl Leads a master class with U-M vocal stu?dents. Monday, November 19, 2:00 p.m. Sterns Building, 2005 Baites, Ann Arbor.
Simply committed to the best in dance for Michigan.
UMS
and
DTE Energy Foundation
present
Christoph Willibald Gluck's
Orfeo ed Euridice
Peter Sparling Dance Company Ann Arbor Symphony Orchestra UMS Choral Union
Ewa Podles, Contralto Isabel Bayrakdarian, Soprano Lisa Saffer, Soprano
Peter Sparling, Choreography and Direction Martin Katz, Conductor and Musical Direction
Graceann Warn, Set Design
Nephelie Andonyadis, Costume Design
Scott Zielinski (recreated by Gary Decker), Lighting Design
Steven Jarvi, Assistant Musical Direction
Thomas Sheets, Chorus Master
Dancers
Lisa Catrett-Belrose Michael Spencer Phillips
Holly Hobbs Tim Smola
Lisa Johnson Michael Woodberry-Means
Julianne O'Brien Pedersen Angela Youells
Friday Evening, November 9, 2001 at 8:00 Michigan Theater, Ann Arbor, Michigan
A brief Meet-the-Artists forum will follow tonight's performance from the stage.
Sixteenth Performance of the 123rd Season
123rd Annual Choral Union Series
The photographing or sound recording of this concert or possession of any device for such pho?tographing or sound recording is prohibited.
This performance is sponsored by the DTE Energy Foundation.
Additional support provided by the Ann Arbor Area Community Foundation and the Wallace-Reader's Digest Funds.
UMS is grateful to the University of Michigan for its support of the extensive educational activities related to this performance.
Special thanks to Richard LeSueur, Tim Grimes, and the Ann Arbor District Library for hosting the "Orfeo in Music and Art" exhibit.
Special thanks to Dr. Clifford Cranna, Melissa Gross, David Halperin, Yopie Prins, and Peter Sparling for their involvement in this residency.
Supertitles for Orfeo ed Euridice are owned by the San Francisco Opera Association. Supertitles translation by Kip Cranna.
Ms. Podles appears by arrangement with Matthew Sprizzo.
Ms. Bayrakdarian appears by arrangement with Columbia Artists Management, Inc.
Ms. Saffer appears by arrangement with Janice Mayer and Associates, LLC.
Large print programs are available upon request.
Cast
@@@@Orfeo Ewa Podles
Euridice Isabel Bayrakdarian
Amor Lisa Saffer
Jupiter Michael Spencer Phillips
Echo Lisa Catrett-Belrose
Euridice s Shade Julianne O'Brien Pedersen
Gary Decker, Lighting and Project Supervisor
John Grant Stokes, Assistant Stage Director
Carrie Casey, Stage Manager
Terry Lee, Assistant Stage Manager
Susan Byrnes, Executive Director, Peter Sparling Dance Company
Lynn Kompass, Rehearsal Pianist
Wardrobe Personnel
Larry Rehak, Wardrobe Supervisor George E. Bacon, CutterDraperManager Celibeth A. Donnelly, CraftStitcer Rachel Elizabeth Laritz, Stitcher Mathew J. Mitchell, ArmorCraftStitcher Lisa Jean Parkel, CraftStitcher Monica Prince, Stitcher Elizabeth Tholen, Stitcher Susan Hamilton, Stitcher
Orfeo ed Euridice
Christoph Willibald Gluck
Born July 2, 1714 in Erasbach, near Weidenwang, in the Upper Palatinate, Germany
Died November 15, 1787 in Vienna
This weekend marks the UMS premiere performances ofGluck's Orfeo ed Euridice.
Gluck inherited a world of excess. Too many notes, too many flourishes, far too much virtuosity for pure virtuosity's sake on the part of the performers of his youth. He was determined to be a well-known and respected opera composer but seemed trapped in the ways of his predecessors. Singers and instru?mentalists used music to show themselves off, not the other way around, and rarely delved deeply into a story or an emotion. All twenty-nine operas Gluck wrote between 1741 and 1762 proved conventional in the extreme, fairly uninspired, even dull on occasion.
Then it happened: his thirtieth attempt gave birth to Orfeo ed Euridice, a work which forever changed the progress of opera, if not music altogether. The Greek legend, turned into an Italian libretto by Calzabigi, seems to have inspired the com?poser in music of consummate beauty and symmetry. It is not at all conventional, employing orchestrations never before attempted (Orfeo's aria in the Elysian Fields scene) and forms of Gluck's own devising which later composers would help them?selves to liberally and gratefully (the third act's aria for Euridice which turns into a duet and later back into an aria again).
Above all, Orfeo is simple, and never excessive when it can afford to be economi?cal. This music slices right through to the heart of the matter, for the most part depriving singers and orchestra of any opportunities for empty vanity. The vocal ranges are restricted and not particularly challenging, the choral and orchestral music
almost readable at first sight. But this is a simplicity which burns, not a facile or child?like variety. It permits the Message of the opera to remain shining and foremost in our minds and ears at all times. In rehearsals for our May 2001 workshop performance, our singers and dancers often referred to feeling "purified" or "cleansed," for such is the nature of Gluck's no-nonsense score.
It is easy to find three moments in Orfeo where a spray of notes--which could be called excessive--are needed for the "simple" effect required. This would seem to put the lie to what I have previously stated, but the composer has his reasons for occa?sionally varying his style. The Overture to the opera--which our director has decided to choreograph rather than have it played before a closed curtain--provides a feeling of celebration, of expectation. One could even go so far as to conjecture that in order to enhance the opening funeral chorus, Gluck needed as much festivity as he could muster. Historically, this overture looks backwards and resembles Gluck's earlier operas as well as operas by others. Perhaps Gluck has used it to set a context for what will never be the same again.
At the conclusion of our first act, Orfeo sets off for Hades to the strains of a florid, no-holds-barred aria of enormous range and virtuosity. But these techniques, never to be employed again in the opera, fully capture the bravado and mission of our hero; simple music would be out of place here and would fail to illustrate the situation. Lastly, the famous ballet, Dance of the Furies in act two, provides the orchestra with its most virtu-osic measures in the opera. What else could Gluck have employed to picture this terrify?ing world Coming after music of majesty, serenity and simplicity, these cascades of notes from the strings sound as terrifying today as they, no doubt, did centuries ago.
As always, when one chooses to pro?duce Gluck's Orfeo, there are problems with editions and arbitrary decisions must be
Synopsis
Sinfonia
From his workshop on Olympus, Jupiter has seen Orfeo's grief and prepares with Amor's assistance to direct his fate on earth and below.
Act I
Euridice, Orfeo's beloved wife, has been killed by the sting of a snake. Nymphs and shep?herds join Orfeo in mourning her death at a funeral ceremony. Orfeo imagines her ghost calling to him from the underworld. With Echo at his side, he laments her loss. Moved by Orfeo's grief, Amor and her handmaidens intercede: Orfeo may retrieve Euridice from Hades if, with the sound of his music, he can placate the Furies and then return to the earth's surface without looking back at his wife. Otherwise, she will die. With renewed hope and determination, Orfeo prepares for his journey.
Act II, Scene 1
Orfeo crosses the River Styx and pacifies the terrible Furies, spirits of Hades, with his pleadings and beautiful music.
Act II, Scene 2
In the Elysian Fields, Euridice is lulled into blessed forgetfulness by the spirits. Orfeo appears, entranced by the beauty of the realm, and the spirits, along with Jupiter and Amor, grant him the hand of Euridice.
Act HI, Scene 1
Orfeo and Euridice pass upwards through a treacherous landscape. Unaware of Amor's con?ditions for her return to life, Euridice pleads with her husband to look back to her to prove his love. Unable to resist her any longer, Orfeo turns back and Euridice immediately falls life?less to the ground. Overwhelmed with grief, Orfeo prepares to stab himself; Amor appears and restores Euridice to life again. The couple thank Amor and rejoice in the delight of their love.
Act III, Scene 2
Jupiter conducts a grand celebration in the Temple of the God of Love.
made. Appetites in the various European cities in which it was performed were vastly different in the eighteenth century: castrati were allowed in one city, but not in another; more dance was favored in Paris, less in Vienna; a singer in one cast might not be up to certain tasks or might demand other music or other keys. Our production is an amalgam of the Parisian and Viennese ver?sions, sung in Italian, and capitalizing on our good fortune in securing Mme. Podles" participation, a singer capable of executing the most virtuosic demands imaginable. A bit of dance music has been removed, and a few pieces have been re-ordered.
Never before had dance assumed such a role in telling an opera's story. We have jointly tried to create for you a ballet-opera or an opera-ballet, whichever term you prefer. I believe you will hear text in the dancing and sense movement in the singing. Gluck's sublimely beautiful score has made this fusion possible and has rendered this tale fresh, and yet enduring, to all who are lucky enough to participate. Working on Orfeo has been a joy for all of us.
--Martin Katz, Music Director
C
hristoph Willibald Gluck had more than a hunch, I suspect: never before had dance played such a prominent role in the unfolding of an operatic narrative. It must have been in the air; in his 1750 treatise on danc?ing, Noverre had preached the virtues of a natural style, a living metaphor of the forces and organic movements of nature distin?guishing it from the merely ornamental, artificial or superficial. The moment the curtain opens on Gluck's sad funeral dirge, the shifting, weighted step of the burdened human body is everywhere. The phrasings of the music match the mourners' utter?ances, the heavy breath, the halting sobs or
long, low lunges and arched suspensions of the dancers as they create architecture of lamentation around the central bier.
Throughout Act 1, Gluck leaves the perfectly etched space for the dancing body to tell the story, to embody a landscape of grief and mystery through which Orfeo must pass to achieve his fate. And by the time we arrive in Act 2 to the famous "Dance of the Furies"--placed back to back with the "Dance of the Blessed Spirits"--we have one of the greatest mood swings in the history of music. Here, Gluck allows the dance to tell the story of Orfeo's inner and outer journey: of the shifting extremes of hell to heaven, fire to air, fear and terror to a kind of blessed and tranquil forgetfulness. Psychologically dramatic layerings in this dynamic score foreshadow innovations yet to be claimed over the next two centuries. And by the last scene, Gluck has our origi?nal mourners reappear as celebrants of a cosmic dance of sun and moon, reunion and rebirth, and the second marriage of Orfeo and Euridice. Everything comes full circle in this happy-ending version of the original tragic legend. Every rhythmic underpinning in the score is fitted to the sustained sweep or percussive whiplash of the dancer's body and to the emotional authenticity of the narrative.
This is a long-winded way of confessing that I have never had an easier time choreo?graphing to music. Gluck has handed me a gift over a 250-year gulf, and I have seized the opportunity to embody its exquisite music with a talented team of artistic col?laborators, including my company of devot?ed dancers. The true mark of the achieve?ment of twentieth-century dance is its expressive range as manifested in the unprecedented physicality and virtuosity of the dancers and the dances it has produced. Perhaps we are finally prepared to take on, re-interpret and realize musical scores as they never could have been before. Some
scores do not need our dances; others blossom into a kind of visual and visceral splendor. Gluck trusted the power of dance long before such arguments existed. I wish he could be here to see our new production. I wonder what he'd think
--Peter Sparling, Choreographer and Director
The Artists
T
he Peter Sparling Dance Company, founded in 1993, is Michigan's pre?miere modern dance company. Under artistic director Peter Sparling's leadership, the company has established an extensive repertory fea?turing works by Mr. Sparling and select guest choreographers. The Peter Sparling Dance Company presents a vast dancescape expressing human experience from the comic, tragic, and sublime, to the ecstatic, ethereal, and extraordinary. The seven-member troupe is a diverse mix of highly skilled dancers who excel in a variety of dance styles such as modern, ballet, and jazz, and have national and international performance experience.
Mr. Sparling's original choreography
incorporates innovative uses of text and original musical scores, as well as classical and popular music. He has created over one hundred dances in his thirty-one years in dance. As a veteran member of the Martha Graham and Jose Limon Dance Companies, Mr. Sparling's choreography is informed by the language and technique of these modern dance pioneers, which he transforms into his own eloquent, sensuous, and quirky style.
The Company's current season takes them to cultural and performing arts cen?ters throughout Michigan and the Midwest. The Peter Sparling Dance Company is a non-profit organization dedicated to the advancement of contemporary dance through performance and education. The Company is funded in part by the Michigan Council for Arts and Cultural Affairs, and recently received an award from the National Endowment for the Arts.
This weekend's performances mark the Peter Sparling Dance Company's debut appearances under UMS auspices.
P
eter Sparling (Choreographerand Director) is a professor (1984-) and former chair (1988-95) of the University of Michigan Department of Dance and also Artistic Director of the Ann Arbor-based Peter Sparling Dance Company. A graduate of Interlochen Arts Academy and The Juilliard School, he was a member of the Jose Limon Dance Company from 1971-73 and a principal dancer with the Martha Graham Dance Company from 1973-87. From 1979-83, he presented his solo concert, Solo Flight, and Peter Sparling Dance Company for five successive seasons at New York's Riverside Dance Festival. Mr. Sparling has held residencies at numerous American universities and at the London
Contemporary Dance Theatre, Australia's Victorian College of the Arts, Portugal's Ballet Gulbenkian, Taiwan's Cloud Gate Dance Theatre, the Bat-Dor Summer Dance Workshop and at the American Dance Festival. He is a recipient of the 1998 Governor's Michigan Artist Award and a recipient of awards from the National Endowment for the Arts, Michigan Council for Arts and Cultural Affairs, Arts Foundation of Michigan and U-M Rackham School for Graduate Studies. Mr. Sparling was a 199697 Faculty Fellow at the U-M Institute for the Humanities and 1998 Fellow at the U-M Rackham Summer Interdisciplinary Institute. He has worked extensively with composers, actors, visual artists and scientists to create collaborative performance works. An avid writer and poet, he has written texts for performance and has been published in the Michigan Quarterly Review. His one-man show, Bodytalk: A Vaudeville for Dancing Man at Middle Age, will premiere at the 2002 Ann Arbor Summer Festival.
T
he Ann Arbor Symphony Orchestra (A2SO) has been a part of Ann Arbor's cultural life for nearly sev?enty-five years. It was founded in 1928 by Joseph Maddy (founder of Interlochen Music Camp) as a "mom and pop" orchestra of committed and talented amateur musicians. Since 1986, the A2SO has been a fully professional orchestra, first under the baton of Carl St. Clair, followed by Sam Wong from 1992-1999. Over 275 individuals applied to succeed Maestro Wong, and through the diligent work of the A2SO Orchestra, Board and feedback from our community, five distinguished finalists were selected to conduct the orchestra dur?ing the 19992000 season.
Maestro Arie Lipsky, who conducted three sold-out Youth Concerts in March and
gave the premiere of Michigan's Millennium project Lokananta, was the unanimous choice of orchestra, board and community alike to lead the A2SO into the new century. He inaugurated his "Season of Firsts" in September 2000. A2SO concert attendance grew by fifteen percent during his first season, and at every opportunity Maestro Lipsky demonstrated consummate skill as an artist, performer, and communicator. Maestro Lipsky continues this distinguished and inspired music making by treating audi?ences to thrilling performances of Mahler, Mozart, Vivaldi, Foss, Tchaikovsky, Brahms and Hindemith. He has added to the new works performed by the Orchestra with the premiere of Eric Hachikian's College.
Audiences enjoy the compelling music created by the A2SO and delight in the soloists who grace our stage. Recent soloists include a mix of world-class artists who call Ann Arbor home such as Erling Blondal Bengtsson, Bella Hristova, Amy Porter and the U-M Gamelan Ensemble, as well as artists such as Angela Cheng, Jacques Israelievitch, Jaime Laredo and Richard Stolzman. We are proud to boast many soloists from within our own orchestra, including concertmaster Stephen Shipps.
A key component of A2SO's mission is education and outreach, and we are deeply committed to demonstrating musical excel?lence both inside the concert hall and well beyond it. Our in-school educational pro?grams and Youth Concerts reach over 16,500 area students each year. The A2SO is an official Partner for Excellence with the Ann Arbor Public Schools, and we continue to create standard-setting youth concert curricula that teach students about music while reinforcing vital skills such as literacy, logic, and pattern recognition. Pre-concert lectures and broadcasts of our concerts on WGTE radio help create an informed, dis?cerning audience of life-long learners. In April 2001, we inaugurated a Matinee
Musicale Series for senior citizens.
The A2SO is supported by volunteers, community members, foundations, local businesses and merchants. We take pride in a dedicated group of Board Members who come from all spheres of experience--doc?tors, educators, bankers, attorneys, commu?nity volunteers, business leaders and creative artists.
This weekend's performances mark the Ann Arbor Symphony Orchestra's thirty-fifth, thir?ty-sixth and thirty-seventh appearances under UMS auspices.
Please refer to UMS Annals, page 25, for biographical information on the UMS Choral Union.
This weekend's performances mark the UMS Choral Union's 381st, 382nd, and 383rd appearances under UMS auspices.
@@@@M
artin Katz (Conductor and Music Director), dubbed "dean of accompanists" by The Los Angeles Times, was the 1998 recipient of Musical America's "Accompanist of the Year" award. He regu?larly collaborates in recitals and on record?ings with artists including Marilyn Home, Frederica von Stade, Kiri Te Kanawa, Kathleen Battle, Cecilia Bartoli, David Daniels, and Jose Carreras. Highlights of Mr. Katz's more than thirty years of concer-tizing with the world's most celebrated vocal soloists include innumerable recitals at Carnegie Hall, appearances at the Salzburg Festival, tours in Australia and Japan and performances at La Scala, the Paris Opera and the Edinburgh Festival. His concerts are frequently broadcast both nationally and internationally. His work has been recorded on the RCA, CBS, Cetra, BMG, EMI, Phillips and Decca labels. The Metropolitan, Houston and Ottawa Operas have per-
formed his editions of Baroque and bel canto operas of Handel, Vivaldi and Rossini. At the University of Michigan, in addition to instruction in ensemble for pianists, Mr. Katz coaches singers, teaches vocal reperto?ry, and is a frequent conductor of the School's opera productions.
He is Artur Schnabel Collegiate Professor of Music at the University of Michigan.
This weekend's performances mark Martin Katz's twenty-fourth and twenty-fifth appear?ances under UMS auspices.
S
teven Jarvi (Assistant Musical Director and Conductor) is cur?rently pursuing his MM in Orchestral Conducting with Gustav Meier at the Peabody Conservatory of Music. Mr. Jarvi received a BM in Music
Theory and Orchestral Conducting from the University of Michigan School of Music where he studied with Kenneth Kiesler, Martin Katz, Jerry Blackstone and Katherine Collier. He has conducted over twenty concerts in
the Ann Arbor area as well as concerts in the Czech Republic. Mr. Jarvi recently completed a two-year tenure as Music Director of the Michigan Pops Orchestra and is currently the Assistant Conductor of the Peabody Conservatory production of Strauss' Ariadne aufNaxus.
Saturday evening's performance marks Steven Jarvi's UMS debut.
T
homas Sheets (Chorus Master) 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 (DSO). In the past seven seasons, he has prepared the Choral Union for several notable perfor?mances given by the DSO under the,direc?tion 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 internation?ally 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 conductor William Hall. During that time, he assisted in preparing all the major choralorchestral works in the current international reper?toire, in some instances for performances led by Robert Shaw, Jorge Mester, Joann Faletta and Michael Tilson-Thomas. 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.
Soloists
w
i ith her distinctive, dramatic voice of staggering range, agility and amplitude, Ewa Podles (Orfeo) is widely regarded as the world's foremost contralto. As comfortable with Mahler and Prokofiev as the breathtakingly florid music of Gluck, Handel, Vivaldi and Rossini, she is a true original, a "Golden Age" singer for our time. Her stellar 20012002 season includes a Rossini concert and the title role of Giulio Cesare with the Canadian Opera Company (to which she returns in 2002 2003 for Jocasta in Oedipus Rex); the title role of Gluck's Orfeo under the auspices of the University Musical Society in Ann Arbor, Michigan; a return to the Detroit Symphony for Mahler's Das Lied von der Erde conducted by Neeme Jarvi; a return to the Montreal Symphony for Mahler's Kindertotenlieder, and recitals in Berkeley, Philadelphia, Overland Park, Cleveland, Chicago and New York (the latter two with pianist Garrick Ohlsson); European engagements include Mahler's Symphony No. 3 with Paavo Jarvi and l'Orchestre National de France; a Rossini concert with l'Orchestre de la Suisse Romande in Geneva; Rossini's Viaggio a Reims in San Sebastian and La Coruna and a
recital at the Teatro de la Zarzuela.
Mme. Podles' 20002001 season included recitals in New York, San Juan, Washington, DC, Quebec and Louisville; debuts with the Detroit Symphony (Mahler's
Symphony No. 2), Toronto Symphony (Prokofiev's Alexander Nevsky), Saint Paul Chamber Orchestra (a GluckHandel pro?gram conducted by Nicholas McGegan); and a concert with Music of the Baroque in Chicago's Orchestra Hall. She also returned to Carnegie Hall for baroque arias with the Moscow Chamber Orchestra; made her Dallas Opera debut, as Erda in Wagner's Siegfried; sang her first-ever Mistress Quickly in Verdi's Falstaff at the Deutsche Staatsoper Berlin; Cornelia in Handel's Giulio Cesare at the Gran Teatre del Liceu and Rossini's Semiramide in Brussels and Liege. Other career highlights include Mahler's Das Lied von der Erde with the Philadelphia Orchestra and Ottawa's National Arts Centre Orchestra; Kindertoten-lieder with Leon Botstein and the American Symphony Orchestra; Mahler's Symphony No. 3 with Gerard Schwarz and the Seattle Symphony; Prokofiev's Alexander Nevsky with the San Francisco and New World Symphonies; her celebrated Rossini Arias for Contralto program with the Moscow Chamber Orchestra in Carnegie Hall and the San Francisco Opera House; and recitals in New York, Cleveland, Washington, Paris, London, Toronto, Philadelphia, Moscow, San Francisco, Montreal and Amsterdam. She also performed the Baroque Heroines program with Quebec's Les Violons du Roy under its Music Director Bernard Labadie; and Berlioz' La mort de Cleopdtre and arias from Berlioz' version of Gluck's Orphee with
Charles Dutoit and the Montreal Symphony.
Mme. Podles has sung her signature role of Rossini's Tancredi at La Scala and the Staatsoper Berlin (and on the Grammy-nominated Naxos recording); Arsace (Semiramide) at Venice's Teatro La Fenice; Handel's Rinaldo at New York's Metropolitan Opera and Paris' Theatre Chatelet; Dalila in Saint-Saens' Samson et Dalila at Paris' Opera Bastille; Ulrica in Verdi's Un Ballo in Maschera at Madrid's Teatro Real; Baba the Turk in Stravinsky's The Rake's Progress at Catania's Teatro Bellini; Bradamante in Handel's Alcina at Barcelona's Gran Teatre del Liceu; and made a hugely successful European tour (Paris, Birmingham, Vienna, Amsterdam) in the title role of Handel's Rinaldo with Christopher Hogwood and the Academy of Ancient Music. She has also sung principal roles at the Frankfurt Alte Oper, Deutsche Oper Berlin, Vienna State Opera, Naples' Teatro San Carlo, Warsaw's National Theatre, the Rome, Budapest and Vancouver Operas; and been welcomed at the Aix-en-Provence, Flanders and Montpellier Festivals; as well as Canada's Festival International de Lanaudiere. She has appeared with the Pittsburgh, Edmonton and NHK Tokyo Symphonies, Hong Kong and Dresden Philharmonics, Maggio Musicale Fiorentino Orchestra and National Orchestra of Spain, under such conductors as Lorin Maazel, David Atherton, Gianluigi Gelmetti, Peter Maag, Myung-Whun Chung, Libor Pesek, Alberto Zedda, and Armin Jordan. Her many collaborations with Marc Minkowski and Les Musiciens du Louvre includes two Deutsche Grammophon recordings: Handel's Ariodante (winner of the coveted Diapason d'Or) and Gluck's Armide. Other recent issues include A Treasury of Polish Songs with pianist Ewa Poblocka, Respighi's Tramonto, two recordings of Gluck's Orfeo, Mahler's Symphonies No. 2 and No. 3, Alexander Nevsky, and a unanimously acclaimed all-Rossini disc, awarded the pres-
tigious Preis der Deutschen Schallplatten Kritik. An especially renowned interpreter of Russian song, her widely acclaimed Melodies Russes recording with pianist Graham Johnson earned the Grand Prix de L'Academie Francaise du Disque. Recently Mme. Podles began collaborating with the renowned pianist Garrick Ohlsson, including work on a new Arabesque recording of Chopin songs. Her latest recording is Handel Arias with the Moscow Chamber Orchestra on Delos.
