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UMS Concert Program, Monday Jan. 21 To 27: University Musical Society: Winter 2002 - Monday Jan. 21 To 27 --

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Day
21
Month
January
Year
2002
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Rights Held By
University Musical Society
OCR Text

Season: WINTER 2002
University Of Michigan, Ann Arbor

WINTER 2002 SEASON
University Musical Society of the University of Michigan, Ann Arbor
x0aums University Musical Society
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
UMS services 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 2002 UMS Winter 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 Advertisers
Front Cover: San Francisco's Golden Gate Bridge (c CORGIS), Leatherbound Books ( Adam WoolfittCORBIS). Rennie Harris Puremovement: Rome S Jewed Back Cover: Anne Sofie von Otter (Vince Reichardt). Lyon Opera Ballet: Cendrilton (G. Amsellem)
leadership
LETTER FROM THE CHAIR
It 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
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."
Ted R. Gambill
President & COO, Automobile Club of Michigan "Cultural enrichment in the community plays a large factor in attracting and retaining a diverse and high-quality workforce. As part of that workforce since 1916, providing a wide range of travel, insurance, recreational and finan?cial services for its 1.7 million members, AAA Michigan salutes the University Musical Society for its long history of service to the community."
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."
Jorge A. Solis
Senior Vice President, Bank One, Michigan "Bank One, Michigan is honored to share in the University Musical Society's proud tradition of musical excellence and artistic diversity."
Habte Dadi
Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an 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."
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 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, Canfwld, 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 J. 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 M Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational entertainment."
Susan Skerker
Senior Vice President, Business Strategy and Corporate Relations, Visteon Corporation
"Visteon Corporation is pleased to support the University Musical Society's mission of bringing the performing arts to Ann Arbor. The arts are a vital part of any community's growth and culture. They have inspired nations and individ?uals to excel and have brought peace, joy and understanding to many people. We applaud UMS for its unwavering com?mitment to the presentation of the arts."
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."
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 Doris Duke Charitable
FoundationJazzNet The Ford 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 The Power Foundation
$10,000 49,999
Ann Arbor Area Community Foundation
Arts Midwest
Association of Performing Arts
PresentersArts Partners Elizabeth E. Kennedy Fund Heartland Arts Fund Michigan Humanities Council Mid-America Arts Alliance National Endowment for the Arts New England Foundation for the Arts Raymond C. Smith Foundation Fund The Shiftman Foundation (Richard
Levey and Sigrid Christiansen)
$1,000 9,999
Commonwealth of Pennsylvania Council
on the Arts
Gelman Educational Foundation Harold and Jean Grossman
Family Foundation The Lebensfeld Foundation Montague Foundation THE MOSAIC FOUNDATION
(of R. and P. Heydon) Sarns Ann Arbor Fund Rosalie EdwardsVibrant Ann Arbor Fund
$100 999 Erb Foundation
UNIVERSITY MUSICAL SOCIETY of the University of Michigan
UMS BOARD OF DIRECTORS
Beverley B. Geltner,
Chair Alice Davis Irani,
Vice-Chair Prudence L Rosenthal,
Secretary Erik H. Serr, Treasurer
Janice Stevens
Botsford
Barbara Everitt Bryant Kathleen G. Charla Jill A. Corr Hal Davis Sally Stegeman
DiCarlo
David Featherman Debbie Herbert Toni Hoover
Gloria James Kerry Helen B. Love Barbara Meadows Lester P. Monts Alberto Nacif Shirley C. Neuman Jan Barney Newman Gilbert S. Omenn Randall Pittman Philip H. Power Rossi Ray-Taylor
Judy Dow Rumelhart Maya Savarino Herbert Sloan Timothy P. Slottow Jorge A. Solis Peter Sparling Clayton Wilhite Karen Wolff B. Joseph White