This weekend's performances mark Ewa Podles fifth and sixth appearances under UMS auspices.
I
sabel Bayrakdarian (Euridice) was the first-prize winner of the presti?gious Placido Domingo "Operalia" Competition in 2000. A Canadian Armenian, she has made an impres?sive series of appearances in the past two seasons, including at the Lyric Opera of Chicago as Catherine in the world premiere of William Bolcom's
A View from the Bridge, Rosina in Barbiere di Siviglia; Pamina in Die Zauberflote with the Cincinnati Opera; Romilda in Handel's Serse (a Michael HampeChristophe Rousset production) at the Opera de Montpellier, France,
the Handel Festival in Ludwigshafen and the Dresden Semperoper in Germany; and Emilia in Handel's Flavio at the Badisches Staatstheater in Karlsruhe, Germany. She also appeared in the rarely performed Marc'Antonio e Cleopatra by Hasse at the Theatre des Champs Elysees in Paris under the musical direction of Rene Jacobs and
returned to the Canadian Opera Company in Toronto for Zerlina in Don Giovanni after having appeared as Rosina in Barbiere di Siviglia the previous season. She made her New York operatic debut as Camille in Herold's Zampa with L'Opera Francais de New York and made her Italian debut at Milan's Teatro alia Scala in Bernstein's West Side Story.
Future operatic engagements include two productions at the Metropolitan Opera (200304), Susanna in Le Nozze di Figaro at the Paris Opera (Bastille) in 2002 and in 2003 at the Lyric Opera of Chicago, Cleopatra in Giulio Cesare at the Canadian Opera Company (2002), Valencienne in The Merry Widow at the San Francisco Opera (2002), and Leila in Les Pecheurs de Perles at the San Diego Opera (2004).
Ms. Bayrakdarian has an extensive con?cert repertoire. She performed a concert of SpanishSouth American music at Glenn Gould Hall in Toronto that was broadcast on CBC in Canada. She was soprano soloist in Handel's Messiah with the National Arts Centre Orchestra in Ottawa, and appeared in Spring 2001 as the featured soloist with the Canadian Opera Company Orchestra. She also appeared in Toronto in benefits for the Royal Conservatory of Music in Toronto and the Off-Centre Music Series.
Upcoming concert appearances in 200102 include Mahler's Symphony No. 4 with the Pittsburgh Symphony, Messiah with Les Violons du Roy (performances in Montreal, Toronto, Quebec), a Gala for the National Arts Centre including artists Yo Yo Ma and Pinchas Zuckerman, and recitals in New York (Weill Hall at Carnegie Hall), Boston (FleetBoston Celebrity Series), Vancouver (Vancouver Recital Society) and Toronto (George Weston Recital Hall at Toronto's Centre for the Arts).
As a recitalist, Ms. Bayrakdarian appeared in New York with Richard Stilwell for the George London Foundation; on "On Wings of Song" recital series sponsored by
the Marilyn Home Foundation and the Marilyn Home Annual Birthday Gala at Carneige Hall in January of 2000, as well as in a recital for Pro Musica in Detroit.
Ms. Bayrakdarian has recorded Villa-Lobos1 Bachianas Brasileiras for CBC Television and Rachmaninoff's Vocalize for Bravo! Arts Television, and Canada's CTV Network featured her in a documentary. There are three recording projects planned with the CBC: a SpanishSouth American project (repeat of her highly successful recital of December, 2000), a disc of Armenian Liturgical Music in conjunction with a public concert sponsored by the Armenian community at the Toronto Centre for the Arts, and a third project of operatic arias.
Ms. Bayrakdarian has been the recipient of many grants. In addition to winning first prize in the 2000 Operalia vocal competi?tion, she has been the recipient of a Sullivan Foundation Grant, the 2000 Leonie Rysanek Award for the George London Foundation, a grant for the Canada Council and the Metropolitan Opera National Council Award.
This weekend's performances mark Isabel Bayrakdarian's debut appearances under UMS auspices.
L
isa Saffer (Amore), described by Leighton Kerner as "one of those special singers whose technique and blooming sound always serves sense and emotion," delves into repertoire ranging from Handel to Zimmermann with remarkable incisiveness and musicality. Renowned for her interpretation of twentieth-century repertoire, English National Opera mounts its first production of Berg's Lulu for Lisa Saffer this season. Paul Daniel will conduct the Richard Jones production. Acknowledged as a leading per?former of the works of Oliver Knussen, Ms.
Saffer will be heard in many performances of the composer's works during his fifti?eth birthday celebra?tion season. She will debut with the City of Birmingham Symphony Orchestra in performances of Berg's "Three
Fragments" from Wozzeck and Knussen's Whitman Settings conducted by Oliver Knussen. She will also perform Knussen's Higglety Pigglety Pop! with the Schoenberg Ensemble at the Concertgebouw in Amsterdam and with the London Sinfonietta at Queen Elizabeth Hall in London. Lisa Saffer's recording of the work with Maestro Knussen and the London Sinfonietta was recently released by DGG. The soprano also adds the role of Tytania in Britten's A Midsummer Night's Dream to her repertoire in her Florentine Opera debut. Future contemporary opera productions include the New York premiere of Charles Wuorinen's Haroun and the Sea of Stories at the New York City Opera in which she will perform the role of Haroun.
Also acclaimed for her appearances in Early Music, Lisa Saffer will join the Mark Morris Dance Company and the Philharmonia Baroque Orchestra for performances of Rameau's Platee (roles of Thalie and Clarine). The California performances will be con?ducted by Nicholas McGegan. This season Ms. Saffer will also collaborate with Maestro McGegan and the Indianapolis Symphony Orchestra in a program of Handel arias. She will perform the role of Amor in Gluck's Orfeo ed Euridice under the auspices of the prestigious University Musical Society at the University of Michigan in her hometown of Ann Arbor. Lisa Saffer also returns to Glimmerglass Opera for her first perfor?mances as Angelica in Haydn's Orlando
Paladino. Guido Johannes Rumstadt will conduct the James Robinson production, which will also be produced at the New York City Opera with Ms. Saffer in a future sea?son. She adds the role of Cleopatra in Handel's Giulio Cesare to her repertoire in a future production at Utah Opera.
The preeminent interpreter of the role of Marie in Zimmermann's challenging Die Soldaten, the soprano received international acclaim for the role in the New York pre?miere of the opera at the New York City Opera, which was followed by equally her?alded performances at the Opera de Bastille in Paris (under conductor Berhard Kontarsky) and at the English National Opera (under conductor Elgar Howarth) in the London stage premiere. The review of her performance in The Nation read, "Among many superb performers, Lisa Saffer's Marie was in a class by herself: unfailingly effective she sang the fearsomely difficult part without a hesitant note or accent--true, direct, lyrical...."
Lisa Saffer is equally well known for her performances in the operas of Handel, many of which have been released on the Harmonia Mundi label. Her first explo?ration of the early operatic repertoire was in the Stephen Wadsworth productions of The Return of Ulysses (Minerva) and The Coronation of Poppea (Poppea) at the Skylight Opera in Milwaukee. Performances of Jenny and Polly Peachum in The Beggar's Opera at the Santa Fe Opera, and Belinda in Dido and Aeneas (directed by Mark Morris) at the Brooklyn Academy of Music (BAM) (all conducted by Nicholas McGegan) fol?lowed. She also performed Drusilla in Poppea in the Jonathan Miller production at BAM, at Glimmerglass she portrayed the title role of Partenope conducted by Harry Bickett and the title role in the Simon Callow production of Cavalli's Calisto, which was conducted by Jane Glover. At the Boston Early Music Festival she performed
Iole in Cavalli's Hercules. She also performed the role of Antigona in the rarely performed Admeto with Emmanuel Music in Boston.
Ms. Saffer's discography includes the Grammophone Award-winning recording of Handel's Ariodante, as well as Agrippina, Ottone, and Radimisto, Purcell's Dido & Aeneas, and her solo aria recording Arias for Cuzzoni. She has also recorded Knussen's Hums and Songs for Winnie-the-Pooh with The Chamber Music Society of Lincoln Center for Virgin Classics, Imbrie's Requiem with the Riverside Symphony and Bright Sheng's Three Chinese Love Songs for New World Records. Most recently she has recorded Knussen's Higglety Pigglety Pop and Where the Wild Things Are with the London Sinfonietta for DGG and Xanthe in Richard Strauss' Die Liebe der Danae with the American Symphony Orchestra for Telarc. Her appearance in the New York City Opera production of A Little Night Music was televised on Live From Lincoln Center and she has appeared as a guest artist on the Garrison Keillor radio program on NPR.
Lisa Saffer was awarded the Diva Award by the New York City Opera, in addition to winning the Anna Case Mackay Award as an apprentice at the Santa Fe Opera. Ms. Saffer was a national finalist in the Metropolitan Opera auditions, a Central City Opera Studio Artist, and a recipient of a 1988 National Music Theater Institute encourage?ment grant. She holds a Bachelor's Degree in Music from Oberlin College Conservatory, and a Masters in Music and Artist Diploma from New England Conservatory. Ms. Saffer currently resides in Boston.
This weekend's performances mark Lisa Saffer's debut appearances under UMS auspices.
Saturday Evening Soloists Understudies
Peiyi Wang (Orfeo) is currently a major in Vocal Performance at the University of Michigan School of Music. In July 1999, Ms. Wang graduated from Peking University in China with a
Bachelor Degree in English Language and Literature. Following her accep?tance of a full schol?arship from the University of Michigan, she stud?ied voice with Professor Martha Sheil and currently
studies with Professor Shirley Varrett. Last year, Ms. Wang performed La Marquise in Donizetti's La fille du regiment and Meg in Verdi's Falstaff. Ms. Wang won the "Best Show" prize in the 2001 U-M Collage Concert, "First Prize" in the Professional Division of the Great Lakes Opera Competition and Friends of Opera Scholarship in 2000, and "First Prize" in the Harold Haugh Light Opera Competition. Ms. Wang will perform Angelina in Rossini's La Cenerentola this upcoming March.
Saturday evening's performance marks Peiyi Wang's UMS debut.
Loren Allardyce (Euridice) recently graduated from the University of Michigan with a Master of Music degree in Vocal Performance, studying under the acclaimed opera singer, Shirley Verrett. Ms. Allardyce starred as Marie in Lafille du regiment and as Mistress Alice Ford in Verdi's Falstaff and will be fea?tured on an upcoming set of Sony record?ings of the works of Jewish-American com?posers. Ms. Allardyce will be singing Adina
in The Elixir of Love in Madison, Wisconsin this upcoming winter.
Saturday evening's performance marks Loren Allardyce's UMS debut.
Kathryn Alexander (Amor), currently resid?ing in Chicago, recently received her Master of Music degree in Vocal Performance at the University of Michigan under the tutelage of
voice professor Lorna Haywood. During the course of her time at Michigan, she appeared as Gabriel in Haydn's Creation and as the soprano soloist in Mendelssohn's Midsummer Night's Dream with the
University Philharmonic Orchestra.
Ms. Alexander's opera credits include Romilda in Act I of Handel's Serse, Nannetta in the University of Michigan's fall produc?tion of Falstaff, as well as the role of Susanna in Michigan Opera Work's Le Nozze di Figaro. Ms. Alexander also appeared as Pamina in Opera in the Ozark's production of Die Zauberflote.
Ms. Alexander received her Bachelor's Degree from Millikin University where she performed leading roles in Hansel and Gretel, The Bartered Bride, The Marriage of Figaro, The Tenderland, and Down in the Valley. While a student at Millikin, she was selected as winner of two concerto competitions as well as a NATS State and Regional winner.
Saturday evening's performance marks Kathryn Alexander's UMS debut.
Production Designers
Nephelie Andonyadis (Costume Design) recently accepted a position as Associate Professor of Design in the Theatre Department at the University of Redlands in Southern California. Ms. Andonyadis has designed sets andor costumes nationally for a range of theatres, from small experimental companies to regional theatres and Shakespeare Festivals. Recent projects include designs for South Coast Repertory and Cornerstone Theater Company in southern California, Great Lakes Theatre Festival in Cleveland, OH, the Court Theatre and American Girl Place in ' Chicago, The Acting Company and The Julliard School in New York City as well as Chronicles and Small Comforts and the Orfeo Suite for Peter Sparling Dance Company here in Ann Arbor. Ms. Andonyadis is the recipient of a design fellowship from the NEA, a Rackham Faculty Research Grant, as well as grants from the Office of the Vice President for Research and the School of Music Faculty Research Fund at the University of Michigan. She has an MFA in Design from the Yale School of Drama and a BS in History of Architecture from Cornell University.
Graceann Warn (Set Design) is an artist currently residing in Ann Arbor. Her mixed media assemblages are shown in galleries throughout the US as well as Great Britain and Canada. Orfeo ed Euridice is Ms. Warn's
first set design pro?ject, utilizing her past design skills as a landscape architect with a graduate study in Classical Art and her current stu?dio work. Of the challenge in design?ing for the theatre she says, "I have
always thought of my art as having a physi?cal life that will exist long after I am gone but with scene design I must create a visual life that will only remain in the imagina?tion."
Scott Zielinski (Lighting Designer) is based in New York City. Prior work in New York has included designs for Joseph Papp Public Theatre (Drama Desk nomination), Theatre for a New Audience, Manhattan Theatre Club, Playwrights Horizons, New York Theatre Workshop, Ontological-Hysteric Theatre (with Richard Foreman), and Signature Theatre Company. Other projects have included designs for The Guthrie Theatre, Mark Taper Forum (Garland Award), Goodman Theatre (Jefferson nomination), Steppenwolf Theatre Company (two Jefferson Awards), Arena Stage, Hartford Stage, American Repertory Theatre, The Shakespeare Theatre, Center Stage, and Berkeley Repertory Theatre. Recent choreographic lighting designs have been created for The Joyce, Kennedy Center Modern Dance Festival, American Dance Festival (with Twyla Tharp), American Ballet Theatre, National Ballet of Canada, Canada Dance Festival, San Francisco Ballet, Boston Ballet, and the Kansas City Ballet. Mr. Zielinski has worked as Associate Designer to Robert Wilson. Orfeo ed Euridice marks Mr. Zielinski's first collaboration with Peter Sparling Dance Company.
Production Personnel
Carrie Casey (Stage Manager) is pleased to be making her debut at the University of Michigan on such an exciting project. She would like to thank her host family Brett, Henry, Alix and Helen. Special thanks to Jeff for continuously unlocking the door and to Terry Lee for following her to another thrilling destination.
Gary Decker (Lighting and Project Supervisor) has designed scenery or lighting more than 100 productions. In Michigan, he has worked at The Gem, The Attic, The Birmingham, The Boarshead, The Music Hall, The Century, and The Purple Rose Theatres. Recent scenic designs include: the national tour of Neil Simon's The Sunshine Boys, starring Frank Gorshin and Dick Van Patten, the world premiere of Continued Warm for the Plowshare Theatre, and Fully Committed for The Century Theatre. Mr. Decker has designed scenery and exhibition display for many Fortune 500 corporations including AT&T, Lincoln-Mercury, Little Caesar's, Buick and Oldsmobile. He has designed interiors or lighting for numerous commercial projects including: On Stage-A Restaurant and The Elwood Grill, both in Detroit, The Fashion Cafe at Rockefeller Center in New York, and The Arndale Centre in Manchester, UK. He has been a member of the U-M Theatre Department Design Faculty since 1984. Recent U-M designs include scenery for The Best People, Grand Hotel, and To Kill a Mockingbird. He teaches classes in Production Technology and the History of Decor.
Terry Lee (Assistant Stage Manager) is happy to be working with Carrie Casey again while making her debut at the University of Michigan. Thanks to her fami?ly, Mortimer, Madeline, and Pudding.
John Grant Stokes (Assistant Stage Director), PhD in Theatre, Wayne State University, MA and BS in Vocal Performance, Eastern Michigan University. Mr. Stokes has held the position of Assistant Director for numerous opera productions for the Michigan Opera Theatre, Opera Pacific of Costa Mesa, CA, Michigan State University and Wayne State University.
Dancers
Lisa Catrett-Belrose is a founding member of Peter Sparling and Company. She received her BFA in Dance from Ohio University and an MFA in Dance from the University of Michigan. Lisa was a member of Jazz Dance Theater from 1991-93. Lisa has worked with choreographers Gladys Bailin, DaltonHartel, Mark Dendy, Doug Nielsen, David Parsons and ShapiroSmith. She has performed in Martha Graham's Diversion of Angels and Panorama as well as Jose Limon's There is a Time. Lisa is currently a lecturer in dance for the Department of Musical Theatre at the University of Michigan.
Holly Hobbs holds an MFA in Dance from the University of Michigan. She has been a featured performer with Ann Arbor Dance Works and is a former member of Detroit Dance Collective. She currently teaches at the Flint Institute of the Performing Arts.
Lisa Johnson received her BA in Anthropology from the University of Michigan. She was born in Stockholm, Sweden and raised in Michigan. Lisa has trained at local studios and attended work?shops around the country with artists Bill T. Jones, Ralph Lemon, Karen Steele, and Mel Wong. She was a member of J. Parker Copley Dance Company from 1983-89 and later worked with Peter Sparling, Linda Spriggs, Mary Fehrenbach, and Bill DeYoung. Lisa has taught youth and adult classes in modern dance and ballet since 1986. She also choreographs for the Huron High School Music Department.
Julianne O'Brien Pedersen is a founding member of the Peter Sparling Dance Company. She holds a BA from Connecticut College and an MFA from Ohio State University. She has studied at the Nikolais and Louis Dance Theater Lab in New York,
the American Dance Festival, and Jacob's Pillow Dance Festival, and is certified in Laban Movement Analysis. She has danced for companies in Washington, DC and New York City, and has had choreographic works shown throughout New England, Washington, DC, Ann Arbor, and El Salvador. Julianne is currently Assistant Professor of Dance at Eastern Michigan University.
Michael Spencer Phillips, BFA in Dance, University of Michigan. A former member of the Peter Sparling Dance Company and the Merce Cunningham Repertory Group, Michael currently lives and works in New York City, where he performs in pieces by a variety of independent choreographers such as Robert Wood and Risa Jaraslow. Michael recently choreographed for the off-Broadway rock-musical Fortune Cookie Dreams, and continues to work on new choreographic projects.
Tim Smola received his BFA in Dance from the University of Michigan. He has appeared in Merce Cunningham's Changing Steps, Paul Taylor's Esplanade, and the University of Michigan's production of The Tempest. He has studied with distinguished teachers Bill DeYoung, Jessica Fogel, and Judy Rice. Tim is currently a part-time faculty member at Eastern Michigan University Dance Department and teaches and choreographs for area dancers and figure skaters. He is also a practicing certified massage therapist.
Michael Woodberry-Means is a native of Detroit, Michigan, where he began his dance training with Andrea Haynes Johnson and the late Clifford Fears. Michael received his BA from the University of Michigan, and is currently completing an MFA degree there. He has performed with the Dallas Metropolitan Ballet, Dallas Black Dance Theatre, The Dance Theatre of the Harlem Ensemble, Martha Graham Dance,
Ballethnic Dance Company, and Lula Elzy New Orleans Dance Theatre. Michael has taught ballet and modern dance at Marygrove College, Pemajju Dance Studio, and Detroit Windsor Dance Academy.
Angela You ells received her BFA in Dance from the University of Michigan in 2000. She has performed her own original choreo?graphic works, and danced with Ann Arbor's Terpsichore's Kitchen and People DancingPandora Projects. She has also designed costumes for local dance and the?atre productions including A Midsummer Night's Dream, Peer Gvnt, and Carnival of the Animals. Angela joined the Peter Sparling Dance Company in 2001.
The Youth Performances of
Orfeo ed Euridice are dedicated to the memory of
Robert E. Meredith,
a generous supporter of the
University Musical Society
and passionate advocate for
arts education.
Ann Arbor Symphony Orchestra Mary Steffek Blaske, Executive Director
Arie Lipsky, Music Director
Violin I
Stephen Shipps, Concertmaster Stephen Miahky Joanna Bello Bethany Mennemeyer
Violin II
Barbara Sturgis-
Everett David Lamse Susan Friedman Lucia Santizo Kern
Viola
Kathleen Grimes Barbara Zmich Angelika Furtwangler
Cello
Vladimir Babin Eric Amidon
Bass
Gregg Emerson Powell
Harp
Amy Ley
Flute
Penelope Fischer Lori Newman
Oboe
Kristen Beene Kristin Reynolds
Bassoon
Eric Varner Roger Maki-Schramm
Horn
Willard Zirk Joel Wealer
Trumpet
David Kuehn David Ammer
Trombone
Donald Babcock Scott Hartley Glenn Andersen
Timpani
James Lancioni
UMS Choral Union Thomas Sheets, Conductor
Kathleen Operhall, Chorus Manager
Soprano
Margaret Dearden
Petersen Marie Davis Elizabeth Starr Mary Wigton
Alto
Mary Jo Baynes Lynn Powell Carolyn Gillespie Kathleen Operhall
Tenor
Matthew Gray John W. Etsweiler III Andrew Kuster A. T. Miller
Bass
Michael Pratt Roderick Little Charles Hudson Mark Lindley
"Simply committed to the best in dance for Michigan.
UMS
and
Linda and Richard Greene
present
Christoph Willibald Gluck's
Orfeo ed Euridice
Peter Sparling Dance Company Ann Arbor Symphony Orchestra UMS Choral Union
Peiyi Wang, Mezzo-soprano Loren Allardyce, Soprano Kathryn Alexander, Soprano
Peter Sparling, Choreography and Direction
Martin Katz, Musical Direction
Steven Jarvi, Conductor and Assistant Musical Direction
Graceann Warn, Set Design
Nephelie Andonyadis, Costume Design
Scott Zielinski (recreated by Gary Decker), Lighting Design
Thomas Sheets, Chorus Master
Dancers
Lisa Catrett-Belrose Michael Spencer Phillips
Holly Hobbs Tim Smola
Lisa Johnson Michael Woodberry-Means
Julianne O'Brien Pedersen Angela Youells
Saturday Evening, November 10,2001 at 8:00 Michigan Theater, Ann Arbor, Michigan
Seventeenth
Performance
of the 123rd Season
123rd Annual Choral Union Series
The photographing or sound recording of this concert or possession of any device for such pho?tographing or sound recording is prohibited.
This performance is presented with the generous support of Linda and Richard Greene.
Additional support provided by the Ann Arbor Area Community Foundation and the Wallace-Reader's Digest Funds.
UMS is grateful to the University of Michigan for its support of the extensive educational activities related to this performance.
Special thanks to Richard LeSueur, Tim Grimes, and the Ann Arbor District Library for hosting the "Orfeo in Music and Art" exhibit.
Special thanks to Dr. Clifford Cranna, Melissa Gross, David Halperin, Yopie Prins, and Peter Sparling for their involvement in this residency.
Supertitles for Orfeo ed Euridice are owned by the San Francisco Opera Association. Supertitles translation by Kip Cranna.
Large print programs are available upon request.
Cast
@@@@Orfeo Peiyi Wang
Euridice Loren Allardyce
Amor Kathryn Alexander
Jupiter Michael Spencer Phillips
Echo Lisa Catrett-Belrose
Euridice's Shade Julianne O'Brien Pedersen
Please refer to page 6 for complete program information on UMS' production of Orfeo ed Euridice.
"Simply committed to the best in dance for Michigan.'
UMS
and
Mr. and Mrs. Irving Rose
present
Christoph Willibald Gluck's
Orfeo ed Euridice
Peter Sparling Dance Company Ann Arbor Symphony Orchestra UMS Choral Union
Ewa Podles, Contralto Isabel Bayrakdarian, Soprano Lisa Saffer, Soprano
Peter Sparling, Choreography and Direction Martin Katz, Conductor and Musical Direction
Graceann Warn, Set Design
Nephelie Andonyadis, Costume Design
Scott Zielinski (recreated by Gary Decker), Lighting Design
Steven Jarvi, Assistant Musical Direction
Thomas Sheets, Chorus Master
Dancers
Lisa Catrett-Belrose Michael Spencer Phillips
Holly Hobbs Tim Smola
Lisa Johnson Michael Woodberry-Means
Julianne O'Brien Pedersen Angela Youells
Sunday Afternoon, November 11,2001 at 4:00 Michigan Theater, Ann Arbor, Michigan
Eighteenth
Performance
of the 123rd Season
123 rd Annual Choral Union Series
The photographing or sound recording of this concert or possession of any device for such pho?tographing or sound recording is prohibited.
This performance is presented with the generous support of Mr. and Mrs. Irving Rose.
Additional support provided by the Ann Arbor Area Community Foundation and the Wallace-Reader's Digest Funds.
UMS is grateful to the University of Michigan for its support of the extensive educational activities related to this performance.
Special thanks to Richard LeSueur, Tim Grimes, and the Ann Arbor District Library for hosting the "Orfeo in Music and Art" exhibit.
Special thanks to Dr. Clifford Cranna, Melissa Gross, David Halperin, Yopie Prins, and Peter Sparling for their involvement in this residency.
Supertitles for Orfeo ed Euridice are owned by the San Francisco Opera Association. Supertitles translation by Kip Cranna.
Ms. Podles appears by arrangement with Matthew Sprizzo.
Ms. Bayrakdarian appears by arrangement with Columbia Artists Management, Inc.
Ms. Saffer appears by arrangement with Janice Mayer and Associates, LLC.
Large print programs are available upon request.
Please refer to page 6 for complete program information on UMS' production oOrfeo ed Euridice.
Anne-Sophie Mutter
presents ,_',. . '
Violinist
and the
Trondheim Soloists
Program
Tuesday Evening, November 13,2001 at 8:00 Hill Auditorium, Ann Arbor, Michigan
@@@@Edvard Grieg
Zwei nordische Weisen (Two Nordic Melodies), Op. 63
Im Volkston (from Op. 17, No. 22) Kuhreigen (from Op. 17, No. 18)
@@@@Terje Bjerklund Giuseppe Tartini
Sarek
Sonata in g minor
Larghetto affetuoso
Tempo giusto
Sogni dell autore: Andante--Allegro assai--
Trillo del Diavolo--Andante--Allegro assai--Adagio
INTERMISSION
Antonio Vivaldi The Four Seasons, Op. 8, Nos. 1-4, from
dmento deU'armom'a e dell invenzione
Violin Concerto in E Major, "La primavera"
Allegro
Largo
Allegro
Violin Concerto in g minor, "L'estate"
Allegro non molto
Largo
Allegro
Violin Concerto in F Major, "L'autunno"
Allegro
Largo
Allegro
Violin Concerto in f minor, "L'inverno"
Allegro
Largo
Allegro
Nineteenth Performance of the 123rd Season
123rd Annual Choral Union Series
The photographing or sound recording of this concert or possession of any devicfor such pho?tographing or sound recording is prohibited.
Support for this performance is provided by media sponsor WGTE.
Ms. Mutter appears by arrangement with Columbia Artists Management, Inc.
Ms. Mutter records for Deutsche GrammophonUniversal Classics Group and has recordings available on EMI Classics and EratoWarner Classics.
Please visit Ms. Mutter on the Internet at www.anne-sophie-mutter.de.
Large print programs are available upon request.
Zwei nordische Weisen
(Two Nordic Melodies), Op. 63
Edvard Grieg
Born June 15, 1843 in Bergen, Norway Died September 4, 1907 in Bergen
Tonight's performance marks the UMS premiere of Grieg's Zwei nordische Weisen (Two Nordic Melodies), Op. 63.
As with all great "nationalist" composers, Grieg's use of native musical materials always transcends mere "local color" and reveals the universal significance of the par?ticular tradition involved. In Two Nordic Melodies, a product of Grieg's mature years, the way the original tunes were arranged is no less fascinating than the tunes themselves.
The first melody, incidentally, is not really a traditional tune but was instead written by Fredrik Due, the music-loving Parisian ambassador of Sweden-Norway (forming a union at the time). The folk-inspired melody seems to have been influenced by Grieg himself: its rhythmic shape is strongly remi?niscent of Solveig's song from Peer Gynt. What makes this little tune take its full effect is the way Grieg scored it, first for alternating violas and cellosbasses without any accom?paniment, then in a series of variations with increasingly rich harmonies and embellish?ments culminating in a full-bodied fortissimo which immediately collapses into pianissimo.
The second movement unites two folk melodies, both previously arranged by Grieg for solo piano in Twenty-Five Norwegian Folksongs and Dances, Op. 17 (1869). The gentle pastoral melody of the "Cow-call" serves as an introduction to the lively "Peasant Dance," in which a violin solo imi?tates the Norwegian fiddle while the rest of the strings provide energetic chords and rhythmic figurations. (The same melody was used by Igor Stravinsky as the "Wedding Song," the third movement of his Four Norwegian Moods of 1942.)
Sarek
Terje Bjorklund
Born 1945 in Narvik, Norway
Tonight's performance marks the VMS premiere of Bjerklund's Sarek.
After a work by Grieg, we shall hear a com?position about which one critic has written: "This music has lyrical sections that take your breath away--and the strong melodic profile sounds like updated Grieg." Terje Bjorklund brings at least two new elements with which to "update Grieg" (other than being 102 years younger): first of all, his background is in jazz, having combined classical composition with a successful career as a jazz pianist for years. Second, he is from Narvik in the far north of Norway where Grieg, who lived in Bergen about 600 miles to the south, never set foot his entire life. Bjorklund now lives and teaches in Trondheim, a much larger city in central Norway that is still a long distance from Bergen and Oslo in the more densely popu?lated South.
Bjorklund has written numerous instru?mental works including Morene for sym?phony orchestra, a Magnificat for soloists, choir and orchestra, and a chamber opera after the classic Norwegian author Knut Hamsun. Sarek, written for solo violin and string orchestra in 1989, was dedicated to Bjarne Fiskum, leader of the Trondheim Soloists. Sarek was commissioned by the Trondheim Conservatory of Music with support from the Norwegian Department of Culture.
Sarek is Europe's largest national park, located in the mountains of Northern Sweden, not far from the Norwegian border. The vast wilderness, with its forbidding glaciers, streams abounding in rapids and herds of giant elk and moose, is one of the last remaining natural sanctuaries where nothing is being done to facilitate tourist
access. Judging from photographs, however, the landscape is of breathtaking beauty, and it is no wonder that it inspired a composer born in that part of the world.
Bjorklund's work begins with a plaintive minor-second motif in which melodic half-steps are piled up to form tone clusters. The melodic phrases get longer and the tempo faster, but--after a cadenza-like solo for the first cellist--another very short motif appears, this time involving very rapid repe?titions of single pitches and chords, using so-called spiccato (short, off-the-string) strokes. The melody "freezes," as it were. Eventually, the plaintive opening returns, followed by the "frozen" repeated chords at half their original speed. After a crescendo and a decrescendo, the work ends on a clus?ter-like sonority made up of neighboring notes in the scale, as if it had gradually spent all its energy.
Sonata in g minor
Giuseppe Tartini
Born April 8, 1692 in Pirano, Istria
(now Piran, Slovenia) Died February 26,1770 in Padua
Tonight's performance marks the ninth UMS performance ofTartini's Sonata in g minor. Violinist William Luderer gave the UMS premiere of the Sonata in December 1883.
Tartini's Sonata in g minor is one of the best-known representatives of the rich Italian violin literature from the Baroque period. The composer spent many years as the concertmaster at St. Anthony's basilica in Padua (known for its famous Giotto paintings). He left over 100 violin concertos and dozens of sonatas, in addition to sacred vocal works and theoretical writings, but nothing captured the imagination of poster?ity more than the Sonata in g minor and the dream story in which it supposedly origi-
nated. The many adventures of his life became the subject of several fictionalized biographies, including one by the celebrated American violinist Albert Spalding, entitled A Fiddle, a Sword and a Lady--which sums up Tartini's three main areas of expertise.
It is not known exactly when Tartini wrote the Sonata in g minor. The tradition?ally accepted date (1713) is now thought to be several decades too early for stylistic rea?sons. Tartini adopted the four-movement church-sonata format (slow-fast-slow-fast) as established by Corelli, but introduced some interesting innovations. The opening movement follows the rhythmic pattern of the siciliano; the subsequent fast movement begins with a typical Baroque concerto idea but is actually worked out in something more closely resembling Classical sonata form. The very brief third movement is-surprisingly--incorporated in the finale, which also contains the famous "devil's trills."
Tartini's dream, as recounted to his friend, the French astronomer Joseph de Lalande:
I dreamed one night that I made a pact with the devil. In return for my soul, the devil promised to be at my side whenever I needed him, anticipating my every wish. On a whim, I handed him my violin, to see what kind of musician he might be. To my astonishment, the music he made was exquisite--a sonata of such unearthly skill and beauty that I stood transfixed as he played. My pulse stopped, breath failed me--and I awoke. Snatching up a fiddle, I tried to recapture the sounds I'd heard. Feverishly, before I should forget, I noted down the music of the sonata. But though it is the best I ever composed, how poor, how far inferior it is to the music the devil played in my tantalizing dream!
The Four Seasons, Op. 8, Nos. 1-4, from II a'mento dell'armom'a e dell invenzione
Antonio Vivaldi
Bom March 4, 1678 in Venice Died July 28, 1741 in Vienna
Tonight's performance marks the seventh complete UMS performance of Vivaldi's The Four Seasons, Op. 8. Virtuosi di Roma gave the UMS premiere of The Four Seasons in March 1956.
Born in Venice in 1678, Vivaldi was ordained as a priest in 1703 (he was widely known as ilprete rosso, or "the red-haired priest"), but never actually served in any ecclesiastical capacity. He had studied the violin with his father, who played at St. Mark's, and in 1703 became maestro di violino at an institution named Ospedale della Pieta that was devoted to the musical education of orphaned girls. Many of the girls played at an extremely high level, and Vivaldi was soon able to pre?sent performances at the Pieta that drew large audiences from the ranks of Venetian nobility and visitors from out of town. Many of Vivaldi's instrumental works were written for the Pieta, but they started circu?lating much more widely after he started publishing them in 1705. In 1711, Etienne Roger, a publisher in Amsterdam, brought out twelve of Vivaldi's concertos under the title L'estro armonico (Harmonic Inspiration). From this time on, Vivaldi was famous all over Europe. In Germany, J.S. Bach tran?scribed several Vivaldi concertos for key?board and Bach's original concertos often show the Italian composer's influence.
Vivaldi did more than any other composer to develop and to codify the Baroque con?certo. He established many of the concerto's standard features such as its three-move?ment (fast-slow-fast) structure, its orchestral ritornellos (which punctuate that structure), lyrical (usually short) slow movements, and spirited finales often using dance rhythms. These rules, however, left a lot of room for
variety, and in fact, Vivaldi's ingenuity in handling musical form and his melodic invention seem endless.
Vivaldi's most popular concertos are, without a doubt, the four for violin known as The Four Seasons. They were published in 1725 as part of a collection entitled cimento dell'armonia e dell'inventione (The Test of Harmony and Invention). If The Four Seasons are not the earliest example of program music, they are definitely among the boldest musical experiments of the eighteenth centu?ry. Vivaldi, displaying no mean poetic gifts, composed a sonnet about each season, and inscribed the poems into the score, indicating precisely when the events mentioned took place in the music. At the same time, despite all the storms, singing birds, barking dogs, and stumbling drunkards, Vivaldi managed to hold the concertos together musically and preserve the basic n'torHeZo-episode alterna?tion characteristic of the genre.
Program notes by Peter Laki.
Vivaldi's Poems
accompanying The Four Seasons (prose translations)
Spring
Spring has come and joyfully the birds greet it with happy song, while the streams flow along with gentle murmur as the zephyrs blow. There come, shrouding the air with a black cloak, lightning and thunder chosen to herald [the storm]; then, when these are silent, the little birds return to their melodi?ous incantations.
And now, in the pleasant, flowery meadow, to the soft murmur of leaves and plants, the goatherd sleeps with his faithful dog at his side.
To the festive sound of a pastoral bagpipe, nymphs and shepherds dance under their beloved roof, greeting the glittering arrival of the spring.
Summer
In the harsh season scorched by the sun, man and flock languish, and the pine is on fire; the cuckoo begins to call and soon after, the turtledove and the goldfinch are heard singing. Zephyr gently blows, but Boreas suddenly enters into a contest with his neighbor, and the little shepherd weeps for he fears the awesome threatening storm and his fate.
To his tired limbs rest is denied by the fear of lightning, awesome thunder, and the furi?ous swarms of flies and hornets!
Alas, his fears are justified. The sky is filled with thunder and lightning and hail cuts down the proud grain.
Autumn
The peasant celebrates the pleasure of the happy harvest with dances and songs and inflamed by the liquor of Bacchus, many end their rejoicing with sleep.
The mild pleasant air makes all abandon dance and song; this is the season that invites all to the sweet delights of peaceful sleep.
The hunters, at the break of dawn,1 set forth with horns, guns, and hounds. The animal flees, and they follow its tracks. Already frightened and tired by the great noise of guns and hounds, the wounded animal makes a weak attempt at fleeing, but it is overcome and dies.
Winter
Trembling with cold amidst the freezing snow, while a frightful wind harshly blows, running and stamping one's feet every minute, and feeling one's teeth chatter from the extreme cold;
Spending quiet contented days by the fire while the rain outside drenches people by the hundreds.
Walking on ice, and moving cautiously, with slow steps, for fear of falling, spinning around, slipping, falling down, again walk?ing on ice and running fast until the ice cracks and splits; hearing Sirocco, Boreas and all the winds at war burst forth from the bolted doors--this is winter, but it also brings joy!
I
n January 2000, the German violinist Anne-Sophie Mutter made musical history in New York City when she undertook the most significant pro?ject of her career: a festival entitled Back to the Future. It comprised two recitals with pianist Lambert Orkis at Carnegie Hall and three orchestral programs with the New York Philharmonic and Maestro Kurt Masur, eight concerts in all within the space of twelve days.
Offering a retrospect of the violin reper?tory of the entire twentieth century, Back to the Future featured the music of fourteen composers including several works com?posed for and dedicated to Ms. Mutter. The festival's stunning success took the public and critical press by storm: "Her perfor?mance was, altogether, a triumph," said the New York Times. Three months later Ms. Mutter repeated her achievement with equally jubilant responses in London, Frankfurt, and Stuttgart.
This summer, Ms. Mutter undertook a residency at the Lucerne International Festival which included the Berg Violin Concerto with Mariss Jansons and the Oslo Philharmonic, the Mozart concerti with the Camerata Salzburg under her musical direc?tion, a recital with Lambert Orkis that fea?tured the world premiere of Sir Andre Previn's Tango Song and Dance, and her first trio chamber music concerts in many years (with Lambert Orkis and cellist Lynn Harrell).
The Lucerne Festival holds a unique position in Ms. Mutter's career since her international concert debut occurred there twenty-five years ago and led to a decade of music collaboration with the legendary con?ductor Herbert von Karajan.
She returned to New York earlier this November to perform and to lead the com?plete Mozart violin concerti in two concerts at Carnegie Hall with the Camerata Salzburg. Violist Yuri Bashmet joined her for the Sinfonia Concertante.
The next evening, Ms. Mutter performed a third Carnegie Hall concert including Vivaldi's The Four Seasons and Tartini's Sonata in g minor with the Trondheim Soloists, an eminent Norwegian chamber orchestra with whom she has recorded both works. The Trondheim Soloists made their North American debut with this concert which includes a nine-concert cross-country tour of the US performing alongside of Ms. Mutter.
She returns to Europe to close 2001 with performances of the Mozart violin concerti in December with the London Symphony Orchestra and Sir Colin Davis.
Ms. Mutter is scheduled to begin 2002 with a recording of Song and Dance includ?ing works by Gershwin, Brahms, Previn, Faure and Kreisler followed by concerts with the Israel Philharmonic and Kurt Masur. In March 2002, Ms. Mutter will give the world premiere of Sir Andre Previn's Violin Concerto with the Boston Symphony, the composer conducting.
The remainder of 2002 features European tours with the Camerata Salzburg, the London Symphony, the world premiere of a work written for Ms. Mutter by Henri Dutilleux and Salzburg Festival concerts of all the Mozart concerti with the Vienna Philharmonic.
Her long list of recording honors includes several Grammy Awards, the Grand Prix du Disque, and Holland's Edison Award. She won the 2000 Grammy Award for "Best Chamber Music Recording" for the complete Beethoven Sonatas for Piano and Violin with Lambert Orkis; in addition, her release of Penderecki's Violin Concerto No. 2 with the London Symphony Orchestra con?ducted by the composer achieved the singu?lar distinction of winning two Grammy Awards for "Best Instrumental Soloist Performance with Orchestra" and for "Best Classical Contemporary Composition." Earlier, she had won a Grammy for her recording of the Berg Violin Concerto, cou?pled with Wolfgang Rihm's Time Chant.
Ms. Mutter has a keen interest in con?temporary violin literature and has signifi?cantly expanded the repertory for her instrument. Witold Lutoslawski, Krzysztof Penderecki, Wolfgang Rihm, Norbert Moret, and Sebastian Currier have all composed and dedicated works to her. Over the next few years, she will give the premiere of works by Andre Previn, Pierre Boulez, Sofia Gubaidulina, and Sebastian Currier.
In 1987 Ms. Mutter established the Rudolf Eberle Endowment, which supports talented young string players throughout Europe. In 1998 this was incorporated into the Munich-based Circle of Friends of the Anne-Sophie Foundation to support talent?ed young string players worldwide.
Ms. Mutter has a strong commitment to the social and medical problems of our time and supports work in these fields through regular benefit concerts. A February 2001 concert assisted the restoration of a church in Aurach; in October 2001 a benefit concert in Baden-Baden will aid a psychiatric insti?tution for children in Saratov on the Volga; and a concert next year will aid the Johanniter Day Clinic for Child and Youth Psychiatry in Neuwied. In past years she has supported the rebuilding of the
Thomaskirche in Leipzig, as well as Beethoven's Birthplace in Bonn. During recent tours of the US, Ms. Mutter donated part of her recital earnings to Classical Action: Performing Arts Against Aids. Ms. Mutter holds the Order of Merit of the Federal Republic of Germany, Bavaria and of Baden-Wuerttemberg.
Tonight's performance marks Anne-Sophie Mutter's fourth appearance under UMS auspices. She last appeared in Ann Arbor in recital with Lambert Orkis in February 2000 in Hill Auditorium.
T
he Trondheim Soloists chamber orchestra was founded in 1988 by violinist Bjarne Fiskum. The orchestra consists of young, extremely talented musicians; some are still students, and have already established an excellent international reputation. Their youthful freshness and vibrant musical joy and enthusiasm is praised in reviews after concerts in England, France, Spain, Germany, Switzerland, the Netherlands, Brazil, Japan, and, of course, in the Nordic countries. In the spring of 1999, the orchestra did a five-week tour in Europe with violinist Anne-Sophie Mutter, presenting Vivaldi's The Four Seasons and Tartini's Sonata in g minor, these concerts have been described by critics as demonstrations of "a unique, musical relationship," a statement seconded by Anne-Sophie Mutter as she recorded the same works with the Trondheim Soloists. Deutsche Grammophon released the record?ing and video of The Four Seasons in October 1999.
In addition to the recording of The Four Seasons, the Trondheim Soloists have recorded the complete string music of Edvard Grieg. The ensemble's recordings have gathered glowing reviews in Gramophone, Fanfare, Fono Forum, Classic-CD and
Diapson-Harmonie. The latter honored the Trondheim Soloists with the prestigious French Diapson D'Or award for the record?ing of Grieg's String Quartet No. 1 in g minor, Op. 27, arranged for chamber orchestra by Bjarne Fiskum.
Tonight's performance marks the Trondheim Soloists' UMS debut.
The violinist, Bjarne Fiskum, got his musi?cal education after studies in Oslo, Stockholm, Copenhagen and Vienna and made his debut in Oslo in 1965. He started his career as a violinist with the Oslo Philharmonic Orchestra in 1960 and was alternate concertmaster during the period 1965-73. He was concertmaster of the Trondheim Symphony Orchestra from 1975 to 1984 and has toured extensively, both as a soloist and chamber musician. In 1995 he received the Lindeman Prize, the most pres?tigious music award in Norway.
In 1975, Bjarne Fiskum founded the Norwegian Chamber Orchestra and the Trondheim Soloists in 1988. Since 1983, he has also been working as professor at the Music Conservatory in Trondheim and is considered to be one of Norway's finest instructors.
As Artistic Director of the Trondheim Soloists, Mr. Fiskum develops the individual qualities of each soloist before bringing them together in an orchestra of the highest international quality.
Tonight's performance marks Bjarne Fiskum's UMS debut.
Trondheim Soloists
Bjarne Fiskum, Artistic Director
Violin I
Bjarne Fiskum Alexander Robson Renata Kubala Arve Hennriksen Marit Laugen
Violin II
Tino Fjeldli Sigmund Tvete Vik Anders Larsen Erling Skaufel
Viola
Torodd Wigum Ricardo Kubala Ole Wuttudal
Cello
0yvind Gimse Kristin Alsos Strand
Bass
Rolf Hoff Baltzersen
Harpsichord
Knut Johannessen
Tour Direction
Columbia Artists Management, Inc.
R. Douglas Sheldon, Senior Vice President
Karen Kloster, Tour Manager
Chuck Migliaccio
Colleen Sullivan
Bernard Muller, Driver
Ileen Zovluck, Program
Maestro Travel
Sintec-Tur
UMS
and
Pfizer
present
Sweet Honey In The Rock
Ysaye Maria Barnwell Nitanju Bolade Casel Aisha Kahlil Carol Lynn Maillard Bernice Johnson Reagon Shirley Childress Saxton
Program Saturday Evening, November 17,2001 at 8:00
Hill Auditorium, Ann Arbor, Michigan
Tonight's program will be announced by the artists from the stage.
Twentieth Performance of the 123rd Season
Eighth Annual African American Stories Series
The photographing or sound recording of this concert or possession of any device for such pho?tographing or sound recording is prohibited.
This performance is sponsored by Pfizer Global Research and Development, Ann Arbor Laboratories.
Special thanks to Dr. David Canter of Pfizer Global Research and Development for his generous support of the University Musical Society.
Additional support provided by media sponsors WEMU, WDET and Metro Times.
Special thanks to George Shirley for his involvement in this residency.
Large print programs are available upon request.
I have always believed art is the conscience of the human soul and that artists have the responsibility not only to show life as it is but to show life as it should be. For a quarter of a century, Sweet Honey In The Rock has withstood the onslaught. She has been unprovoked by the thrity pieces of silver. Her songs lead us to the well of truth that nourishes the will and courage to stand strong. She is the keeper of the flame. --Harry Belafonte
S
weet Honey In The Rock now begins another season, still on the journey more than a quarter of a century after her first concert per?formance at Howard University, November 1973. According to music histori?an Horace Boyer writing in the introduction to Continuum, the name Sweet Honey In The Rock has it's own unique history:
On February 28,1927 in Memphis, Tennessee, the blind sanctified singer Mamie Forehand recorded a refrain based on Psalm 81:16. In this passage of scripture, the poet and musician David advised his people that if they would serve the Lord, they would be rewarded by being fed 'honey out of the rock....' While Forehand titled her song, Honey in the Rock and sang those words, ran?dom congregations soon added the adjective "sweet" to the title, and the song has come down through history as "Sweet Honey In The Rock."
Growing up in Southwest Georgia, Bernice Johnson Reagon heard the song sung by quartets, and although she had never sung it herself, it was a song that was constantly singing in her head as she called together a group of the strongest singers from her vocal workshop with the DC Black Repertory Company. It was 1973, and that evening the first song she taught the group was Sweet Honey In The Rock. After they got the chorus harmony just right, I said, "that's the name of the group," then I had to call my father, a Baptist minister, and ask him
the song's meaning. He told me that it was a sacred parable, and that the parable itself was not found in the Bible, but it told of a land so rich that when you cracked the rocks, honey flowed from them. I can still remember how comforting I felt about the idea of singing inside of such an active pow?erful phrase.