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 Lee C. Bollinger Paul C. Boylan Carl A. Brauer Allen P. Britton Letitia J. Byrd Leon S. Cohan Peter B. Corr Jon Cosovich Douglas Crary Ronald M. Cresswell John D'Arms
Robert F. DiRomualdo James J. Duderstadt Robben W. Fleming David J. Flowers William S. Hann 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
Leo A. Legatski 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 James L Telfer Susan B. Ullrich Jerry A. Weisbach Eileen Lappin Weiser Gilbert Whitaker Marina v.N. Whitman Iva M. Wilson Elizabeth Yhouse
ADVISORY COMMITTEE
Sara B. Frank, Chair Louise Townley,
Vice-Chair Sue Schroeder,
Secreta ryTreasu rer Raquel Agranoff Barbara Bach Lois Baru Judi Batay-Csorba Kathleen Benton Mimi Bogdasarian Jennifer Boyce 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
Andra Bostian Ferguson
Nancy Ferrario
Anne Glendon
Alvia Golden
Linda Greene Karen Gunderson Nina E. Hauser Kathy Hentschel Debbie Herbert Anne Kloack Beth LaVoie Stephanie Lord Esther Martin Mary Matthews Ingrid Merikoski Ernest Merlanti Jeanne Merlanti Candice Mitchell
Bob Morris Bonnie Paxton Mary Pittman Jeri Sawall Meeyung Schmitter Penny Schreiber Aliza Shevrin Morrine Silverman Maria Simonte Loretta Skewes Cynny Spencer Wendy Woods
UMS STAFF
Administration Finance
Kenneth C. Fischer,
President Lisa Herbert, Director
of Special Projects 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 Ronald Bemrich,
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
Support Lisa Rozek, Assistant to
the Director of
Development J. Thad Schork,
Development Officer
EducationAudience Development
Ben Johnson, Director Kristin Fontichiaro,
Youth Education
Manager Mary Golden, Youth
Education Assistant Dichondra Johnson,
Coordinator Warren Williams,
Manager
MarketingPublic Relations
Sara Billmann, Director Aubrey Alter, Marketing Manager
Gulshirin Dubash,
Public Relations
Manager Kirsten Karlen,
Promotion
Coordinator
Programming Production
Michael J. Kondziolka,
Director Emily Avers, Production
Administrative
Director Christine Field,
Production Assistant,
Front-of-House Jeffrey Golde,
Production Assistant,
Front-of-House Andrew Hause,
Technical Director Susan A. Hamilton,
Artist Services
Coordinator Mark Jacobson,
Programming Manager
Ticket Office
Michael L. Gowing,
Manager Sally A. Cushing,
Associate
Ann Hause, Assistant Laurel Hufano, Assistant
Work-Study
Eric Blanchard Patricia Cheng April Chisholm Angela Clock Jamie Freedman Milena Grubor David Her Benjamin Huisman Christopher Lee Dawn Low Claire Molloy Alissa Newman Vincent Paviglianiti Helen Putnam Rosie Richards Jennie Salmon Corey Triplett Sean Walls
Interns
Carla Dirlikov Robert Frey Jennifer Gates Jenny Graf Lindsay Mueller Sameer Patel Ryan Steinman
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 INFORMATION
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.
In an effort to help reduce distracting noises and enhance the theater-going experience, Adams, a Warner-Lambert Consumer Group and division of Pfizer, is providing complimen?tary HallsO Mentho LyptusO cough suppressant tablets to patrons attending UMS performances throughout our 2002 Winter Season.
ICKETS
I
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
By Phone 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.
The 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.
T CERTIFICAT
?
Looking 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.
UMS 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
Join 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.
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Sound Clips Listen to recordings from UMS performers online before the concert.
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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 HISTO
RY
Through an uncompromising 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 vig?orous 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
Throughout 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 performances 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. Among other works, 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 and Brahms' Ein deutsches Requiem with Thomas Sheets conducting the Ann Arbor Symphony Orchestra, all in Hill Auditorium. To conclude its 123rd season, the Choral Union will join the Detroit Symphony Orchestra and Neeme Jarvi in three perform?ances of Beethoven's Missa Solemnis.