As Sweet Honey evolved into an ensem?ble of African American women, so did their understanding of the legacy of African American women in the struggle for the survival and continuance of their people was, that land that was so rich, that when one cracked the rock, honey flowed forth.
This past season has given the group sev?eral new opportunities, one of the most moving being the ensemble's participation in creating the soundtrack for a film pro?duced by the Documentary Institute at the University of Florida. Narrated by Ruby Dee and Ossie Davis, the documentary, Freedom Never Dies, tells the story of Harry T. Moore, a state leader for the NAACP in Florida who spearheaded the voter registra?tion of African Americans in that state dur?ing the 1940s and was the key unrelenting voice in demanding an end to racist prac?tices in the state. His work was driven by his belief that one had to work and organize to create change: "Freedom never descends upon people, it is always bought with a price." A bomb assassinated Moore and his wife on Christmas Eve in 1951. Langston Hughes wrote the "Ballad of Harry T. Moore" and read it at a memorial in New York City held by the NAACP. Bernice
Johnson Reagon was asked to look at the ballad and set it to music, using the African American folk ballad style perfected by the Golden Gate Quartet. Ms. Reagon set the ballad to music and Sweet Honey recorded it for the score. Additional music was com?posed and performed by Ms. Reagon and her daughter, Toshi Reagon. The piece, Strange Fruit, was written for Aisha Kahlil of Sweet Honey. The story is particularly important because the Moores' work and death has been left out of most historical accounts depciting the organization of the Civil Rights Movement. Sweet Honey con?siders it an honor to assist in the correction of this oversight.
Tempere, Finland's Vocal Festival, is built around an international competition of mostly a capella choirs, choruses, and small ensembles. At the end of each day, sessions of competition groups gather to hear virtu?oso performances by singers from all over the world. Sweet Honey In The Rock trav?eled to Finland this past June to perform their special repertoire of African American vocal singing for this special audience of singers.
With work extending beyond the concert stage, Sweet Honey was featured in the soundtrack of the HBO TV movie, Boycott, a 2001 film about the historic 381-day Montgomery Bus Boycott sparked by the arrest of Rosa Parks. This momentous boy?cott resulted in the rise to leadership of the Reverend Martin Luther King, Jr., and the US Supreme Court decision declaring the practice of segregated seating on Alabama's buses illegal. The film soundtrack features Aaron Neville and Sweet Honey performing Ella 5 Song, composed by Ms. Reagon in tribute to organizer-activist Ella Baker, who worked in Montgomery during the boycott.
With composer James Horner, Sweet Honey created and recorded the soundtrack for the film Freedom Song, produced by Danny Glover and directed by Phil
Robinson. This project tells the story of Bob Moses and student organizers of the SNCC (Student Non-Violent Coordinating Committee) arriving in McComb, Mississippi to join with local leaders and students to launch a voter registration cam?paign.
Sweet Honey continued her annual young people's concerts in honor of the Martin Luther King, Jr. holiday, with perfor?mances in Boston sponsored by the Algebra Project and MIT; in New York City at the Washington Irving High School; and in their home base of Washington, DC, at the Union Temple Baptist Church. This week?end of events was capped by a live appear?ance on ABC's Good Morning America, on the actual holiday morning.
The group's latest recording, Still the Same Me (Rounder Records) was nominated for a Grammy Award and received the Silver Award from the National Association of Parenting Publications.
Carol Lynn Maillard, an original mem?ber of Sweet Honey, closes her historical essay in Continuum speaking of the energies that have held the group steady: "As we move ahead into Sweet Honey's future, we take not only the voices of all the women who have sung on a Sweet Honey stage (there have been twenty-two), but we also take the love of everyone who has supported us over the years."
Tonight's performance marks Sweet Honey In The Rock's fourth appearance under UMS auspices.
Ysaye Maria Bamwell is a native New Yorker now living in Washington, DC. Since 1979, she has performed with Sweet Honey In The Rock and written many of the ensembles contemporary compositions. Dr. Barnwell spends much of her time off stage working as a master teacher and choral clin?ician in cultural performance theory. She has conducted her workshop, Building a Vocal Community: Singing in the African American Tradition for both singers and non-singers all over the US, Great Britain and Australia. A prolific composer, Dr. Barnwell has been commissioned to create a number of dance, choral, film, and stage productions. As an actress her credits include a principle role on the television series A Man Called Hawk and an appear?ance in the film Beloved, directed by Jonathan Demme. Barnwell produced Twenty-Five... (RYKP Records), Sweet Honey's twenty-fifth anniversary recording, served as editor of Continuum: The First Songbook of Sweet Honey In The Rock (A CappellaHal Leonard, 1999). Her first chil?dren's book, No Mirrors In My Nana's House (Harcourt Brace, 1998) based on her com?position by the same name, was illustrated by Synthia Saint James. Um Humm (Windhorse ProductionsSounds True Label), her recording of personal and tradi?tional stories and songs, was released in 2000.
Nitanju Bolade Casel came to Sweet Honey bringing her unique performance experi?ence in African vocal styles, jazz, improvisa-tional rhythms, and hip-hop after four years of study, performance and cultural organiz?ing in Dakar, Senegal. While in Africa, Ms. Casel co-founded with Marie Guinier, ADEA (Artistes des Echanges Africaines), an organization dedicated to the exchange of ideas and services between African artists of the diaspora. Joining Sweet Honey in 1985, she has expanded the ensemble's repertoire
through her original compositions and con?temporary arrangements of traditional African songs. Her extensive training, research, and teaching experience in African-derived traditions has its base in those pioneering communities of the late sixties which led the way to redefining and making accessible African expressive culture in the US. Bolade's compositions have been included in: World of Music (Silver Burdett and Ginn), a textbook for children, and The Box, a TV pilot from Robert de Niro's Tribeca Production Company. Ms. Casel also appeared in the Smithsonian produc?tion, Duke Ellington's Great Ladies of Song. She is currently co-director, with her sister Aisha Kahlil, of First World Productions, a cultural and educational performance arts organization. Ms. Casel made her film debut in Beloved directed by Jonathan Demme. Nitanju Bolade Casel is wife of Mfundishi Tayari Casel and mother of Obadele Jumoke Ajamu Jaja Bayete Casel.
Aisha Kahlil joined Sweet Honey in 1981. As an experienced performer of jazz-African song and dance traditions, she moved the ensemble into new ground in the explo?ration of vocal improvisation. Ms. Kahlil is Sweet Honey's strongest blues singer, a genre she had not explored before coming to the group. In 1994, CASA (Contemporary A Capella Society of America) named Ms. Kahlil "Best Soloist" for her performances of "See See Rider" and "Fulani Chant." Some of the group's most innovative and experimen?tal work occurs in the performance of her compositions including "Fulani Chant," "Wodaabe Nights," and "Mystic Ocean." "Wodaabe Nights" was included in the 1998 PBS film series, Africans in America, pro?duced, by WGBH TV. "Fulani Chant" has also been included in the soundtracks of Down in the Delta, directed by Maya Angelou, and Climb Against the Odds, a film produced by the Breast Cancer Fund. In her
work as a performing artist and master teacher in voice and dance, Ms. Kahlil spe?cializes in the integration of traditional and contemporary forms of music, dance and theater. Her credits as vocalist and dancer include: the Raymond Sawyer Dance Theater, Sounds of Awareness, Sundance, and the African Heritage Dancers and Drummers. She has taught at the Institute for Contemporary Dance, Leslie College, Dance Works, Dance Place, Joy of Motion, and the Levine School of Music. Ms. Kahlil is currently at work on a recording project of her original compositions and arrange?ments.
Carol Lynn Maillard is an original member of Sweet Honey In The Rock. As a student at Catholic University she majored in theater and brought her passion for the stage to the DC Black Repertory Company where she worked as assistant to Bernice Johnson Reagon. Ms. Maillard is an accomplished film, television, and stage actress. Her on-and off-Broadway credits included perfor?mances in Eubie, Don't Get God Started, Comiri Uptown, It's so Nice to Be Civilized, Beehive and Forever My Darling. She also appeared in the Negro Ensemble Company: Home, Zootnan and The Sign; with the New York Shakespeare Festival: Spunk, Caucasian Chalk Circle and Under Fire. Ms. Maillard can be seen in the feature films Beloved, and Thirty to Life. On television, Ms. Maillard appeared in For Colored Girls Who have Considered Suicide and Hallelujah! (American Playhouse Series). As a vocalist, Ms. Maillard can be heard with Horace Silver on his Blue Note recording Music of the Sphere, Betty Buckley's live concert recording Betty Buckley at Carnegie Hall and Sounds of Light (SYDA Foundations Inspirational Recordings). Ms. Maillard's arrangement and lead performance of the spiritual "Motherless Child" (RYKO Records, Twenty-Five), is heard as a part of
the soundtrack of The Visit. A native of Philadelphia, Ms. Maillard lives in New York City with her son Jordan.
Bernice Johnson Reagon, singer, composer, scholar, and activist, organized Sweet Honey In The Rock in 1973. She is Distinguished Professor of History at American University, and Curator Emeritus at the Smithsonian Institution's National Museum of American History. Ms. Reagon is the author of If You Don't Go, Don't Hinder Me (Nebraska Press, 2001), editor and author of We'll Understand It Better By and By: Pioneering African American Gospel Composers (Smithsonian Press, 1992), and with Sweet Honey, author of We Who Believe in Freedom: Sweet Honey In The Rock...Still on the Journey (Anchor Books, 1993). Ms. Reagon was featured in the 1992 Emmy-nominated PBS documentary The Songs Are Free: Bernice Johnson Reagon with Bill Moyers. She has served as music consultant, producer, composer, and performer on sev?eral film projects including the Emmy award-winning, We Shall Overcome (Ginger Productions), Roots of Resistance (Roja Productions), Eyes on the Prize (Blackside productions) and the Peabody award-win?ning Africans in America (WGBH-TV series for PBS). In 1994, Ms. Reagon served as conceptual producer and host narrator for the Peabody award-winning radio series Wade in the Water, African American Sacred Music Traditions. She curated an exhibition of the same title for the Smithsonian Institution Exhibition Service and produced a CD anthology recording of sacred songs for SmithsonianFolkways Recordings. Bernice Johnson Reagon is mother of Toshi and Kwan Tauna Reagon and grandmother to Yvonne Christine Virkus Reagon and Tashawn Nicole Reagon.
Shirley Childress Saxton is a veteran pro?fessional Sign Language interpreter having learned American Sign Language from her Deaf parents. For more than a quarter of a century she has worked providing Sign interpreting services in a wide range of life situations including education, employ?ment, legal, medical, performing arts and music. Ms. Saxton conducts master work?shops in Sign interpreting music. She holds a Bachelor's Degree in Deaf Education and is a certified member of the Registry of Interpreters of the Deaf, Inc., which pub?lished a tribute to her in an article entitled, Shirley Childress Johnson, The Mother of Songs Sung in ASL. She has been recognized for her work in Deaf advocacy with awards from Women Unlimited, Deafpride, Inc., and the Silent Mission at Shiloh Baptist Church in Washington, DC. She has pub?lished three articles on her experiences as a child of Deaf adults (CODA): We Who Believe in Freedom: Sweet Honey In The Rock...Still on the Journey, Continuum: The First Songbook of Sweet Honey In The Rock and Sow5 of My Sister: Black Women Break Their Silence, Tell Their Stories and Heal Their Spirit. Her sons, Reginal and Deon, both sign. Shirley is married to long-time friend Pablo Saxton.
UMS
presents
Andreas SchoU
Countertenor
Karl-Ernst Schroder, Lute
Tuesday Evening, November 20,2001 at 8:00 Lydia Mendelssohn Theatre, Ann Arbor, Michigan
I
@@@@Anthony Holborne My heavy sprite
Thomas Campion My sweetest lesbia
John Dowland Flow, my tears
Dowland I saw my lady weep
Campion I care not for these ladies
Dowland Say, love, if ever thou did;
Dowland The Right Honourable the
II
Dowland His Galliard
Schroder
III
Lady, if you so spite me In darkness let me dwell
INTERMISSION
Anonymous
IV
Passa va amor
Vestros
V
Michelangelo Galilei Toccata
Volta Volta
SchrOder
VI
Domenico Maria Megli Se di far mi morire Giulio Caccini Dovro dunque morire
Caccini Amarilli mi a bella
Anonymous
0 bella piu
The audience is politely asked to withhold applause until the end of each group of songs. Please do not applaud after the individual songs within each group.
Twenty-first
Performance
of the 123rd Season
Seventh Annual Song Recital Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Support for this performance is provided by media sponsor WGTE.
Special thanks to George Shirley and the U-M School of Music Vocal Arts Division for their involvement in this residency.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Mr. Scholl records exclusively for Decca Records and appears by arrangement with J.F. Mastroianni and Associates.
Large print programs are available upon request.
If Music Be the Food of Love, Play On...
by Linda Kobler
"If music be the food of love, play on..." (Shakespeare, Twelfth Night, 1.1.1). Music is the food of love--comfort food, to be pre?cise. No matter how restless or disquieted we feel, music gathers us around a warm hearth for hearty nourishment. The songs on tonight's program--ranging from the sweetness of Thomas Campion to the bitter?ness of John Dowland--represent just such food for the soul. Many are taken from the famous 1610 collection A Musical Banquet (compiled by Robert Dowland, John's son), and as that title suggests, they are indeed a veritable feast of unrequited love, consum?mated love, and everything in between.
For Elizabethans, song was as basic as their daily bread--an integral part of every?day life. An educated person was expected to be able to sing--and it is no wonder, when William Bathe could boast in his Brief Introduction to the Skill of Song (1587) that he habitually taught people to sing in less than a month! Bathe claimed that he even taught a child of eight "to sing a good num?ber of songs, difficult...songs, to sing at the first sight...." So much was singing taken for granted that the character Philomathes (in Thomas Morley's A Plaine and Easie Introduction to Practicall Musicke, 1597) suffers a humiliating loss of face when his ignorance is uncovered by friends: "Supper being ended and music books (according to the custom) being brought to the table, the mistress of the house presented me with a part earnestly requesting me to sing; but when, after many excuses, I protested unfeignedly, that I could not, every one began to wonder; yea, some whispered to others demanding how I was brought up, so that upon shame of mine ignorance I go now to seek out mine old friend Master Gnorimus, to make myself his scholar.
Farewell, for I sit upon thorns till I be gone, therefore I will make haste."
A lack of musical prowess was definitely a thorn in ones side, but so, it seems, was its opposite. Displaying great musical skill was considered unbecoming and gauche among cultured amateurs. Though music was a necessity, it was also regarded as a nicety-not to be taken too seriously. Social chroni?clers going back to Castiglione (The Book of the Courtier, 1528), urged sophisticated dilettantes to hone their musical skills to perfection, but at the same time taught them to affect a studied nonchalance, a fash?ionable casualness, in performance. They must never seem to be crossing over the border to the status of a professional musi?cian, which could lower their social stand?ing. "Therefore," wrote Castiglione, "let the Courtier turn to music as to a pastime, and as though forced, and not in the presence of persons of low birth or where there is a crowd. And although he may know and understand what he does, in this also I would have him dissimulate the care and effort that is required in doing anything well; and let him appear to esteem but little this accomplishment of his, yet by perform?ing it excellently well, make others esteem it highly."
Music lessons often began in childhood, and the English earned a reputation throughout Europe for being extraordinarily well trained. By far the most popular instru?ment taken up by the Elizabethans was the lute, which was apparently played by the Queen herself; several portraits depict her holding the instrument. So common was the lute that it is said to have been provided in barber shops, where it was offered to waiting clients so that they might amuse themselves--much as we would pick up a magazine in a salon today. The lute was prized as a versatile instrument capable of rendering complicated counterpoint as well as simple accompaniments.
The lute was particularly beloved in combination with voice. "But especially," says Messer Federico in Castiglione's Courtier, "it is singing poetry with the lute that seems to me most delightful, as this gives to the words a wonderful charm and effectiveness." This combination of sung poetry with lute accompaniment was known as the "lute song" (also called the "lute ayre," or simply ayre), a genre that enjoyed a vogue in England from around the 1590s and lasted about twenty-five years. The courtier Robert Devereux--famous for a long and uneasy relationship with Queen Elizabeth, which ended in his death sen?tence--wrote a handful of poems, including "Change thy mind since she doth change," set by the obscure Richard Martin.
Anthony Holborne (the dedicatee of Dowland's "I saw my lady weep"), though known mainly as a lutenist, contributed to the lute song genre with his melancholic ayre "My heavy sprite, oppress'd with sor?row's might," the first song in tonight's A Musical Banquet. Contemporary drama had its fair share of lute songs, and Robert Johnson was closely associated with music for plays and masques by Shakespeare, Campion, and other leading writers of the Elizabethan era. "Have you seen the bright lily grow," attributed to Johnson, appeared in The Devil Is an Ass, a play by Shakespeare's friend and rival Ben Jonson.
The brilliance of the prolific poet and songwriter Thomas Campion is clearly evi?dent in his songs. Campion, who studied law and medicine, is unique among his con?temporaries for having written all the words for his own songs. His poetry is a perfect fit for his music, being both witty and delight?ful without relying on cliches. He even goes so far as to reject cliches in his own songs. "My sweetest lesbia," like so many of Campion's songs, has a text indebted to clas?sical antiquity--in this case, a poem by Catullus, which Campion adapts for his
opening stanza.
Prolific as Campion was, it was John Dowland who brought the lute song to its apogee. The premiere lutenist of his time, Dowland was celebrated throughout Europe, and his works were printed in sev?eral volumes between 1597 and 1612, in addition to being included in numerous compilations and manuscripts. Dowland lived and worked primarily abroad, not securing a steady position in his homeland until late in life. The motto Semper Dowland, Semper Dolens (the title of one of Dowland's pieces) reflects the deep melan?choly that suffused Dowland's personality and colored his musical expression, particu?larly the ayres included in tonight's program.
Not surprisingly, the dolorous song "Flow, my tears"--also famous as a dance entitled "Lachrimae" (literally, "tears")--was Dowland's best-known work; several of Dowland's greatest contemporaries made their own arrangements of it. The opening teardrop motif on the words "Flow, my tears" and its haunting conclusion ("Happy, happy they that in hell Feel not the world's despite") ensured its popularity in an era fascinated by melancholia. Not that all of Dowland's songs were lugubrious: "Say, love, if ever thou didst find" is a lively, radiant encomium to a peerless lady--perhaps, some have suggested, Queen Elizabeth her?self (the "only queen of love and beauty"). "Lady, if you so spite me," with its risque text ("If you seek to spill me Come kiss me, sweet, and kill me"); has a playful side, but even here the game of love is tinged with melancholy, and Dowland's deepest songs are almost all of a sombre hue. "I saw my lady weep" shows his extraordinary abil?ity to employ dissonance and unexpected harmonic and melodic turns to wring pathos from a text. A similar approach char?acterizes "In darkness let me dwell," from A Musical Banquet, but in this later song we also hear--especially in the impassioned
outburst "Oh, let me living die"--the influ?ence of a dramatic new style from Italy.
In fact, two of the songs from A Musical Banquet--"Amarilli mia bella" and "Dovro dunque morire"--come from a landmark collection published in Italy in 1602: Giulio Caccini's Le nuove musiche (The New Music), which contains twenty-two works in "monodic" style. Monodies featured a solo voice set against an improvised accompani?ment. Caccini provided numbers (or "fig?ures") over the bass line of the accompani?ment as guidance to the performer, who could freely improvise around the founda?tion of these ideas. "Amarilli mia bella" is particularly known for the unusual figures Caccini wrote in--dissonant elevenths resolving to tenths and sevenths resolving to sixths--which lend a pungency to the har?monies and expression. "Se di far mi morire," by the monodist Domenico Maria Megli, is also included in tonight's program. Though he is far less known than Caccini, it is possible that Megli's early ventures into the new monodic style, published in 1602, may actually predate Caccini's Le nuove musiche. The anonymous "O bella piii," the final piece in A Musical Banquet, brings the collection to a close with a flourish as the singer pours out a long written-out melisma on the word core (heart).
Two songs from the Spanish Renaissance are also included in A Musical Banquet "Passa va amor," a setting of verses from Jorge de Montemayor's famous romance Diana (c. 1559), and "Vestros." Both settings are strophic and dance-like, with delightful shifts of accent.
Among the lute solos in tonight's pro?gram are three works by Michelagnolo Galilei, son of the famous music theorist Vincenzo Galilei and brother of the even more famous astronomer Galileo Galilei. His one book of solo lute music, published in Munich in 1620, included ten toccatas and a large number of popular dances. The
Toccata was a quasi-improvisational form, often alternating rhapsodic passages with sections of imitative counterpoint. The two Voltas on this program represent a popular dance in triple rhythm in which the man swept his partner off her feet--an intimate move that might have been the cause of its banishment from one European court.
While the English, Spanish, and Italian songs of tonight's program belong to the same chronological period, they are in some ways not entirely contemporary. The English and Spanish songs represent the end of an illustrious Renaissance lineage, while the Italian songs subtly hint at the begin?nings of the baroque. It is not an obvious difference, but it can be gently discerned in the treatment of the vocal line, the har?monies, and the accompaniment, as well as the more dramatic presentation. Caccini and his contemporaries were embarked on a fresh exploration of music's expressivity, one that resulted in the formation of the new genre of opera. It is a fascinating juxtaposi?tion, showing us how the moveable feast that is musical style passed from one coun?try to another.
Copyright O 2001 Carnegie Hall Corporation
@@@@A
lready regarded as one of the most outstanding countertenor of his generation for his remarkable discography and performances in concert, Andreas Scholl's operat?ic debut as Bertarido (Rodelinda) for the Glyndebourne Festival Opera was greeted with unprecedented critical acclaim.
Andreas Scholl has released a series of extraordinary solo recordings including Vivaldi's Motets with the Australian Brandenburg Orchestra and Heroes--a disc of arias by Handel, Mozart, Hasse and Gluck. His discography also includes the
title role in Solomon with the Gabrieli Consort under Paul McCreesh, Pergolesi's Stabat Mafcrwith Les Talens Lyriques and Barbara Bonney under Christoph Rousset, Bach's Christmas Oratorio, Monteverdi's Orfeo and the 1610 Vespers, the Gramophone award-winning recordings of Vivaldi's Stabat Mater, Antonio Caldara's Maddalena ai piedi di Cristo all under Rene Jacobs and most recently Robert Dowland's A Musical Banquet for Decca.
In concert, Andreas Scholl works regular?ly with the world's leading conductors with appearances including the Bach Cantatas under John Nelson with The Cleveland Orchestra, b minor Mass, Christmas Oratorio and St. Matthew Passion with Collegium Vocale under Philippe Herreweghe, Handel arias with the St. Paul Chamber Orchestra under Christopher Hogwood and with the
Akademie fiir Alte Musik Berlin, and Bach's St. John Passion with the Royal Concertgebouw Orchestra under Ton Koopman. At the BBC Promenade Concerts he has sung Julius Caesar and Bach's Magnificat with the Orchestra of the Age of Enlightenment under Rene Jacobs, the title role in Solomon with the Gabrieli Consort under Paul McCreesh and Pergolesi's Stabat Mater with the Frieburg Baroque Orchestra. This year, Mr. Scholl sang Vivaldi and Handel arias with the Australian Brandenburg Orchestra. A committed and extraordinary recital artist, Andreas Scholl has appeared at Wigmore Hall, Cologne Philharmonic Concertgebouw, Tonhalle Zurich, and at the Sydney, Brighton, Lufthansa, Schwetzinger and Schleswig-Holstein Festivals.
Recent engagements have included con?certs with the Malaysian Philharmonic in Kuala Lumpur, his debut with the Bach Collegium Japan and Handel's Saul at La Monniae and Solomon with the Gabrieli Consort. Mr. Scholl has also performed his new recital program, Robert Dowland's A Musical Banquet, all over the world. This season Andreas Scholl will make his debut appearances in the title role in Giulio Cesare with the Royal Danish Opera, will make his New York recital debut at Carnegie Hall, tour the US with the Orpheus Chamber Orchestra, and tour Europe with Barbara Bonney and the Freiburg Baroque Orchestra. An exclusive Decca recording artist, Andreas Scholl's future releases will include Wayfaring Stranger, a collection of English and American folksongs specially arranged for him and the Orpheus Chamber Orchestra.
Born in Germany, Andreas Scholl's early musical training was with the Kiedricher Chorbuben. Between 1987 and 1993 he studied with Richard Levitt and Rene Jacobs at the Schola Cantorum Basiliensis where he was awarded a Diploma of Ancient Music. In 1992 he was awarded the Conseil de
VEurope and the Foundation Claude Nicolas Ledoux. Additionally, he is a graduate of the Foundation Ernst Gohner and Association Migros. Andreas Scholl is a winner of the 1999 ECHO Awards and the Prix de I'Union de la Presse.
Tonight's recital marks Andreas Scholl's UMS debut.
Karl-Ernst Schroder studied guitar and lute with Professor T. Sasaki at the Hochschule fur Musik Rhld., Aachen. After his diploma in Aachen, Mr. Schroder went to Basel, Switzerland, to specialize in the performance of early music at the Schola Cantorum Basiliensis where he studied lute with Eugen M. Dombois and Hopkinson Smith.
As well as his regular appearances as a soloist, Karl-Ernst Schroder also performs throughout Europe as a member of numer?ous Renaissance and Baroque Ensembles including the Basel Consort, Aurora, Ensemble 415, Mala Punica and various ensembles with Rene Jacobs and the Freiburger Barockorchester.
Karl-Ernst Schroder gives regular master classes and lectures, and he has been involved with many CD, radio and TV productions.
Tonight's recital marks Karl-Ernst Schroder's UMS debut.
UMS
presents
Joshua Redman Quartet
and
Brad Mehldau Trio
Joshua Redman, Saxophones Aaron Goldberg, Piano Reuben Rogers, Bass Gregory Hutchinson, Drums
Brad Mehldau, Piano Larry Grenadier, Bass Jorge Rossy, Drums
Friday Evening, November 30, 2001 at 8:00 Michigan Theater, Ann Arbor, Michigan
Brad Mehldau Trio
INTERMISSION
Joshua Redman Quartet
Tonight's program will be announced by the artists from the stage.
Twenty-second
Performance
of the 123rd Season
Eighth Annual Jazz Series
The photographing or sound recording of this concert or possession of any device for such pho?tographing or sound recording is prohibited.
Tonight's performance is sponsored in part by AAA Michigan.
Presented with support from JazzNet, a program of the Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation and the National Endowment for the Arts.
Additional support provided by media sponsors WEMU and WDET.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Joshua Redman appears by arrangement with Ted Kurland Associates. Brad Mehldau appears by arrangement with International Music Network.
Large print programs are available upon request.
J
oshua Redman began his musical career in 1991. Having just graduated from Harvard with plans to pursue a law degree, he instead went on tour and recorded with his father, the legendary saxophonist Dewey Redman, as well as with other noted musicians, including Charlie Haden, Jack Dejohnette, Elvin Jones and Paul Motian. The younger Redman created a sensation by taking "First Prize" in the annual Thelonious Monk Institute of Jazz saxophone competition that fall, and landed a record deal with Warner Brothers soon after.
Since winning the Thelonius Monk saxo?phone competition in 1991, Grammy-nomi?nated Redman has been a perennial poll winner in Down Beat and Jazziz magazines and was voted "Jazz Artist of the Year" for two consecutive years in Rolling Stone maga?zine's Critics Poll. Mr. Redman appeared in Robert Altman's full-length feature film Kansas City and on the music soundtrack of 42nd Street Vanya, directed by Louis Malle. In committing himself to the pursuit of jazz, Joshua Redman has become one of the most celebrated and popular jazz artists today. Hailed as the "crown prince of the tenor saxophone" by the Associated Press, Mr. Redman has come to enjoy a meteoric rise in commercial and critical success. His 1993 self-titled debut recording was soon followed by Wish, featuring Pat Metheny on guitars and the late Billy Higgins on drums. Following these hit albums were Moodswing (1994), Spirit of the Moment: Live at the Village Vanguard (1995), Freedom in the Groove (1996), Timeless Tales (For Changing Times) (1998), Beyond (2000), and Passage ofTime (2001).
As well as performing with his current quartet, Mr. Redman has performed and recorded with many great artists including Elvin Jones, Charlie Haden, Jack Dejohnette, Milt Jackson, Pat Metheny, the Mingus Dynasty and Christian McBride. In
1994 he toured with the Lincoln Center Jazz Orchestra, and in 1992 was voted "Best New Artist" in the Jazz Times Readers' Poll.
Tonight's performance marks Joshua Redman and the Joshua Redman Quartet's UMS debuts.
@@@@B
rad Mehldau, like many of his contemporaries, began his career with heavy classical training, long before he was exposed to jazz. He started experimenting with the piano when he was just four and began tak?ing lessons when he was six, continuing until he was fourteen. As a youngster he lis?tened more to rock than jazz. Brad moved to New York City in 1988 where he worked with a variety of musicians over the next several years and made several recordings as a sideman. During that period he began to develop his own style which he attributes to the influence of his musical peers, specifical?ly bandleaders Peter Bernstein, Jessie Davis and David Sanchez as well as other musi?cians he worked with often--Mark Turner, Kurt Rosenwinkel, Perico Sambeat, Leon Parker, Avishai Cohen and Chris Potter.
In addition he met and played with his future trio mates, Larry Grenadier and Jorge Rossy in several projects. Brad's first major international exposure came as a member of the Joshua Redman Quartet, with which he recorded Moodswing and toured the US and Europe for a year-and-a-half.
In 1995 Brad released his debut album as a leader for Warner Bros. Records, appropri?ately titled, Introducing Brad Mehldau. Of that recording the Chicago Tribune observed that it was "...a recording that achieves its most vivid moments when Mehldau is play?ing original compositions. The elliptical lines, volatile rhythmic figures and unexpected bursts of color and dissonance...prove that Mehldau writes as cleverly as he plays. The originality of these compositions is startling to behold." Brad's second Warner album, The Art Of The Trio, Volume One, was released in February 1997 to almost instant critical acclaim.
With the release of his third album, Live At The Village Vanguard: The Art of the Trio, Volume Two, in 1998, Brad Mehldau was on his way to international acclaim and success. He spent most of the year touring through?out the US and Europe with his trio, still
finding time to record with Willie Nelson and briefly touring once again with Joshua Redman. Mr. Mehldau's latest recording, Places, is comprised of original composi?tions, performed either solo or with his reg?ular trio (Larry Grenadier and Jorge Rossy). The pieces are named after the cities in which they were written.
Mr. Mehldau has also had extensive experience composing and playing for film scores including Stanley Kubrick's Eyes Wide Shut, Midnight in the Garden of Good and Evil and Space Cowboys. In addition, Mr. Mehldau improvised a solo piano score for the French film Un Ange en Danger, and is the subject of a recently released French documentary entitled Jazz Collection: Brad Mehldau.
Tonight's performance marks Brad Mehldau and the Brad Mehldau Trio's UMS debuts.
Harold Hallas, Tour Manager Paul A. Boothe, Sound Engineer
UMSexpenence
THE 20012002 UMS SEASON
P
lease note that a com?plete listing of all UMS Educational activities will now be conveniently located within the concert program section of your program book. All Education activi?ties are also posted on the UMS website at www.ums.org.
ihockheaded Peter (A Junk Opera)
featuring the Tiger Lillies Music by Martin Jacques Directed and Designed by Julian Crouch and Phelim McDermott Wednesday, September 12, 8 p.m. Thursday, September 13, 8 p.m. Friday, September 14, 8 p.m. Saturday, September 15, 7 p.m. and 12 midnight Michigan Theater The Saturday evening performances are ?ponsored by Borders. ledia sponsors Michigan Radio and letro Times.
I ichigan Chamber Players
S inday, September 23, 4 p.m. L'dia Mendelssohn Theatre C mplimentary Admission
Liz Lerman Dance Exchange: Hallelujah!
With Rudy Hawkins and the Rudy Hawkins Singers Saturday, October 6, 8 p.m. Power Center
This performance is co-presented with the University of Michigan. Presented with generous support from the Ford Foundation.
Berlin Philharmonic
Claudio Abbado, conductor Friday, October 12, 8 p.m. Hill Auditorium Sponsored by Forest Health Services. Media sponsor WGTE.
Lincoln Center Jazz Orchestra
Wynton Marsalis, artistic director Sunday, October 14, 4 p.m. Hill Auditorium
Sponsored by Forest Health Services. Presented with support from JazzNet. Media sponsors WEMU and WDET.
Chunky Move
Gideon Obarzanek, artistic director Saturday, October 20, 8 p.m. Power Center Media sponsor Metro Times.
Evgeny Kissin, piano
Wednesday, October 24, 8 p.m. Hill Auditorium
Camerata Dinner precedes the performance. Media sponsor WGTE.
Gypsy Caravan II
A Celebration of Rroma Music and Dance featuring Maharaja (India) Esma Redzepova, The Queen of the Gypsies (Macedonia) Fanfare Ciocarlia (Romania) Antonio El Pipa Flamenco Ensemble (Spain) Thursday, October 25, 8 p.m. Hill Auditorium
Co-sponsored by McKinky Associates, Inc. Media sponsors WDET and Metro Times.
Theatre de la Jeune Lune: Moliere's Tartuffe
Directed by Dominique Serrand
Friday, October 26, 8 p.m.
Saturday, October 27, 8 p.m.
Power Center
The Friday evening performance is
sponsored by National City.
The Saturday evening performance is
presented with the generous support of
Ronnie and Sheila Cresswell.
Media sponsor Michigan Radio.
Hagen Quartet
Sunday, October 28, 4 p.m. Lydia Mendelssohn Theatre Presented in memory of David Eklund.
St. Petersburg Conservatory Chamber Ensemble
Tuesday, October 30, 8 p.m.
Michigan Theater
Sponsored by Edward Surovell Realtors.
Philip on Film
Performed by Philip Glass and the Philip Glass Ensemble Michigan Theater
Dracula (Ted Browning) Wednesday, October 31, 8 p.m.
Shorts (New Short Films by Peter Greenaway, Atom Egoyan, Godfrey Reggio, Shirin Neshat and Michal Rovner) Thursday, November 1, 8 p.m.
Koyaanisqatsi (Godfrey Reggio) Friday, November 2, 8 p.m. Saturday, November 3, 8 p.m. and 12 midnight
Media sponsors WEMU, WDET and Metro Times.
Netherlands Chamber Choir
Tonu Kaljuste, conductor Thursday, November 8, 8 p.m. St. Francis of Assisi Catholic Church
Gluck's Orfeo ed Euridice
Peter Sparling Dance Company
Ann Arbor Symphony Orchestra
UMS Choral Union
Peter Sparling, choreographer
Martin Katz, music director
Friday, November 9, 8 p.m.
Saturday, November 10, 8 p.m.
Sunday, November 11,4 p.m.
Michigan Theater
The Friday performance is sponsored by
the DTE Energy Foundation.
The Saturday performance is presented
with the generous support of Linda and
Richard Greene.
The Sunday performance is presented
with the generous support of Audrey and
Irving Rose.
This production is co-presented with the
University of Michigan with additional
support from the Wallace-Reader's
Digest Funds and the Ann Arbor Area
Community Foundation.
Anne-Sophie Mutter, violin and the Trondheim Soloists
Bjarne Fiskum, artistic director Tuesday, November 13, 8 p.m. Hill Auditorium
Camerala Dinner precedes the performance. Media sponsor WGTE.
Sweet Honey in the Rock
Saturday, November 17, 8 p.m.
Hill Auditorium
Sponsored by Pfizer.
Media sponsors WEMU, WDET and
Metro Times.
Andreas Scholl, countertenor
Tuesday, November 20, 8 p.m. Lydia Mendelssohn Theatre Media sponsor WGTE.
Joshua Redman Quartet and Brad Mehldau Trio
Friday, November 30, 8 p.m. Michigan Theater Presented with support from AAA Michigan. Additional support is provided by JazzNet. Media sponsors WEMU and WDET.
Handel's Messiah
UMS Choral Union
Ann Arbor Symphony Orchestra
Thomas Sheets conductor
Saturday, December 1, 8 p.m.
Sunday, December 2, 2 p.m.
Hill Auditorium
Presented with the generous support of
Carl and Isabelle Brauer.
Kirov Orchestra of the Mariinsky Theatre
Valery Gergiev, conductor Alexander Toradze, piano Wednesday, December 5, 8 p.m. Hill Auditorium Camerata Dinner precedes the performance.
Presented with support from Walid. Media sponsor WGTE.
Les Arts Florissants
Christmas Music of Marc-Antoine Charpentier (1643-1704) William Christie, conductor Thursday, December 13, 8 p.m. St. Francis of Assisi Catholic Church
Presented with the generous support of Robert and Pearson Macek.
Stephan Genz, baritone
Roger Vignoles, piano Thursday, January 10, 8 p.m. Lydia Mendelssohn Theatre Media sponsor WGTE.
Rennie Harris Puremovement: Rome & Jewels
Friday, January 11,8 p.m. Saturday, January 12, 8 p.m. Power Center
These performances are supported by the Pennsylvania Council on the Arts. Media sponsor Metro Times.
Brentano String Quartet and Mark Strand, poet
Haydn's Seven Last Words of Christ Sunday, January 13, 4 p.m. Lydia Mendelssohn Theatre Media sponsor Michigan Radio.
Michigan Chamber Players
Sunday, January 20, 4 p.m. Lydia Mendelssohn Theatre Complimentary Admission
A Tribute to Gospel Legend Mattie Moss Clark
Dr. Rudolph V. Hawkins,
music director
Monday, January 21,8 p.m.
Hill Auditorium
Co-presented with the U-M Office of
Academic Multicultural Initiatives.
Media sponsors WEMU and Metro
Times.
Orchestre de Paris
Christoph Eschenbach, conductor Pierre-Laurent Aimard, piano Wednesday, January 23, 8 p.m. Hill Auditorium Camerata Dinner precedes the performance. Sponsored by Bank One. Media sponsor WGTE.
Charlie Haden's Quartet West with Strings
Bill Henderson and Ruth Cameron, vocals Friday, January 25, 8 p.m. Lydia Mendelssohn Theatre Sponsored by Butzel Long. Presented with support from the Wallace-Reader's Digest Funds and JazzNet. Media sponsors WEMU and WDTE.
Da Camera of Houston: Marcel Proust's Paris
Conceived and directed by
Sarah Rothenberg
Saturday, January 26, 8 p.m.
Lydia Mendelssohn Theatre
Sponsored by Miller, Canfteld, Paddock
and Stone, P.L.C.
Media sponsor Michigan Radio.
The Chieftains
Sunday, January 27, 3 p.m. Hill Auditorium Sponsored by the Bank of Ann Arbor. Media sponsor WDET.
A Solo Evening with Laurie Anderson
Saturday, February 2, 8 p.m.
Hill Auditorium
Media sponsors WDET and Metro Times.
Children of Uganda
Friday, February 8, 7 p.m. Saturday, February 9, 8 p.m. Power Center
The Saturday performance is co-presented ?nth the Office of the Senior Vice Provost for Academic Affairs, rhis is a Heartland Arts Fund Program, ledia sponsor WEMU.
Harolyn Blackwell, soprano
Florence Quivar, mezzo-soprano: From the Diary of Sally Hemings
Wednesday, February 13, 8 p.m. Sunday, February 17, 4 p.m. Lydia Mendelssohn Theatre Media sponsors WGTE and Michigan Radio.
Collegium Vocale Gent and Ensemble Modern
Thursday, February 14, 8 p.m. St. Francis of Assisi Catholic Church
San Francisco Symphony
Michael Tilson Thomas, conductor Michelle De Young, mezzo-soprano Michael Schade, tenor Friday, February 15, 8 p.m. Hill Auditorium Camerata Dinner precedes the performance. Media sponsor WGTE.
San Francisco Symphony Michael Tilson Thomas, conductor UMS Choral Union Saturday, February 16, 8 p.m. Hill Auditorium Camerata Dinner precedes the performance. Sponsored by Pfizer. Media sponsor WGTE.
Boys Choir of Harlem
Dr. Walter J. Turnbull, director Wednesday, February 20, 7 p.m. Hill Auditorium Sponsored by Thomas B. McMullen, Co. Media sponsor WEMU.
SamulNori
Kim Duk Soo, artistic director Thursday, February 21,8 p.m. Power Center
Media sponsor Metro Times.
St. Petersburg Philharmonic Orchestra
Yuri Temirkanov, conductor Leif Ove Andsnes, piano Tuesday, March 5, 8 p.m. Hill Auditorium
Camerata Dinner precedes the performance. Presented with the generous support of Kathleen G. Charla. Media sponsor WGTE.
Guthrie Theater:
Eugene O'Neill's Ah, Wilderness!
Directed by Douglas Wager Friday, March 8, 8 p.m Saturday, March 9, 8 p.m. Power Center
The Friday evening performance is sponsored by Comerica. The Saturday evening performance is sponsored by CFI Group. Additional support is provided by Wallace-Reader's Digest Funds and the Heartland Arts Fund Program. Media sponsor Michigan Radio.
Los Munequitos de Matanzas
Friday, March 15, 8 p.m. Hill Auditorium Co-presented with the Office of the Senior Vice Provost for Academic Affairs. Media sponsors WEMU and Metro Times.
The Tallis Scholars
Peter Philips, director
Tuesday, March 19, 8 p.m.
St. Francis of Assisi Catholic Church
Da Camera of Houston: Epigraph for a Condemned Book
Sarah Rothenberg, director and pianist
Music by Frederic Chopin Texts by Charles Baudelaire Lighting by Jennifer Tipton Video by Chris Kondek Wednesday, March 20, 8 p.m. Power Center
Presented with the generous support of Beverley and Gerson Geltner. This performance is co-produced by UMS and the University of Michigan. Media sponsor Michigan Radio.
Twyla Tharp Dance
Saturday, March 23, 8 p.m.
Sunday, March 24, 3 p.m.
Power Center
The Saturday evening performance is
sponsored by Pfizer.
Media sponsors WDET and Metro Times.
Brahms' German Requiem
UMS Choral Union
Ann Arbor Symphony Orchestra
Thomas Sheets, conductor
Friday, March 29, 8 p.m.
Hill Auditorium
Presented with the generous support
of Jim and Millie Irwin.
Emerson String Quartet and
Kalichstein-Laredo-Robinson
Trio
Friday, April 5, 8 p.m. Michigan Theater Presented with the generous support of Maurice and Linda Binkow.
Afro-Cuban Dance Party with Celia Cruz and Albita
Saturday, April 6, 9 p.m. EMU Convocation Center Presented with support from Sesi Lincoln Mercury Volvo Mazda. Media sponsors WEMU and WDET. Presented with additional support from JazzNet.
Wayne Shorter Quartet
Wayne Shorter, tenor sax Danilo Perez, piano John Patitucci, bass Brian Blade, drums Thursday, April 11,8 p.m. Michigan Theater Sponsored by Elastizell. Presented with additional support from JazzNet. Media sponsors WEMU and WDET.
Les Musiciens du Louvre
Marc Minkowski, conductor Anne Sofie von Otter, mezzo-soprano
Friday, April 12, 8 p.m. Hill Auditorium
Camerata Dinner precedes the performance. Co-Sponsored by KeyBank and McDonald Investments. Media sponsor WGTE.
Takacs Quartet and Robert Pinsky, poet: All the World for Love
Saturday, April 13, 8 p.m. Lydia Mendelssohn Theatre Sponsored by Borders. Media sponsor Michigan Radio.
Ian Bostridge, tenor
Sunday, April 14, 4 p.m. Lydia Mendelssohn Theatre Media sponsor WGTE.
Lyon Opera Ballet: Maguy Marin's Cendn'Uon (Cinderella)
Friday, April 19, 8 p.m.
Saturday, April 20, 8 p.m.
Sunday, April 21, 3 p.m.
Power Center
The Saturday evening performance is
sponsored by Pfizer.
Media sponsor Metro Times.
T
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 main?tained a long-standing and significant 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 Clibum was the first artist so honored, with subsequent honorees being Jessye Norman, Garrick Ohlsson,
The Canadian Brass, Isaac Stern, and Marcel Marceau. This season's Ford Honors Program will be held on May 11, 2002. The recipient of the 2002 UMS Distinguished Artist Award will be announced in February 2002.
Ford Honors Program Honorees
1996
Van Cliburn
1997
Jessye Norman
1998
Garrick Ohlsson
2001
Marcel Marceau
EDUCATION & AUDIENCE DEVELOPMENT
@@@@I
n the past several seasons, UMS' Education and Audience Development program has grown significantly. With a goal of deepen?ing 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 col?laborations and partnerships to reach into the many diverse communities it serves.
Our acclaimed program features many types of events:
camily Performances
JMS encourages parents and guardians to ctively involve their students to be engaged vith the live performing arts. Not only are ur family programs a great educational xperience for both children and parents dike, but they provide quality opportunities or families to enjoy the arts together. Please efer to the UMS website at www.ums.org to ind details on the appropriately aged pro?grams for your children or contact the UMS Ticket Office at 734.764.2538 for more infor?mation.
Master of Arts Interview Series
Now entering its sixth year, this series is an opportunity to showcase and engage our artists in informal conversations about their art form, their body of work and their upcoming performances.
This year's series includes interviews with several UMS artists, including Philip Glass, Michael Tilson Thomas, Harolyn Blackwell ind Florence Quivar, among others to be . nnounced. Please refer to the UMS website at www.ums.org for more information on IMS' Master of Arts Interview Series.
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 guest educators and artists, interviews, open rehearsals, lecturedemon?strations, in-class visits, master classes, partic?ipatory workshops, clinics, visiting scholars, seminars, community 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 20012002 season include:
? Liz Lerman Dance Exchange
St. Petersburg Conservatory Chamber Ensemble
duck's Orfeo ed Euridice
? Charlie Haden's Quartet West with Strings
Children of Uganda
? LiteraryChamber events
I
ATTENTION TEACH ERS AND EDUCATORS!
Youth Performances
These performances are hour-long or full length specially designed teacherand stu?dent-friendly live matinees.
The 20012002 Youth Performance Series includes:
Gluck's Orfeo ed Euridice
Charlie Haden's Quartet West with Strings
? Children of Uganda Boys Choir of Harlem
SamulNori
Guthrie Theater: Eugene O'Neill's Ah, Wilderness!
Los Munequitos de Matanzas
Lyon Opera Ballet: Cendrillon (Cinderella)
Teachers who wish to be added to the youth performance mailing list should call 734.615.0122 or email umsyouth@umich.edu.
The Youth Education Program is sponsored by
VOLUNTEERS NEEDED The sixty-member UMS Advisory Committee provides important volunteer assistance and financial support for these exceptional educational programs. Please call 734.936.6837 for information about volunteering for UMS Education and Audience Development events.
Teacher Workshop Series
This series of workshops for K-12 teachers is a part of UMS' efforts to provide school?teachers with professional development opportunities and to encourage ongoing efforts to incorporate the arts in the curriculum. This year's Kennedy Center Workshops are:
"Dinosaur Detectives" led by Michele Valeri
"Exploring the Cultures of Uganda Through
Dance" led by Namu Lwanga
"Once Upon a Time: Bringing Fairy Tales to Life" led by Sean Layne
Workshops focusing on the UMS youth performances are:
"Opera in the Classroom: Orfeo ed Euridice"
led by Peter Sparling and Kristin Fontichiaro
"Dance: A Secret Path to Success in the
Classroom" led by Susan Filipiak
"Arts and Technology in the Classroom"
led by Deborah Katz ? "Cuban Music in the Classroom:
Los Munequitos de Mantanzas" led by Dr. Alberto Nacif
For information and registration, please call 734.615.0122 or email umsyouth@umich.edu.
First Acts Series
In its fifth year, the First Acts Series offers the opportunity for teachers of grades 4-12 to bring their students to selected weekend and evening classical music and dance performances. Tickets are reduced to $6 each, and busing is reimbursed. School groups may attend the full performance or leave after the "first act." Educational materials are provided.