In 1995, the Choral Union began accept?ing invitations to appear with other major regional orchestras, and soon added Britten's War Requiem, Elgar's The Dream of Gerontius, the Berlioz Requiem and other masterworks to its repertoire. During the 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 Durufie'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 histor?ical periods, a joint appearance with the Gabrieli Consort and Players and a perform?ance 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 and 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 culminated in a performance of 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, conducted by Thomas Sheets.
Participation in the Choral Union remains open to all by audition. Composed of singers from Michigan, Ohio and Canada, 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
Standing 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
During 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
The 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: Modem Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
St. Francis of Assisi Catholic Church
In 1950, Father Leon Kennedy was appoint?ed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and on March 19, 1969 John Cardinal Dearden dedi?cated the new St. Francis of Assisi Church. Father James McDougal was appointed pastor in 1997.
St. Francis of Assisi Catholic Church has grown from 248 families when it first started in 1950 to more than 2,800 today. The present church seats 900 people and has ample free parking. In 1994 St. Francis purchased a 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
Notwithstanding 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
The 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
Seen 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 ticket window will be conveniently located at the League Ticket Office, across Ingalls Mall from Burton Tower, on the north end of the Michigan League building at 911 North University Avenue. The UMS Ticket Office phone number and mailing address will remain the same.

@@@@University Musical Society
of the University of Michigan 2002 Winter Season
@@@@Event Program Book Monday, January 21 through Sunday, January 27, 2002
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.
A Tribute to Gospel Legend Mattie Moss Clark 5
Monday, January 21, 8:00pm Hill Auditorium
Orchestre de Paris 9
Wednesday, January 23, 8:00pm Hill Auditorium
Charlie Haden's Quartet West with Strings 23
Friday, January 25, 8:00pm Lydia Mendelssohn Theatre
Da Camera of Houston 27
Marcel Proust's Paris
Saturday, January 26, 8:00pm Lydia Mendelssohn Theatre
The Chieftains 39
Sunday, January 27, 3:00pm Hill Auditorium
Dear UMS Patrons,
Thank you for coming to this performance and for supporting UMS. We're glad you're here.
Organizations like UMS could not survive without its volunteers. One of the most dedicated and hardest working volunteer groups is our Board of Directors. At its annual meeting in late November, the Board elected six new members--entrepre?neur Hal Davis, U-M's LS&A Dean Shirley Neuman, publisher Philip Power, arts leader Judy Dow Rumelhart, real estate developer Sally Stegeman DiCarlo, and banker Jorge Solis. The Board also elected these officers: Chair Beverley Geltner, Vice Chair Alice Irani, Secretary Prue Rosenthal, and Treasurer Erik Serr. We thank all of these dedicated people for their willingness to serve UMS in these important positions. See page 14 for a complete listing of the Board.
UMS lost one of its most loyal volunteers on December 23 when Elizabeth "Liz" Yhouse died suddenly while vacationing in Florida. Liz served UMS in more than a dozen capacities over the past decade including Board member and Treasurer, Advisory Committee member and Chair, Chair of the 100th May Festival, Chair of the first Ford Honors Program, member of numerous committees, and--one of her favorite roles--usher for UMS youth performances. Liz and her husband Paul hosted many UMS functions in their home and on their restored train car "Babbling Brook." We will miss Liz, her captivating smile, her boundless energy, her extraordi?nary service, and the special warmth she extended in welcoming newcomers to the UMS family.
More than 500 volunteers serve UMS. They sing in the UMS Choral Union; usher at our regular concerts and youth concerts; serve on the Board of Directors, Senate, and Advisory Committee; work as interns; and serve in a variety of other capacities. If you would like to join the growing list of UMS volunteers, please let me know. Indeed, if there's anything you'd like to discuss about UMS, no matter what it is, look for me in the lobby and let's chat. If you don't see me there, please drop me a note, give me a call (734.647.1174), or send me an e-mail message at kenfisch@umich.edu.
Sincerely,
Kenneth C. Fischer President
UMS Education
UMS Educational Events through Saturday, February 1,2002
All UMS educational activities are free and open to the public unless otherwise noted ($). Please visit www.ums.org for complete details and updates.