This year's First Acts concerts are: Liz Lerman Dance Exchange, Evgeny Kissin, the St. Petersburg Conservatory Chamber Ensemble, the Netherlands Chamber Choir, Kirov Orchestra of the Mariinsky Theatre, Orchestre de Paris, San Francisco Symphony, St. Petersburg Philharmonic Orchestra, Da Camera of Houston: Epigraph for a Condemned Book, Emerson String Quartet
and the Kalichstein-Laredo-Robinson Trio, and Les Musiciens du Louvre.
For information and registration, please call 734.615.0122 or email umsyouth@umich.edu.
The Kennedy Center Partnership
The University Musical Society and Ann Arbor Public Schools are members of the Kennedy Center Partners in Education Program. 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.
pecial Discounts for Teachers and students to Public Performances
JMS offers special discounts to school groups attending world-class evening md weekend performances not offered hrough the First Acts program. Please call she Group Sales hotline at 734.763.3100 lor more information about discounts for student and youth groups.
DINING EXPERIENCES
UMS Camerata Dinners
Now entering their sixth season, Camerata Dinners are a delicious and convenient way to start your UMS concert evening, offering you a chance to dine with friends and meet fellow patrons in a relaxed setting prior to our Choral Union Series performances.
This year's Camerata Dinners will be held it the historic Michigan League on the corner )f N. University and Fletcher. The dinner Imffet is open from 6:00 to 7:30 p.m., offering the perfect opportunity to arrive early and park with ease.
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. A cash bar will be available. UMS members receive reservation priority. Valet parking will be available in front of the Michigan League at a cost of $10 per car. Members at the Leader level ($2,500) and above receive complimentary valet parking.
20012002 Camerata Dinners
Wednesday, October 24
Evgeny Kissin, piano
Tuesday, November 13
Anne-Sophie Mutter and the Trondheim Soloists
Wednesday, December 5
Kirov Orchestra of the Mariinsky Theatre
Wednesday, January 23
Orchestre de Paris
Friday, February 15
San Francisco Symphony
Saturday, February 16
San Francisco Symphony
Tuesday, March 5
St. Petersburg Philharmonic
Friday, April 12
Les Musiciens du Louvre
RESTAURANT & LODGING PACKAGES
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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 getaway. 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 & :scoffier Restaurant
W South Thayer ".all 734.769.3010 for reservations ine dining and elegant accommodations, long with priority seating to see some of he world's most distinguished performing irtists, add up to a perfect overnight holiday. Reserve space now for a European-style guest oom within walking distance of the per-ormance halls and downtown shopping, special performance dinner menu at the Escoffier restaurant located within the Bell lower Hotel, and priority reserved "A" seats o the show. All events are at 8 p.m. with Jinner 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
126 South Main Street "all 888.456.DINE for reservations Mnner package includes guaranteed reserva-lions for a preor post-performance dinner ( my 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.
UMS
presents
Andreas Scholl
Countertenor
Karl-Ernst Schroder, Lute
Program
Anthony Holborne
Thomas Campion
John Dowland
Dowland
Campion
Dowland
Dowland
Dowland
Tuesday Evening, November 20, 2001 at 8:00 Lydia Mendelssohn Theatre, Ann Arbor, Michigan
Please note tonight's revised recital program below.
I
My heavy sprite
My sweetest Lesbia
Flow, my tears
I saw my lady weep
I care not for these ladies
Say, love, if ever thou didst find
The Right Honourable the Lord Viscount Lisle,
His Galliard
Schroder
II
Lady, if you so spite me
In darkness let me dwell
INTERMISSION
Anonymous
III
Passa va amor Vestros
@@@@Michelangelo Galilei
Domenico Maria Megli Giulio Caccini Caccini Anonymous
IV
Toccata
Volta
Volta
Schroder
V
Se di far mi morire
Dovro dunque morire Amarilli mia bella
0 bella piu
The audience is politely asked to withhold applause until the end of each group of songs. Please do not applaud after the individual songs within each group.
Twenty-first
Performance
of the 123rd Season
Seventh Annual Song Recital Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Support for this performance is provided by media sponsor WGTE.
Special thanks to George Shirley and the U-M School of Music Vocal Arts Division for their involvement in this residency.
Mr. Scholl records exclusively for Decca Records and appears by arrangement with J.F. Mastroianni and Associates.
Large print programs are available upon request.
I
My heavy sprite
Anthony Holborne
My Heavy sprite, oppress'd with sorrow's
might,
Of wearied limbs the burden sore sustains, With silent groans and heart's tears still
complains,
Yet I breathe still and live in life's despite. Have I lost thee All fortunes I accurse Bids thee farewell, with thee all joys farewell, And for thy sake this world becomes my
hell.
My sweetest Lesbia
Thomas Campion
My sweetest Lesbia, let us live and love. And, though the sager sort our deeds
reprove, Let us not weigh them. Heav'n's great lamps
do dive
Into their west, and straight again revive. But soon as once set is our little light, Then must we sleep one ever-during night.
If all would lead their lives in love like me, Then bloody swords and armour should
not be. No drum nor trumpet peaceful sleeps
should move,
Unless alarm came from the camp of Love. But fools do live, and waste their little light, And seek with pain their ever-during night.
When timely death my life and fortune ends, Let not my hearse be vex'd with mourning
friends.
But let all lovers, rich in triumph, come And with sweet pastimes grace my happy
tomb.
And Lesbia, close up thou my little light, And crown with love my ever-during night.
Flow, my tears
John Dowland
Flow, my tears, fall from your springs! Exiled for ever let me mourne; Where nights black bird her sad infamy sings, There let me live forlorn.
Down, vain lights, shine you no more! No nights are dark enough for those That in despair their lost fortunes deplore; Light doth but shame disclose.
Never may my woes be relieved,
Since pity is fled;
And tears and sighs and groans my weary days
Of all joys have deprived.
From the highest spire of contentment My fortune is thrown; And fear and grief and pain for my deserts Are my hopes, since hope is gone.
Hark, you shadows that in darkness dwell, Learn to contemn light, Happy, happy they that in hell Feel not the world's despite.
I saw my lady weep
Dowland
I saw my lady weep,
And Sorrow proud to be advanced so
In those fair eyes were all perfections keep
Her face was full of woe,
But such a woe, believe me, as wins more
hearts Than Mirth can do with her enticing parts.
O fairer than aught else
The world can show, leave off in time to
grieve.
Enough, enough your joyful looks excel. Tears kill the heat, believe; O strive not to be excellent in woe, Which only breeds your beauty's overthrow.
I care not for these ladies
Campion
I care not for these ladies that must be
woo'd and pray'd; Give me kind Amaryllis, the wanton
country maid. Nature Art disdaineth; her beauty is
her own. Her when we court and kiss, she cries;
forsooth, let go! But when we come where comfort is,
she never will say No.
If I love Amaryllis, she gives me fruit and
flow'rs; But if we love these ladies, we must give
golden show'rs. Give them gold that sell love; give me the
nut-brown lass, Who when we court and kiss, she cries:
Forsooth, let go! But when we come where comfort is, she
never will say No.
These ladies must have pillows and beds
by strangers wrought. Give me a bow'r of willows, of moss and
leaves unbought, And fresh Amaryllis with milk and
honey fed, Who when we court and kiss, she cries:
forsooth, let go! But when we come where comfort is,
she never will say No.
Say, love, if ever thou didst find
Dowland
Say, love, if ever thou didst find
A woman with a constant mind
"None but one."
And what should that rare mirror be
Some goddess or some queen is she
"She, she, she, and only she,
She only queen of love and beauty."
But could thy fiery poisoned dart
At no time touch her spotless heart,
Nor come near
"She is not subject to Love's bow;
Her eye commands, her hearth sairth no,
No, no, no, and only no;
On no another still doth follow."
To her then yield thy shafts and bow,
Than can command affections so.
"Love is free;
So are her thoughts that vanquish thee.
There is no queen of love but she,
She, she, she, and only she,
She only queen of love and beauty."
The Right Honourable the
Lord Viscount Lisle, His Galliard
Dowland Schroder, Lute
II
Lady, if you so spite me
Dowland
Lady, if you so spite me
Wherefore do you so oft kiss and delight me,
Sure that my heart, oppress'd and overcloyed,
May break thus overjoyed
If you seek to spill me,
Come kiss me, sweet, and kill me.
So shall your heart be eased,
And I shall rest content and die well pleased.
In darkness let me dwell
In darkness let me dwell The ground shall Sorrow be; The roof Despair to bar All cheerful light from me, The walls of marble black That moisten'd still shall weep; My music hellish jarring sounds To banish friendly sleep. Thus wedded to my woes And bedded to my tomb, O let me living die, Till death do come.
Ill
Anonymous Passa va amor
Passavo Amor su arco desarmado, Los ojos baxos, blando y muy modesto; Dexava m'ya atras muy descuidado.
Quam poco espacio pude gozar esto. Fortuna de embidiosa dixo luego: "Teneos, Amor; porque vays tarn presto"
Bolvio de presto a mi el nirio ciego, Muy enojado en verse reprehendido, Que no ha reprehension do sta su fuego.
Ay prados, bosques, selvas, que criastes Tan libre corazon como era el moi, Porque tan grade mal no te estorbastes
Vestros
Vuestros ojos tienen d'Amor no se que, Que me yelan, me roban, me hieren, me
matan a ft. Porque me mirays Con tanta aflicci6n, Y a mi corazon, Me aprisionays Que si vos me mirays yo os acusare.
IV
Toccata Volta Volta
Michelangelo Galilei Schroder, Lute
Love walked by unarmed,
Eyes downcast, mild and full of modesty;
He left me far behind, quite forgotten.
How little time I had to enjoy this. Fortune, envious, then said: "Stay, Love; why so fast"
The unseeing child came quickly back to me,
In fury at being thus reproved,
For where his fire is lit there is no reproval.
Ah, meadows, woods and forests, who nurtured
Such a free heart as mine,
Why did you not oppose this terrible wrong
Your eyes hold what I know not of Love For in truth they freeze me, rob me,
wound me, kill me. Why do you look at me With such affliction, And imprison My heart If you look at me I shall denounce you.
V
Se di far mi morire
Domenico Maria Megli
Se di far mi morire
Con crudelta pensate
Certo che v'inganate.
Che de la crudelta nascono 1'ire,
E da Tire lo sdegno,
Che schaccia Amor
Dal suo superbo regno.
Dovro dunque morire
Giulio Caccini
Dovro dungue morire
Pra che di nuovo io miri
Voi bramata cagion de miei martiri.
Moi parduto tesoro,
Non potro dirvi
Pria ch'io mora: lo moro
Lo moro
O', O' miseria inaudita;
Non poter dir a voi:
Moro mia vita.
Amarilli mia bella Caccini
Amarilli mia bella, non credi 6,
Del mio cor dolce desio,
D'esser tu 1'amor moi
Credilo pur, e se timor t'assale,
Prendi questo mio strale;
Aprimi il petto, e vedrai scritto in cuore:
Amarilli e'l moi amore.
0 bella piu
Anonymous
O bella piu che le stele Diana, Chi parinansi de la mia patrona, Mi regina, dolce mi amore; Pieta, cuor mio, pieta, on piu dolore. Bene mio caro, cuore mio bella, Tu sei la mala morte mia, La freccia chi mi pass'il cuore.
If you think to cause my death
Through your cruelty
You are surely mistaken.
For from cruelty springs anger,
And from anger disdain,
Which unseats Love
From his proud throne.
Must I then die
Before I can see you again
Longed-for-cause of my suffering.
My lost treasure,
Can I not tell you
Before I die: "I am dying"
I am dying
Oh, oh, unheard-of wretchedness;
To be unable to tell you:
"I am dying, my life."
Amaryllis, my lovely one,
Do you not believe, O my heart's sweet desire,
That you are my love
Believe it thus, and if fear assails you,
Doubt not its truth;
Open my breast and see written on my heart:
"Amaryllis is my beloved."
Oh fairer than the stars of Diana,
Which shine before my mistress,
My queen, my sweet love;
Mercy, my heart, cause no more sorrow.
My dear beloved, my fair heart,
You are the fatal cause of my death,
The arrow that pierces my heart.
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 to inquire about special pack?age prices.
UMS PREFERRED RESTAURANT PROGRAM
V
isit and enjoy these fine area restaurants. Join us in thanking them for their gener?ous support of UMS.
Arbor Brewing Co. 114 East Washington -734.213.1393. A casual, local favorite featuring ribs, steak, pasta, sandwiches, southwest, a children's menu and a wide variety of creative vegetarian dishes. Lunch & Dinner 7 days.
Bella Ciao Trattoria 118 West Liberty -
734.995.2107. Known for discreet dining with an air of casual elegance, providing simple and elaborate regional Italian dishes for you and your guests' pleasure. Reservations accepted.
Blue Nile 221 East Washington 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. ittp:ann arbor.orgpagesbluenile.html
Cafe Marie 1759 Plymouth Road -734.662.2272. Distinct and delicious breakfast and lunch dishes, creative weekly specials. Fresh-squeezed juice and captivating cappuccinos.
The Chop House 322 South Main Street-888.456.DINE. 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.
Cleveland's 311 South Main Street -734.213.2505. Our Bistro-style restaurant features a generous variety of fresh seafood, grilled meats, and pasta dishes served in an upscale casual venue. Reservations accepted.
The Original Cottage Inn 512 East
William Street 734.663.3379. An Ann Arbor tradition for more than 50 years. Featuring Ann Arbor's favorite pizza, a full Italian menu, banquet facilities and catering services.
D'Amato's Italian Restaurant 102 South First Street 734.623.7400. D'Amato's Italian Restaurant (corner First St. & Huron) is casual dining at its best. Classic and contem?porary Italian cuisine. Premium wines by the glass, international design. Piano Bar Thursday-Saturday. 'Four stars' by the Detroit Free Press, 9 out of 10 by the Ann Arbor News, open 7 days, moderate prices, www.damatos.com
The 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, Sunday 3:30-9. Award winning Sunday brunch 10:00-2:00. Reservations recommended.
Gratzi 326 South Main Street 888.456.DINE Celebrated, award-winning Italian cuisine served with flair and excitement. Sidewalk and balcony seating. Open for lunch and din?ner. Reservations accepted.
The Kerrytown Bistro At the comer of 4th
Ave 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 atmos?phere. 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 sophistica?tion of gourmet desserts, fancy pastries, cheeses, fine wines, ports, sherries, martinis, rare scotches, hand-rolled cigars and much more. Open nightly.
The Moveable Feast 326 West Liberty -734.663.3278. Located just west of Main Street in the restored Brehm estate. Fine American cuisine with a global fare. Full service catering, bakery, wedding cakes.
Palio 347 South Main Street 888.456.DINE. Zestful country Italian cooking, fresh flavors inspired daily. Featuring the best rooftop seating in town. Open for dinner nightly. Reservations accepted, large group space available.
Real Seafood Company 341 South Main Street 888.456.DINE. As close to the world's oceans as your taste can travel. Serving delightfully fresh seafood and much more. Open for lunch and dinner. Reservations accepted.
Red Hawk Bar & Grill 316 South State Street 734.994.4004. Neighborhood bar & grill in campus historic district, specializing in creative treatments of traditional favorites. Full bar, with a dozen beers on tap. Lunch and dinner daily. Weekly specials. Smoke-free. No reservations.
Rightside Cellar 104 East Michigan Avenue, Saline 734.944.5158. Join us at the Rightside Cellar Tuesday Saturday. Hours are 5:30 -10:00 p.m. We feature a chef's tasting menu and full bar. Reservations preferred.
Seva 314 East Liberty 734.662.1111. Providing fresh, imaginative vegetarian cuisine 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 Road -734.665.3636. Great American restaurant since 1937. Featuring prime rib, live lobster, Cruvinet wine tasting flights, homemade pas?tries and desserts. Breakfast, Sunday brunch, lunch, dinner. Reservations accepted.
Zanzibar 216 South State Street -734.994.7777. Contemporary American food with Mediterranean & Tropical 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 100. Smoke-free. Reservations encouraged.
UMS DELICIOUS EXPERIENCES
B
ack by popular demand, friends of UMS are hosting a variety of dining events to raise funds for our nationally recognized education programs. Thanks to the generosity of the hosts, all proceeds from these delight?ful dinners go to support these important activities. Treat yourself, give a gift of tickets, or come alone and meet new people! For more information or to receive a brochure, call 734.936.6837.
UMSsupport

U
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 md involve you in our exciting programming ind activities. We rely on volunteers for a vast irray of activities, including staffing the edu-jation residency activities, assisting in artist services and mailings, escorting students for )ur popular youth performances and a host )f other projects. Call 734.936.6837 to request more information.
ADVISORY COMMITTEE
T
he sixty-member UMS Advisory Committee serves an important role with?in UMS. From ushering for our popular Youth Performances to coordinating annual fundraising events, such as the Ford Honors Program gala and "Delicious Experiences" dinners, to marketing Bravo!, UMS' award-winning cookbook, the Committee brings vital volunteer assistance and financial sup?port to our ever-expanding educational pro?grams. If you would like to become involved vith this dynamic group, please call '34.936.6837 for more information.
SPONSORSHIP & ADVERTISING
A
dvertising in the UMS program book or sponsoring UMS performances enables you to reach 130,000 of southeastern Michigan's most loyal concertgoers.
Advertising
When you advertise in the UMS program book you gain season-long visibility while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descriptions that are so important to performance experi?ences. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book.
Sponsorship
As a UMS corporate sponsor, your organiza?tion comes to the attention of an educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treasures, and also receive numerous benefits from your investment. For example,
UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
? Enhancing corporate image
Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic groups
Making highly visible links with arts and education programs
Recognizing employees
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
INTERNSHIPS
I
nternships with UMS provide experience in performing arts administration, mar?keting, publicity, promotion, production and irts education. Semesterand year-long nternships are available in many of UMS' departments. For more information, please call 734.764.6833.
COLLEGE WORK-STU DY
S
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, arts education, 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 734.764.6833.
USHERS
@@@@W
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 Auditorium, Power Center, Michigan Theater, or Lydia Mendelssohn Theatre) for the entire concert season.
If you would like information about becoming a UMS volunteer usher, call the UMS usher hotline at 734.913.9696.
SUPPORT FOR THE UNIVERSITY MUSICAL SOCIETY
T
his performance--and all of UMS' nationally recognized artistic and educational pro?grams--would not be possible without the generous support of the community. UMS gratefully acknowledges the following individuals, businesses, foundations and government agencies--and those who wish to remain anonymous--and extends its deepest gratitude for their support. This list includes current donors as of August 10, 2001. Every effort has been made to ensure its accuracy. Please call 734.647.1178 with any errors or omissions.
SOLOISTS
Mrs. Gardner Ackley Hal and Ann Davis Randall and Mary Pittman Philip and Kathleen Power
MAESTROS
Carl and Isabelle Brauer
Dr. Kathleen G. Charla
Peter and Jill Corr
Ronnie and Sheila Cresswell
David Eklund Estate
Jim and Millie Irwin
Charlotte McGeoch
Ann Meredith
Mr. and Mrs. Irving Rose
Prudence and Amnon Rosenthal
Herbert Sloan
VIRTUOSI
Leo and Kathy Legatski Susan B. Ullrich
CONCERTMASTERS
Herb and Carol Amster
Maurice and Linda Binkow
Douglas D. Crary
Beverley and Gerson Geltner
Charles N. Hall
David and Phyllis Herzig
Dr. Isaac Thomas III and
Dr. Toni Hoover Marc and Jill Lippman Robert and Pearson Macek Paul and Ruth McCracken Gilbert Omenn and Martha Darling Joe and Karen Koykka O'Neal Marina and Robert Whitman Ann and Clayton Wilhite
LEADERS
Bob and Martha Ause
Kathy Benton and Robert Brown
Raymond and Janet Bernreuter
Susan Steiner Bolhouse
Amy and Jim Byrne
Edward and Mary Cady
David and Pat Clyde
Maurice and Margo Cohen
Tom Cohn
Katharine and Jon Cosovich
Dennis A. Dahlmann
Jim and Patsy Donahey
Mr. and Mrs. Thomas C. Evans
John and Esther Floyd
Betty-Ann and Daniel Gilliland
Sue and Carl Gingles
Dr. and Mrs. William A. Gracie
Jeffrey B. Green
Linda and Richard Greene
Debbie and Norman Herbert
Janet Woods Hoobler
John and Patricia Huntington
Alice and Keki Irani
Thomas and Shirley Kauper
Robert and Gloria Kerry
Amy Sheon and Marvin Krislov
Lawrence and Rebecca Lohr
Judy and Roger Maugh
Shirley Neuman
Mrs. Charles Overberger
John and Dot Reed
Barbara A. Anderson and
John H. Romani Don and Judy Dow Rumelhart Loretta M. Skewes Carol and Irving Smokier Mr. and Mrs. John C. Stegeman Lois A. Theis
Don and Carol Van Curler Mrs. Francis V. Viola III Marion T. Wirick and
James N. Morgan Paul and Elizabeth Yhouse
PRINCIPALS
Dr. and Mrs. Gerald Abrams
Jim and Barbara Adams
Bernard and Raquel Agranoff
Michael Allemang and Denise Boulang
Lesli and Christopher Ballard
Emily W. Bandera, M.D.
Karen and Karl Bartscht
Bradford and Lydia Bates
Ralph P. Beebe
Ruth Ann and Stuart J. Bergstein
Philip C. Berry
Suzanne A. and Frederick J. Beutler
Joan Akers Binkow
Elizabeth and Giles G. Bole
Lee C. Bollinger and
Jean Magnano Bollinger Laurence and Grace Boxer Dale and Nancy Briggs Barbara Everitt Bryant Jeannine and Robert Buchanan Lawrence and Valerie Bullen
Mr. and Mrs. Richard J. Burstein
etitia J. Byrd Betty Byrne
Thomas and Marilou Capo lim and Priscilla Carlson lean and Kenneth Casey Janet and Bill Cassebaum Anne Chase
Don and Betts Chisholm Mr. and Mrs. John Alden Clark Leon and Heidi Cohan Mr. Ralph Conger Anne and Howard Cooper Elaine Buxbaum Cousins Alice B. Crawford
Mr. Michael J. and Dr. Joan Crawford Kathleen J. Crispell and Thomas S.
Porter
Peter and Susan Darrow Vlr. and Mrs. Richard Devos
,ick and Alice Dobson
lolly and Bill Dobson I lizabeth A. Doman .'? lr. and Mrs. John R. Edman f lartin and Rosalie Edwards S isan Feagin and John Brown 1 avid and Jo-Anna Featherman -tsi M. and Albert Feuerwerker K.'n and Penny Fischer 1' ly and Patricia Fitzgerald I ib and Sally Fleming I mes and Anne Ford I ene H. Forsyth Michael and Sara Frank (tto and Lourdes E. Gago Marilyn G. Gal latin .'illiam and Ruth Gilkey I 'r. Sid Gilman and Dr. Carol Barbour Victoria Green and Matthew Toschlog I ranees Greer
hn and Helen Griffith usan Harris Bertram Herzog I'araneh and Carl Haske Thomas and Connie Heffner lulian and Diane Hoff Robert M. and Joan F. Howe Timothy and Jo Wiese Johnson Robert L. and Beatrice H. Kahn Richard and Sylvia Kaufman Dorian R. Kim lim and Carolyn Knake Hud and Justine Kulka Barbara and Michael Kusisto fill M. Latta and David S. Bach Rosebud Solutions I vie and Allen Lichter
'arolyn and Paul Lichter
'can and Gwen Louis
"hn and Cheryl MacKrell
Natalie Matovinovic
largaret W. Maurer
I seph McCune and Georgiana Sanders I ebecca McGowan and Michael B. Staebler 1 attie and Ted McOmber
I d and Barbara Meadows Andy and Candice Mitchell L-ster and Jeanne Monts
Grant W. Moore
Alan and Sheila Morgan
Julia S. Morris
Cruse W. and Virginia Patton Moss
Eva L. Mueller
Martin Neuliep and Patricia Pancioli
M. Haskell and Jan Barney Newman
William and Deanna Newman
Dr. and Mrs. Frederick C. O'Dell
Mr. and Mrs. James C. O'Neill
Mrs. William B. Palmer
William C. Parkinson
Dory and John D. Paul
John M. Paulson
Maxine Pierpont
Eleanor and Peter Pollack
Donald H. Regan and Elizabeth Axelson
Ray and Ginny Reilly
Maria and Rusty Restuccia
John and Marilyn Rintamaki
Kenneth J. Robinson
Dr. Nathaniel H. Rowe
Alan and Swanna Saltiel
Sarns Ann Arbor Fund
Maya Savarino
Mrs. Richard C. Schneider
Rosalie and David Schottenfeld
Art and Mary Schuman
Steven R. and Jennifer L. Schwartz
Patricia and Joseph 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
Lloyd and Ted St. Antoine
Victor and Marlene Stoeffler
James L. and Ann S. Telfer
Marilyn Tsao and Steve Gao
Bryan and Suzette Ungard
Joyce A. Urba and David J. Kinsella
Richard E. and Laura A. Van House
Elly Wagner
John Wagner
Joyce L. Watson
Barry and Sybil Wayburn
Willes and Kathleen Weber
Karl and Karen Weick
Ronald and Eileen Weiser
Elise and Jerry Weisbach
Roy and JoAn Wetzel
Harry C. White and Esther R. Redmount
Max Wicha and Sheila Crowley
Ed and Signe Young
Gerald B. and Mary Kay Zelenock
Nancy and Martin Zimmerman
BENEFACTORS
Dr. and Mrs. Robert G. Aldrich Michael and Suzan Alexander Dr. and Mrs. David G. Anderson Dr. and Mrs. Rudi Ansbachcr John R. Bareham Norman E. Barnctt
Mason and Helen Barr
Robert and Wanda Bartletl
Astrid B. Beck and David Noel Freedman
L. S. Berlin
Tom and Cathie Bloem
Ron and Mimi Bogdasarian
Howard and Margaret Bond
Charles and Linda Borgsdorf
Helen L. Brokaw
June and Donald R. Brown
Virginia Sory Brown
Robert and Victoria Buckler
H. D. Cameron
Jean W. Campbell
Michael and Patricia Campbell
Bruce and Jean Carlson
Edwin and Judith Carlson
Jack and Wendy Carman
James S. Chen
Kwang and Soon Cho
Janice A. Clark
Carolyn and L. Thomas Conlin
im and Connie Cook
Hugh and Elly Rose Cooper
Susan and Arnold Coran
Paul N. Courant and Marta A. Manildi
Malcolm and Juanita Cox
George and Connie Cress
Jean Cunningham and Fawwaz Ulaby
Julie and Jonathan Dean
Pauline and Jay J. De Lay
Ellwood and Michele Derr
Marnee and John DeVine
Delia DiPietro and Jack Wagoner, M.D.
Steve and Lori Director
Al Dodds
Charles and Julia Eiscndrath
Kathryn A. Eldund
Stefan S. and Ruth S. Fajans
Dr. and Mrs. S.M. Farhat
Irene Fast
Dr. and Mrs. John A. Faulkner
Larry and Andra Ferguson
Dr. and Mrs. James Ferrara
Joseph and Nancy Ferrario
Sidney and Jean Fine
Carol Finerman
Clare M. Fingerle
Beth B.Fischer (Mrs. G.J.)
John and Karen Fischer
Ernest and Margot Fontheim
Mr. and Mrs. George W. Ford
Phyllis W. Foster
Deborah and Ronald Freedman
Kim and Mary Gallagher
Professor and Mrs. David Gates
Drs. Steve Geiringer and Karen Bantel
Thomas and Barbara Gelehrter
Charles and Rita Gelman
Beverly Gershowitz
James and Cathie Gibson
Paul and Anne Glendon
Edward and Ellen Goldberg
Cozette Grabb
Elizabeth Needham Graham
Dr. and Mrs. Lazar J. Greenfield
Leslie and Mary Ellen Guinn
Don P. Haefner and Cynthia J. Stewart
Mr. and Mrs. Elmer F. Hamel
Robert and Jean Harris
Walter and Diannc Harrison
Clifford and Alice Hart
Jeannine and Gary Haydcn
Benefactors, continued
Bob and Lucia Hcinold
Mrs. W.A. Hiltner
Drs. Linda Samuelson and
Joel Howell
Mr. and Mrs. William Hufford lane H. Hughes David and Dolores Humes Eileen and Saul Hymans Stuart and Maureen Isaac Wallie and lanet leffries Jim and Dale Jerome Susan and Stevo Julius Steven R. Kalt and
Robert D. Heeren Mercy and Stephen Kasle John B. and Joanne Kennard David and Sally Kennedy Richard Kennedy Emily and Ted Kennedy Dick and Pat King Steve and Shira Klein Herminc R. Klingler Philip and Kathryn Klintworth Joseph and Marilynn Kokoszka Dr. and Mrs. Melvyn Korobkin Samuel and Marilyn Krimm Bert and Catherine La Du Mr. John K. Lawrence Ted and Wendy Lawrence Donald J. and
Carolyn Dana Lewis Jacqueline H. Lewis Leslie and Susan Loomans Richard and Stephanie Lord Brigitte and Paul Maassen Melvin and Jean Manis Catherine and
Edwin L. Marcus Claude and Marie Martin Marilyn Mason Chandler and Mary Matthews Griff and Pat McDonald Eileen Mclntosh and
Charles Schaldcnbrand Leo and Sally Miedler Myrna and Newell Miller Mclinda and Bob Morris Cyril and Rona Moscow Charles H. Nave Lcn and Nancy Niehoff Marylen and Harold Obcrman Mark and Susan Orringcr Mitchel Osman, M.D. Julius A. and Sharon L. Otten Helen I. Panchuk Rene and Hino Papo Margaret and Jack Pctersen Elaine and Bertram Pitt Stephen and Bcttina Pollock Jerry and Lorna Prescott Larry and lieverly Price Richard H. and Mary B. Price Mrs. Gardner C Quarton Mrs. Joseph S. Radom Jeanne Raisler and
Jonathan Allen Cohn Rudolph and Sue Reichcrt Molly Resnik and John Martin H. Robert and
Kristin Reynolds Ruth Bardcnstcin and Jim Roll Art Rose and Nancy Moran Dr. Susan M. Rose
Mrs. Doris E. Rowan
Drs. Edward and Virginia Sayles
Peter C. Schaberg and
Norma ). Amrhein Meeyung and Charles Schmitter Ann and Thomas J. Schriber Julianne and Michael Shea Howard and Aliza Shevrin Frances U. and Scott K. Simonds Kate and Philip Soper Mr. and Mrs. Neil j. Sosin luanita and Joseph Spallina lames Steward and Jay Pekala Charlotte B. Sundelson Edward and Natalie Surovcll Bob and Betsy Teeter Elizabeth H. Thieme Christina and Thomas Thoburn Dr. and Mrs. Merlin C. Townley loan Lowenstcin and
Jonathan Trobe Dr. and Mrs. Samuel C. Ursu )im and Emilie Van Bochovc Charlotte Van Curler Jack and Marilyn van der Veldc William C. Vassell Kate and Chris Vaughan Florence S. Wagner Wendy L. Wahl and
William R. Lee Robin and Harvey Wax Kaoul Weisman and
Ann Friedman Angela and Lyndon Welch Dr. Steven W. Werns Iris and Fred Whitehouse Max and Mary Wisgerhoff Dean Karen Wolff David and April Wright Don and Charlotte Wyche
ASSOCIATES
Anastasios Alexiou Carlene and Peter Aliferis Christine Webb Alvey David and Katie Andrea Elaine and Ralph Anthony Harlcne and Henry Appelman )cff and Deborah Ash Mr. and Mrs. Arthur J. Ashe, 1! Dwight Ashley Dan and Monica Atkins lonathan and Marlene Ayers Geoffrey L. and Holly Baker Laurence R. and
Barbara K. Baker Gary and Cheryl Balint Cy and Anne Barnes Lois and David Baru Gary Beckman and
Karla Taylor
Christopher and Sheila Behlcr Harry and Betty Benford Linda and Ronald Benson Dan and Irene Biber Donald and Roberta Blitz David and Martha Bloom Jane M. Bloom )im Botsford and Janice
Stevens Botsford Dean Paul C. Boylan Dr. and Mrs. C. Paul Bradley
Morton B. and Raya Brown Sue and Noel Buckncr Trudy and Jonathan Bulkley Bob Caldwell and
Terri Hirth Caldwell Charles F. Cannell Valeric and Brent Carey Marshall F. and Janice L. Carr leannette and Robert Carr James and Mary Lou Carras Carolyn M. Carty and
Thomas H. Haug Cheryl Cassidy Dr. and Mrs. Joseph C. Cerny Tsun and Siu Ying Chang Dr. Kyung and Young Cho Reginald and Beverly Ciokajlo Mark Clague and
Anne Vandcn Belt Hubert and Ellen Cohen Edward J. and Anne M. Comeau Lolagene C. Coombs Mary Cordes and
Charleen Price Clifford and Laura Craig Merle and Mary Ann Crawford Peter C. Cubba Peggy Cudkowicz Mary R. and John G. Curtis Mr. and Mrs. Norman Dancy Dr. and Mrs.
Charles W. Davenport Ed and Ellic Davidson lohn and lean Dcbbink Penny and Larry Deitch Elena and Nicholas Delbanco Lloyd and Genie Dethloff Elizabeth Dexter Bill and Peggy Dixon lean Dolega
Heather and Stuart Dombey Dr. and Mrs. Edward F. Domino Thomas and Esther Donahue Mr. and Mrs.
Raymond D. Dornbusch Rhetaugh Graves Dumas Richard and Myrna Edgar Elizabeth Edmond MD Dr. Alan S. Eiser ludge and Mrs. S. J. Elden Ethel and Sheldon Ellis Mack and Marcia Endo Joan and Emil Enge) Patricia Enns Professor and Mrs. Erling Dr. John W. Farah Dede and Oscar Feldman Dr. lames F. Filgas Herschel and Annette Fink Clarisse (Clay) Finkbeiner C. Peter and Bev A. Fischer Guillermo Flores Doris E. Foss
Howard and Margaret Fox lason I. Fox Betsy Foxman and
Michael Bochnkc Lynn A. Freeland Lela ). Fuester
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld Bernard and Enid Caller Thomas I. Garbaty Wood and Rosemary Geisl Deborah and Henry Gersl Beth Genne and Allan Gibbard Elmer G. Gilbert and
Lois M. Verbrugge Matthew and Debra Gildea
James and Janet Gilsdorf Joyce and Fred Ginsberg Maureen and David Ginsburg Alberl and Almeda Girod Irwin Goldstein and
Martha Mayo Charles Goss
Mr. and Mrs. Stephen I. Gracon Maryanna and
Dr. William H. Graves, III Mrs. Clara Green Lila and Bob Green Sandra Gregerman Bill and Louise Gregory Raymond and Daphne M. Grew Carleton and Mary Lou Griffin Werner H. Grilk Bob and lane Grover David and Kay Gugala Ken and Margaret Guire Arthur W. Gulick, M.D. Susan and John Halloran Margo Halsted Yoshiko Hamano David Hamilton Jane and Bill Hann Martin D. and Connie D. Harris Robert and Sonia Harris Naomi Gottlieb Harrison and
Theodore Harrison DDS 1. Lawrence and Jacqueline
Stearns Henkel Lorna and Mark Hildebrandt Louise Hodgson Mr. and Mrs. William B. Holmes Dr. Ronald and Ann Holz Dr. and Mrs. Ralph M. Hulctt Ronald R. and
Gaye H. Humphrey Ann D. Hungcrman Hazel Hunsche Thomas and
Kathryn Huntzickcr Susan and Martin Hurwitz Robert B. Ingling Margaret and Eugene Ingram Harold and Jean Jacobson Kent and Mary Johnson Dr. and Mrs. Mark S. Kaminski Herbert and Jane M. Kaufer Marsha Kemppaincn Frank and Patricia Kennedy Donald F. and Mary A. Kiel Howard King and
Elizabeth Sayre-King Mrs. Rhea K. Kish James and lane Kister Dr. David E. and
Heidi Castleman Klein Laura Klem
Thomas and Ruth Knoll Dimitri and Suzanne Kosacheff Ron and Barbara Kramer Bert and Geraldine Kruse Lee and Tcddi Landes Mr. and Mrs. Henry M. Lapeza John and Theresa Lee Peter Lee and Clara Hwang Mr. and Mrs. Fernando S. Leon Myron and Bobbie Levine Mark Lindley and Sandy Talbott Daniel Little and
Bernadette Lintz Rod and Robin Little Vi-Cheng and His-Yen Liu Naomi E. Lohr B. Daniel and Kay Long Helen B. Love Charles and Judy Lucas
)ohn and lane Lumm Virginia and Eric Lundquist Pamela J. MacKintosh Virginia Mahle Deborah Malamud and
Ncal Plotkin Latika Mangrulkar Marcovitz Family Nancy and Philip Margolis Sheldon and Geraldine Markel Irwin and Fran Martin Sally and Bill Martin Jeff Mason and Janet Netz Margaret E. McCarthy Ernest and Adcle McCarus W. Bruce McCuaig Michael G. McGuire Mr. and Mrs. Ernest Merlanti Bernice and Herman Merte Henry D. Messcr -
Carl A. House Jcanettc and Jack Miller Thomas and Doris Miree James and Kathleen Mitchiner Kathryn and Bertley Mobcrg William G. and
Edith O. Moller, Jr. Jane and Kenneth Moriarty Frederick C. Neidhardt and
Germaine Chipault Edward C. Nelson Laura Nitzberg and
Thomas Carli Donna Parmelee and
William Nolting Arthur and Lynn Nusbaum Constance L. and
David W. Osier Marysia Ostafin and
George Smillie Mr. David T. Pacheco David and Andrea Page Sujit and Uma Pandit Penny and Steve Papadopoulos Nancy K. Paul Elizabeth Payne Zoe and Joe Pearson Dr. Owen Z. Perlman Jim and Julie Phelps Joyce Phillips Wayne Pickvet and
Bruce Barrett Wayne and Suellcn Pinch Richard and Meryl Place Donald and Evonne Plantinga Mary Alice Power Bill and Diana Pratt Larry and Ann Preuss Wallace G. and Barbara Prince Tom and Mary Princing . Thomas and Kathleen Pustell Leland and Elizabeth
Quackenbush
Patricia Randle and James Eng Jim and leva Rasmussen Anthony L. Reffells and
Elaine A. Bennett (limit.i Renwick Betty Richart
Jack and Margaret Kicketts Thomas and Ellen Riggs Constance O. Rinehart Jay and Machree Robinson Mr. and Mrs. Stephen J. Rogers Robert and Joan Rosenblum Gay and George Rosenwald Guslave and
Jacqueline Rosseels Craig and Jan Ruff
Ina and Terry Sandalow Michael and Kimm Sarosi Christi and Mike Savitski Gary and Arlene Saxonhouse Albert J. and Jane L. Sayed David and Marcia Schmidt Jean Scholl David E. and
Monica N. Schteingart Edward and Sheila Schwartz Dr. John J. H. Schwarz Harriet Selin Erik and Carol Serr Lorraine M. Sheppard John and Arlene Shy Scolt and Joan Singer Tim and Marie Slottow Mr. and Mrs.
William B. Slowey Alene M. Smith Carl and Jari Smith Mrs. Robert W. Smith Susan M. Smith Jorge and Nancy Solis Dr. Elaine R. Soller Cynthia J. Sorensen Yoram and Eliana Sorokin Larry and Doris Sperling Jeffrey D. Spindler Allen and Mary Spivey Curt and Gus Stager David and Ann Staiger Barbara Stark-Nemon and
Barry Nemon Ron and Kay Stefanski Virginia and Eric Stein Wolfgang Stolper Professor Louis and
Glennis Stout
Dr. and Mrs. Stanley Strasius Brian and Lee Talbot Eva and Sam Taylor Paul and Jane Thielking Mary H. Thieme Catherine Thoburn Edwin J. Thomas Bettc M. Thompson Nigel and Jane Thompson Hugo and Karla Vandersypen Tanja and Rob Van der Voo Lourdes Velez, MD Alice and Joseph Vining Carolyn and Jerry Voight John and Maureen Voorhees Mrs. Norman Wait Charles R. and
Barbara H. Wallgren Robert D. and Liina M. Wallin Ruth and Chuck Watts Deborah Webster and
George Miller
Marcy and Scott Westerman Douglas and Barbara White Leslie Clare Whitfield Nancy Wiernik Brymcr Williams Reverend Francis E. Williams Christine and Park Willis Lois Wilson-Crabtree Beverly and Hadley Wine Charles Witke and
Aileen Gatten Charlotte A. Wolfe J. D. and Joyce Woods Al and Alma Wooll Phyllis B. Wright Sandra and Jonathan Yobbagy MaryGrace and Tom York Dr. and Mrs. Alejandro Zapata
ADVOCATES
Akira Abe
Judith Abrams
John R. Adams
Dr. Dorit Adler
Michael and Marilyn Agin
Dr. Diane M. Agresta
Michael and Hiroko Akiyama
Ronald Atbuchcr and Kevin Pfau
lames and Catherine Allen
Barbara and Dean Alscth
Pamela and Gordon Amidon
Mayank M. Amin
Helen and David Aminoff
Mr. Andrew L. Amuro
Dr. and Mrs. Charles T. Anderson
Catherine M. Andrea
Mary C. Arbour
H. E. and Doris Arms
Bert and Pat Armstrong
Eric M. and Nancy Auppcrle
Erik and Linda Lee Austin
Ronald and Anna Marie Austin
Karen Bachman
Linda Bennett and Bob Hagramian
Prof, and Mrs. J. Albert Bailey
Robert L. Baird
Barbara and Daniel Balbach
Helena and Richard Baton
M. A. Baranowski
David and Monika Barcra
Maria Kardas Barna
Leslie and Anita Bassctt
Judith Batay-Csorba
Frank and Lindsay Batcman
Mrs. Jcrc M. Bauer
Kenneth C. Beachlcr
James M. Beck and
Robert J. McGranaghan Kathleen Beck
Mr. and Mrs. Steven R. Beckert Robert Bccklcy and Judy Dinesen Patrick and Maureen Bclden Walter and Antjc Bencnson loan and Rodney Bentz Mr. and Mrs. Ib Bcntzen-Bilkvist Dr. Rosemary R. Berardi Helen V. Berg fames A. Bergman and
Penelope Hommcl Steven J. Bernstein Kent Berridgc Gene and Kay Bcrrodin Andrew H. Berry, D.O. Mark Bertz
Ralph and Mary Bcuhlcr Naren and Nishta Bhatia Rosalyn Bicdcrman Eric and Doris Billcs Jack Billie and Sheryl Hirsch Sara Billmann and Jeffrey Kuras William and llenc Birgc Drs. Ronald C. and Nancy V. Bishop Barbara O. Black Martin and Mary Black Tom and Amy Blair John Blanklcy and Maureen Foley 1 i in and Joy Blouin Dr. George and Joyce Blum Paula and Arthur Bolder Beverly). Bole
Dr. and Mrs. Frank P. Bongiorno Lynda Ayn Boonc Morris and Reva Bornstcin leanne and David Bostian
Victoria C. Botek and
William M. Edwards Bob and Jan Bower Dr. and Mrs. Ralph Bozell Tom Brandt William R. Brashcar Enoch and Liz Brater Mr. loci Brcgman and
Ms. Elaine Pomcranz Mr. and Mrs. Gerald Bright Paul A. Bringcr Clifford and Amy Broman Olin and Alecta Browdcr Linda Brown and )ocl Goldberg Cindy Browne
Edward and Icancttc Browning Karen Brubakcr Carol Buatti [ ,11) v and Mac Buckner Dr. Frances B. Bull Margaret E. Bunge Charles and loan Burleigh Tony and Jane Burton Robert Butsch loanne Cage Barbara and Albert Cain Louis and lanct Callaway Susan and Oliver Cameron Jenny F. Campbell George R. Carignan Deborah S. Carr
Dennis B. and Margaret W. Carroll Thomas Champagne and
Stephen Savage K.M.Chan
Joan and Mark Chcsler Catherine Christen Espernza and Stccn Christcnscn Edward and Rebecca Chudacoff Sallie R. Churchill Robert J. Cierznicwski Nancy Cilley Fat Clapper
Brian and Cheryl Clarkson Donald and Astrid Cleveland Jill Kronhcim Cohen Hilary and Michael Cohen Thomas A. and Janet E. Collet Marion T. Collier lohn and Penelope Collins Ed and Calhy Colonc Wayne and Melinda Colquitt Thomas Conner Philip and Jean Converse Kathleen Cooney and Gary Faerber Gage R. Cooper Garnet and Joan Cousins Marjoric A. Cramer Mr. and Mrs. Winton L. Crawford Charles and Susan Cremin Mary C. Crichton Mr. and Mrs. James I, Crump Richard J. Cunningham Suzanne and Eugene Curtis Marcio Da Fonseca Marcia A. Dalbcy Marylec Dalton
Mildred and William B. Darnton Mr. and Mrs. John L. Daucr Mr. and Mrs. Arthur W. Davidgc Laning R. Davidson, M.D. Mark and Jane Davis Peter and Norma Davis Mrs. Frances Dcckard Joe and Nan Decker Dr. and Mrs. Raymond F. Decker Rossanna and George DcGrood George and Margaret DeMuth
Pamela DeTullio and
Stephen Wiseman Don and Pam Devine Lorenzo DiCarlo and
Sally Stcgeman DiCarlo Martha and Ron DiCccco Macdonald and Carulin Dick Timothy L. Dickinson and
Anja Lchmann Ruth I. Doanc Judy and Steve Dobson Rev. Dr. Timothy J. Dombrowski Paula R. Donn Robert I. Donncllan Dcanna and Richard Dorncr R. Paul Drake and Joyce E. Pcnner Roland and Diane Drayson lohn Drydcn and Diana Raimi Gulshirin Dubash and
Jercmey Mistry Mary P. Dubois Ronald and Patricia Due Rosannc and Sandy Duncan Mary H. Dunham Connie Dunlap lean and Russell Dunnaback Edmund and Mary Durfce Dr. and Mrs. Theodore E. Dushane Dr. and Mrs. Wolf Duvcrnoy Thomas E. Dwyer Linda Edbcrg
Morgan H. and Sara O. Edwards Julie and Charles Ellis James Ellis and Jean Lawton H. Michael and Judith L Endrcs Dave and Alexandra Engclke Mr. and Mrs. Fred A. Erb Mr. and Mrs. Garwood E. Erickson Roger E. Erickson Steve and Pamela Ernst [.eonard and Madeline Eron Dorothy and Donald Eschman Barbara Evans
Mr. and Mrs. Robert B. Fair, Jr. Elly and Harvey Falit Mike and Bonnie Fauman Inka and David Fclbcck Phil and Phyllis Fell in Dennis and Claire Fernly Karl and Sara Ficgenschuh Susan Filipiak
Gerald B. and Catherine L Fischer Dr. and Mrs. Richard L. Fisher Susan R. Fisher and
lohn W. Waidley Beth and Joe Fitzsimmons Rochcllc Flumenbaum and
Paul Estcnson
lessica Fogcl and Lawrence Wciner Scott and Janet Foglcr George and Kathryn Foltz Burke and Carol Fossee William and Beatrice Fox Dan and Jill Francis Hyman H. Frank Larry and Nancy Frank Lora Frankcl Lucia and Doug Frceth Otto W. and Hclga B. Frcitag Sophia L. French Esther and Pcretz Fricdmann Jerry Frost Joseph E. Fugerc and
Marianne C. Mussctt Frances and Robert Gamble Klkan and S. Zclda Gamzu James M. and Barbara H. Garavaglia Joann Gargaro Jack I. and Helen Garris
Janet and Charles Garvin
Tom Gasloli
Michael and lna Hancl-Gcrdcnich
Michael Gcrstcnbergcr
W. Scott Gerstcnbcrger and
Elizabeth A. Sweet Leo and Renate Gerulaitis Paul and Suzanne Gikas Dr. and Mrs. Gary Gillespic Zita and Wayne Gillis Marica K. Gilroy Beverly Jeanne Giltrow Robert Gockel Albert L. Goldberg Joyce and Janice Golding Ed and Mona Goldman Dr. and Mrs. Michael J. Goldstein Mrs. Esztcr Gombosi Mitch and Barb Goodkin lames W. and Maria J. Gousseff Michael L. Cowing Steve and Carol Grafton Christopher and Elaine (iraham Mr. and Mrs. Robert C. Graham Peter Granda and Kari Gluski Helen M. Graves Jerry M. and Mary K. Gray I-arry and Martha Gray Whitmorc and Svea Gray Isaac and Pamela Green Ivan Green
Lewis R. and Mary A. Green Phyllis Green Deborah S. Grcer Linda Grcgcrson and
Steven Mull.mcy G Robinson and Ann Gregory Linda and Roger Grckin Rita and Bob Grierson Mark and Susan Griffin William L. and Martha B. Grimes Marguerite M. Gritenas Laurie Gross
Lionel and Carol Gurcgian Lorraine Gutierrez and
Robert Peyser Dr. Merle Haanes George and Mary Haddad Stephanie Hale Claribcl Halstead Sarah I. Hamckc Barbara H. Hammitt (Mrs. EG.) Tom Hammond Dora E. Hampct Carl T. and Judith M. Hanks Grace H. Hanncnin Lourdcs S. Bastos Hanscn Charlotte Hanson David B. and Colleen M. Hanson Rachel Brett Harlcy Mary C. Harms
Stephen G. and Mary Anna Harper Laurclynnc and George Harris Ed Sarath and Joan Harris Susan S. Harris Jerome P. Hartwcg Elizabeth C. Hassinen Anne Haugh
James B. and Roberta Hausc Maureen Hawley Anne Hcacock
Kenneth and Jeanne Hciningcr James and Esther Hcitler William C Heifer Sivana Heller Paula B. Hcnckcn and
George C. Collins Rose and John Henderson Karl Hcnkel and Phyllis Mann
Dr. and Mrs. Keith S. Henley
Kathy and Rudi Hentschel
Jeanne Hernandez
Fred and Joyce Hershcnson
Ronald I), and Barbara J. Hertz
Roger F. Hewitt
Herb and Dec Hildebrandt
Frances C. Hoffman
Robert and Claire Hogikyan
John H. and
Maurita Peterson Holland Donna M. Hollowell Mrs. Howard Holmes Dave and Susan Horvath Albert Hou
James and Wendy Fisher House Jeffrey and Allison Housncr G. C. Housworth Hclga and Jerry Hover Nina Howard Mrs.V.C.Hubbs Judc and Ray Huctleman Harry and Ruth Huff Jewel F. Hunter Marilyn C. Hunting Diane C. Imredy Edward C. Ingraham Perry Irish Kali Israel
Sid and Harriet Israel Joan L. and John H. lackson Mel and Myra Jacobs Dr. and Mrs. Joachim Jancckc Dean and Leslie Jarrctt Professor and Mrs. Jerome Jclinck Lois J. Jelncck Ken and Marcia lenkinson Paula I. Jester Mark and Linda Johnson Paul and Olga Johnson Marilyn S. loncs, PH.D. Stephen Joscphson and Sally Fink Andrce Joyaux and Fred Blanck Mark Jucrgens William and Ellen Kahn Mary Kalmes and Larry Friedman Carol Kamm and James Howe Austin Kanter Paul Kantor and
Virginia Wcckstrom Kantor Mr. and Mrs. Irving Kao Mr. and Mrs. Wilfred Kaplan Carol and H. Peter Kappus Diana Karam Alex and Phyllis Kato Deborah and Ralph Kat7 Dennis and Linda Kaycs Julie and Phi) Kearney Mr. and Mrs. Robert Keiser I.inda D. and Thomas K. Kenney George L. Kcnyon and
Lucy A. Waskcll
David ). and JoAnn Z. Keosaian Nancy Keppclman and
Michael Smcrza Mr. Roland G. Kibler Paul and Leah Kileny Jeanne M. Kin Tom and Connie Kinnear Diane Kirkpatrick Paul and Dana Kissncr Peter and Judith Kleinman Anne Kloack Rosalie and Ron Kocnig Michael J. Kondziolka Charles and Linda Koopmann Man and Sandra Kortesoja Mr. and Mrs. Richard Krachcnberg ara Kring
William G. Kring
Alan and lean Krisch
Syma and Phil Kroll
Danielle and George Kuper
Ah in and Lia Kushner
Dr. and Mrs. Richard A. Kutcipal
Mr. and Mrs. John Lahiff
Tim and Kalhy Laing
lane Laird
Mr. and Mrs. Seymour Lampert
Pamela and Stephen Landau
lanet Landsbcrg
Patricia M. Lang
Mrs. David A. Lanius
Carl F. and Ann L. LaRuc
Ncal and Anne Laurance
Jennifer and Joseph Lavelle
Beth and George LaVoic
Chuck and Linda Leahy
Cyril and Ruth Ledcr
Fred and Ethel Lee
Skip and Mary LeFauve
Diane Lehman and Jeffrey Lehman
Ann M. Leidy
Richard and Barbara Leitc
Jim and Cathy Leonard
Sue Leong
Margaret E. Leslie
Harry and Melissa LeVinc
George and I.inda Levy
Robert and Julie Lewis
Carol N. Lieber
Ken and I.me Lieberthal
Leons and Vija Licpa
Dr. and Mrs. F. A. Locke
Julie M. Loftin
Jane Lombard
Ronald Longhofcr and
Norma McKenna David Lootens Armando Lopez Rosas Bruce Loughry Lynn Luckenbach Lawrence N. Lup Clair and Bettina Lussier Hdward and Barbara Lynn Walter Allen Maddox Suzanne and lay Mahler Alan and Carla Mandcl Dr. and Mrs. Steven G. Manikas Pearl Manning
Alice K. and Robert G. Marks Peter Marshall
Ann W. Martin and Russ Larson James E. and Barbara Martin H.L Mason
Vincent and Margot Masscy Larry and Rowena Matthews Debra Mattison Glenn D. Maxwell Helen Byrm May Carole Mayer
John Allen and Edith Maynard Michelinc Maynard Olivia Maynard and Olof Karlstrom Susan C. Guszynski and
Gregory F. Mazurc LaRuth C. McAfee Richard and Florence McBrien Margaret and Harris McClamroch Dores M. McCrce Mary and Norman Mclvcr Bill and Ginny McKcachie Nancy A. and Robert E. Mcadcr Bob and Doris Mclling Allen and Marilyn Mcnlo Ingrid Merikoski Hely Mcrle-Bcnner
Mark P. Mcrriman and
Natalie). Goldring George R. and Brigctte Merz Julie and Scott Merz Arthur and Elizabeth Mcssitcr Robert and Bcttie Mctcalf Helen Metzncr Don and Lee Meyer Heidi Meyer Suzanne M. Meyer Shirley and Bill Meyers Helen M. Michaels Prof, and Mrs. Douglas Miller Carmen and Jack Miller Sonya R. Miller Edward and Babara Mills Agnes M. Miner Dr. and Mrs. James B. Miner Olga Ann Moir Mary Jane Molcsky Jim and Jeanne Montie Arnold and Gail Morawa Robert and Sophie Mordis Dr. and Mrs. George W. Morley A. A. Moroun Dorothy Morsfield Muriel Moskowitz James and Sally Mueller Tom and Hedi Mulford J. Thomas and Carol Mullen Met nh.ml and Donna Mullcr Marti and Katie Mulligan Gavin Eadie and Barbara Murphy Lora G. Myers
Dr. Gunder and Marliss Myran Alberto Nacif Roscmarie Nagel R. and J. Needlcman J.inies G. Nelson and
Katherine M. Johnson Sharon and Chuck Newman John and Ann Nicklas Mrs. Marvin Nichuss Susan and Richard Nisbclt Gene Nisscn
Christer and Outi Nordman Richard and Caroline Norman Richard S. Nottingham Dr. Nicole Obrcgon Patricia O'Connor Peter M. and Alicia C. Olin Chcrie M. Olsen
Elizabeth Olson and Michele Davis Paul L. and Shirley M. Olson Mm.; O'Malley Robert and Elizabeth Oncal Kathleen I. Opcrhall Ted and Joan Operhall Mr. and Mrs. James R. Packard Donna D. Park Bill and Katie Parker Alka Patel
Robert and Arlcnc Paup Vasso and Dimitris Pavlidis Christopher Pawlak Wade D. and Carol Peacock William and Susan Penncr Steven and Janet Hepc Don and Gianninc Perigo Bradford Perkins Susan A. Perry Neal W. Pcrsky, M.D. Jeff lavowiaz and Ann Marie Petach Robert G. and Diane L Petit Erik and Rita Petrovskis Douglas Phclps and
Gwendolyn Jessie-Phelps Mr. and Mrs. Frederick R. Pickard Nancy S. Pickus
Robert and Mary Ann Pierce
Roy and Winnifred Pierce
William and Betty Pierce
Frank and Sharon Pignanelli
Dr. and Mrs. lames Pikulski
Brcnda Pontillo
Lynn Powell
Robert and Mary Pratt
Jacob M. Price
John and Nancy Prince
Bradley and Susan Pritts
Tony and Dawn Procassini
Lisa M. Profcra
Ernst Pulgram
Dr. G. Robina Quale-Lcach
Mr. and Mrs. Mitchell Radcliff
Cheryl L. Rakich
Alfred and [ackic Raphelson
Mr. and Mrs. Robert H. Rasmusscn
Dr, and Mrs. Mark Rayport
Rossi Ray-Taylor
Sandra Reagan
Del Rcddy
Richard and Patricia Redman
Michael I. Redmond
Russell and Nancy Reed
Mr. and Mrs. Stanislav Rchak
Mr. and Mrs. Bernard E. Reisman
J. and S. Remcn
Anne and Fred Remley
Duane and Katie Rcnkcn
John and Nancy Reynolds
Timothy and Teresa Rhoadcs
Alice Rhodes
Lou and Sheila Rice
Carol P. Richardson
Kurt and Lori Ricgger
Lita Ristinc
Kathleen Roclofs Roberts
Dave and loan Robinson
(im and Kathleen Robinson
lanct K. Robinson, Ph.D.
Jonathan and Anala Rodgers
Mary Ann and Willard Rodgers
Joseph and Joan Rogers
Leslie and Ann Rogers
Mary F. Loeffler and
Richard K. Rohrer Michael J. and Yclena M. Romm Elizabeth A. Rose Bernard and Barbara Rosen Stephen Koscnblum and
Rosalyn Sarver Elva M. Roscnzweig Charles W. Ross Steven Ross Carol Ruggand
Richard Montmorency Robert and Beth Ruskin Mitchell and Carole Rycus Simon Rygell Ellen and Jim Saalberg Theodore and Joan Sachs William and Ellen Sachs Arnold Sameroff and
Susan McDonough Miriam S. Joffe Samson Miriam Sandweiss John and Reda Santinga Harry and Elaine Sargous Dr. Stephen J. and Kim R. Saxc Hclga and Jochcn Schacht Bonnie R. Schafer Chuck and Gail Scharle Frank J. Schaucrtc Mary A. Schicvc Bctina Schlossberg Elizabeth L. Schmitt Jcannctte Collins Schnecbergcr
Advocates, continued
Susan G. Schooner Yizhak Schottcn and
Katherine Collier Sue Schrocdcr David and Becky Schultz Ailccn Schulzc Dietrich and Mary Schulzc Ruth Scodel
David and Darlcne Scovcll Peter and Kathleen Scullen Suzanne Sclig
Louis and Sherry L. Scnunas Mary M. Sexton (Mrs. George H.) Herbert and Melody Shanbaum Brahm and Lorraine Shapiro David and ESvcra Shappirio Thomas and Valeric Yova Sheets Ingrid and Cliff Sheldon Judith and Ivan Shcrick Mr. and Mrs. Patrick M. Sherry Rev. William J. Shcrzer Drs. lean and Thomas Shope Hollis and Martha A. Showaltcr Mary Alice Shulman Kay and Marylin Shustcr Dr. Douglas and Barbara Siders Dr. Bruce M. Siegan Milton and Gloria Sicgcl Susan Silagi
Alida and Gene Silverman Geoffrey and Morrinc Silverman Morrine Silverman Carl Simon and Bobbi Low Michael and Maria Simonte Bernard J. Sivak and Lorctta Polish Donald and Sharyn Sivyer Irma I. Sklenar Beverly N. Slater Kirstcn Marie Carr and
Theodore A. D. Slawecki Donald and Dorothy Smith Donald C. and lean M. Smith Dr. and Mrs. Michael W. Smith Mr. and Mrs. Phillip H. Smith Susan E. Smith Robert and Susan Soderstrom lames A. Somcrs Hrrol and 1'ai Soskolnc Aline Soules
Becki Spanglcr and Peyton Bland Tom Sparks
Peter Sparling and )ohn Gutoskey Elizabeth Spencer and
Arthur Schwartz
Mrs. Herbert W. Spcndlove (Anne) Charles E. Sprogcr Burnette Stacblcr Irving M. Stahl and
Pamela M. Rider Gary and Diane Stahlc loan and Ralph Stahman Constance D. Stankrauff Dr. and Mrs. William C. Stcbbins Frank D. Stella
William and Georgine Steudc )im and Gayle Stevens Rick and Lia Stevens Barbara and Bruce Stevenson Harold and Nancy Stevenson John and Beryl Stimson James L Stoddard Mr. and Mrs. James Bower Stokoe Leslie D. Stone and
Nancy Yakcs Stone Eric and Ines Storhok Charles R. and Jania ?. Stout Ellen M. Strand and
Dennis C. Regan Joe Stroud and Kathleen 1'ojtik
Mary Stubbins
Roger Statesman
Michael and Peg Supcrnault
Alfred Sussman
Thomas and Anne Swantek
Richard and unc Swart
Rebecca Sweet and Roland I.oup
Michael W. Taft and
Catherine N. Hcrrington Margaret Talburtt and lames Peggs Jim and Sally Tamm Gerald and Susan Tarplcy Frank and Carolyn Tarzia Robert and Carolyn Tate Stephan Taylor and
Elizabeth Stumbo James B. Terrill Carol and Jim Thiry William Jerry Thornton Anna Thurcn Peggy Ticman
Mr. and Mrs. W. Paul Tippett Bruce Tobis and Alice Hamele Robert Tomasulo John and Gcraldinc Topliss Pablo Tovar Jim Toy Sarah Trinkaus Ken and Sandy Trosien Jeff and Lisa Tulin-Silvcr William and Jewell Tustian Alvan and Katharine Uhle Paul and Frcdda Unangst Mary L Unterburgcr Bcrnicc G. and Michael I,. Updike Toru and Tamiko Urata Amy Valadc Madeleine Vallicr Carl and Sue Van Applcdorn Rebecca Van Dyke
Douglas and Andrea Van Houweling Fred and Carole van Rcescma Virginia Vass Phyllis Vegter Sy and Florence Vcniar Ryan and Ann Verhey-Hcnke James H. Vincent Gwen Vor Broker i I.inn and Tsuguyasu Wada Virginia Wait
David C. and Elizabeth A. Walker Jo Ann Ward Jill A. Warren
Drs. Philip and Maria Warren Lorraine Nadelman and
Sidney Warschausky Evy and Morric Warshawski Carol Weber Joan D. Weber Edward C. Weber Keith and Christine Weber lack and Jerry Weidcnliach Carolyn J. Wcigle Ncal and Susan Wcinberg Gcrane and Gabriel Weinrcich Rosalyn and Gerald Weintraub Lisa and Steve Weiss Helen Michael West Paul E. Duffy and
Marilyn I.. Wheaton B. Joseph and Mary White lames U. and Mary F. White Mr. and Mrs. Nathaniel Whitesidc Donald F. Whiting William and Cristina Wilcox Shelly F. Williams Bruce Wilson and
Carol Hollcnshcad Magnus and Carrie Wilson
Richard C Wilson Donna Winkclman and
Tom Easthopc
Sarajanc and Jan Z. Winkclman Beth and 1. W. Winstcn Dr. and Mrs. Lawrence 1). Wise Jeff and Linda Witzburg Stanley B. Wolfe, M.D. Dr. and Mrs. IraS.Wollner Richard E. and Muriel Wong Stan and I'm-. Woollams Israel and Fay WoronofT Lynnc Wright Alfred and Corinne Wu Donna Benson Zajonc John J. Zcrbiec
Ahmet, Christie, Hminc Zercn I i si. and Lincke Zuidcrvvcg Gail and David Zuk
CORPORATE FUND
$100,000 and above Ford Motor Company
Fund Forest Health Services
Corporation University of Michigan Pfizer Global Research
and Development:
Ann Arbor Laboratories
$50,000-599,999 Office of the Senior
Vice Provost for
Academic Affairs
$20,000-549,999
Brauer Investment Company
McKinlcy Associates
$10,000-519,999
Bank of Ann Arbor
Borders Group, Inc.
CFI Group
DTE Energy Foundation
Dow Automotive
KeyBankMcDonald Investments
MASCO Charitable Trust
Sesi Lincoln Mercury Volvo Mazda
Thomas B. McMullcn Company
Visteon
$5,000-59,999
AAA Michigan
Ak ,m Global Automotive Solutions
Ann Arbor Automotive
Arthur Andersen LLP
AutoCom Associates
Butzel Long Attorneys
Cafe Marie
Comerica Incorporated
Consumers Energy
Edward Surovell Realtors
HIastizell Corporation of America
GKN Sinter Metals
Hclla North America, Inc.
Mechanical Dynamics
Miller, Canficld. Paddock & Stone PLC
National City Bank
O'Neal Construction
Pepper Hamilton LLP
Personnel Systems, Inc. Arbor Technical Staffing Arbor Temporaries, Inc.
TI Group
Walid
$l,00O-$4,999
Bartcch, Inc.
Blue Nile
Charles Reinhart Co. Realtors
Dennis Pahlmnnn Inc.
liliMlimi
loscph Curtin Studios
ProQuest
Republic Bank
TCP Bank
Texaco
$100-5999
Ayse's Cafe
Bed & Breakfast on Campus
Bodywisc Therapeutic Massage
Clark Professional Pharmace
Coffee Express
Doan Construction
Dupuis & Rydcn, P.C.
Edward Brothers, Inc.
(ialamp Corporation
Garris, Garris, Garris & Garris, PC
General Systems Consulting
Guardian Industries
Lewis Jewelers
Malloy Lithographing
Mundus & Mundus
Pollack Design Associates
Scientific Brake & Equipment
FOUNDATION
and GOVERNMENT
SUPPORT
$100,000 and above The Ford Foundation JazzNetDoris Duke
Charitable Foundation Michigan Council for Arts
and Cultural Affairs State of Michigan Arts,
Cultural and Quality of
Life Grant Program Wallace-Reader's Digest
Funds
S50,000-S99,999 Community Foundation tor
Southeastern Michigan National Endowment for
the Arts The Power Foundation
$10,0OO-$49,999
Ann Arbor Area Community
Foundation Arts Midwest
Elizabeth E. Kennedy Fund Heartland Arts Fund Mid-America Arts Alliance New England Foundation
for the Arts Raymond C. Smith
Foundation Fund Shiftman Foundation Trust
(Richard Levey and Sigrid
Christiansen)
Sl,0OO-$9,999 Commonwealth of Pennsylvania
Council on the Arts Harold and lean Grossman Family
Foundation
The Lcbcnsfcld Foundation THE MOSAIC FOUNDATION
(of R. and P. Heydon) Rosalie Edwards
Vibrant Ann Arbor Fund s.irns Ann Arbor Fund
UOO-S999
lumber Music America . rb Foundation
TRIBUTE GIFTS
i mlribuuotis have been received in emory ttndor honor of the I Ihwing individuals.
1 athy S. Arcure .irbara EveritI Bryant lavid Eklund
.ira Frank
fenneth Haas
Jeorge R. Hunsche
I Jloria Kerry
itobcrt Meredith
i'hil and Kathy Power
1 iwen and Emerson Powrie
leffi Reiss
'rue Rosenthal
largaret Rothstein ?ac C.Thomas III
harles R. Tieman
?Irs. Durwell Vetter
rancis V. Viola III
:.ir] H. Wilmont
'cter Holderness Woods
BURTON TOWER SOCIETY
The Burton Tower Society recognizes and honors those very special friends who have included UMS in their estate plans. UMS is grateful for this important support, which will contin?ue the great traditions of artistic excellence, educational opportunities and community partnerships in future years.
Carol and Herb Amstcr
Mr. Neil P. Anderson
Catherine S. Arcure
Mr. and Mrs. Pal E. Barondy
Mr. Hilbcrt Beyer
Elizabeth Bishop
Barbara Everilt Bryant
Pat and George Chatas
Mr. and Mrs. ohn Aldcn Clark
Douglas D. Crary
Dr. and Mrs. Michael S. Frank
Bcverley and Gerson Geltncr
Mr. Edwin Goldring
Mr. Seymour Greenstone
John and Martha Hicks
Mr. and Mrs. Richard Ives Marilyn lefts Thomas C and
Constance M. Kinncar Sally C. Maggio Charloltc McGcoch Michael G. McGuire Dr. Eva Mueller Lcn and Nancy Niehollf Dr. and Mrs. Frederick O'Dcll Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Mr. and Mrs. lack W. Ricketts Herbert Sloan Roy and JoAn Wetzcl Mr. and Mrs. Ronald G. Zollars
ENDOWED FUNDS
The future success of the University Musical Society is secured in part by income from UMS' endowment. UMS extends its deepest appreciation to the many donors who have estab?lished andor contributed to the fol?lowing funds.
H. Gardner Ackley
Endowment Fund Amster Designated Fund Catherine S. Arcure
Endowment Fund Choral Union Fund Ha! and Ann Davis
Endowment Fund Ottmar Kbcrbach Funds Epstein Endowment Fund JazzNei Endowment Fund William R. Kinncy
Endowment Fund
NEA Matching Fund Palmer Endowment Fund Charles A. Sink Memorial Fund Catherine S. ArcurcHcrbcrt E.
Sloan Endowment Fund University Musical Society
Endowment Fund
IN-KIND GIFTS
Raquel and Bernard AgranofT
Amadeus Caft
Ann Arbor Automotive
Ann Arbor Art Center
Arbor Brewing Co.
Catherine S. Arcure
The Back Alley Gourmet
Bella Ciao Trattoria
Bivouac
The Blue Nile Restaurant
Bodywise Therapeutic Massage
Kathleen Benton and
Robert Brown Cafe Marie Chelsea Flower Shop Cleveland's Bill and Nan Conlin Hugh and Elly Rose Cooper Peter and Jill Corr The Original Cottage Inn Paul and Pat Cousins Cousins Heritage Inn Dr. and Mrs. Ronald Crcsswell ds events
Roderick and Mary Ann Daanc D'Amato's Italian Restaurant David Smith Photography Peter and Norma Davis Katy and Tony Derezinski Dough Boys Bakery Bob and Chris Euritt (Catherine and Damian Farrell Fine Flowers Ken and Penny Fischer The Gandy Dancer Beverley and Gerson Gehner Great Harvest Bread Company Linda and Richard Greene John Leidy Shop John's Pack & Ship Mercy and Stephen Kaslc Kcrrytown Bistro King's Keyboard House Ray Lance
George and Beth Lavoic LeDog
Stephanie Lord Mainstreet Ventures Jeanne and Ernest Mcrlanli Michigan Car Services, Inc. and Airport Sedan, LTD Ron Miller Robert and Melinda Morris
The Movcablc Feast
Nicola's Books, Little Professor
Book Co.
Pacsano's Restaurant Randall and Mary Pittman Randy Parrish Fine Framing Red Hawk Bar & Grill Regrets Only Rightsidc Cellar Ritz Camera One Hour Photo Maya Savarino Peter Savarino Stephanie Savarino Ann and Tom Schriber Seva
Shaman Drum Bookshop Howard and Aliza Shcvrin Herbert Sloan Irving and Carol Smolder Dr. Elaine Sollcr Ann and Jim Telfer Washington Street Gallery Weber's Restaurant Elizabeth and Paul Yhouse Zanzibar
GIVING LEVELS
Soloists
$25,000 or more
Maestro
$10,000 24,999
Virtuosi
$7,500 9,999
Concertmaster $5,000 7,499
Leader
$2,500 4,999
Principal
$1,000-2,499
Benefactor $500 999
Associate $250 499
Advocate $100 249
Friend $50 99