Da Camera of Houston Marcel Proust's Paris
Study Club 2
Marcell Muller, U-M Professor Emeritus Romance Languages and Literature and local Proust expert discusses Proust's Swann's Way and "Within a Budding Grove" from Remembrance of Things Past. Tuesday, January 22, 7:00 p.m. Michigan League, Vandenberg Room.
Piano Master Class
Masterclass with Sarah Rothenberg, Pianist and Artistic Director, Da Camera of Houston, and U-M Piano Students.
Thursday, January 24, 4:30-6:30 p.m. Cady Room, Stearns Building.
Meet the Artists Post-performance discussion from the stage with Sarah Rothenberg, Pianist and Artistic Director, Da Camera of Houston. Saturday, January 26. Lydia Mendelssohn Theatre.
Charlie Haden's Quartet West with Strings
Lecture
"The Art of Improvisation." Charlie Haden will give a pre?sentation based on material that he has developed at the California Institute for the Arts. Thursday, January 24, 2:30p.m. Recital Hall, U-M School of Music.
Meet the Artists
Post-performance discussion
from the stage with Charlie
Haden and members of
Quartet West.
Friday, January 25.
Lydia Mendelssohn Theatre.
UMS Performing Arts Workshop
Arts and Technology in the Classroom
Join Deborah Katz, Music Educator and Technology Specialist, in a workshop focus?ing on up-to-date uses of art and technology in the class?room. This workshop will explore low cost or free soft?ware, Internet resources, simple music composition and nota?tion software, and drawing and painting tools that support classroom organization and management. This workshop will discuss the many ways in which computer technology can bring the arts to the center of student learning. Monday, January 28,4:30-7:30 p.m. Pattengill Elementary School, Ann Arbor. ($)
UMS
presents
A Tribute to Gospel Legend Mattie Moss Clark
Dr. Rudolph V. Hawkins, Music Director Diane Steinberg-Lewis, Host
(Daughter of Martha Jean "The Queen")
with performances by The Clark Sisters The Ranee Allen Group The Rudy Hawkins Singers
Program Monday Evening, January 21, 2002 at 8:00
Hill Auditorium, Ann Arbor, Michigan
Thirty-second
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 photographing or sound recording is prohibited.
This performance is co-presented with the U-M Office of Academic Multicultural Initiatives.
UMS is grateful to the University of Michigan for its support of the extensive educational activities related to this performance.
Support for this performance provided by media sponsors WEMU and Metro Times.
The piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
Special thanks to Glen Chisholm, Jeffrey Cross, Gabriel Johnson and Deborah Smith Pollard for their involvement in tonight's tribute.
Large print programs are available upon request.
Dr. Rudolph V. Hawkins (Composer, Music Director) has an impressive array of musical direction, performance and com?position. Dr. Hawkins was Musical Director of Artistic Inspirations star?ring Cab Calloway at the Kennedy Center for the Performing Arts, Washington DC and was Choral Director for the Martin Luther King Celebration featuring Bette Midler at Radio City Music Hall in New York City. Dr. Hawkins completed a three-month tour of Japan with the Phoenix Singers and has directed the only gospel ver?sion of Jesus Christ Superstar. He was appointed Musical Director and Chief Song WriterArranger for Mamma I Want to Sing, the longest-running off-Broadway black musical. His television appearances include "Gospel Music in America" on the Phil Donahue Show and the Regis Philben Show. A native of Detroit, Michigan, Dr. Hawkins received the "Spirit of Detroit" award from the Honorable Mayor Coleman A. Young and received a Letter of Recognition from former President Bill Clinton in 1996 for his dedication to the community.
The Rudy Hawkins Singers was founded by the University Musical Society (UMS) and The Arts League of Michigan in the Fall of 1998 to serve as an active, community-based choir for several special projects dur?ing the Ellington Centennial Year, including Donald Byrd's The Harlem Nutcracker and Bob Telson and Lee Breuer's The Gospel at Colonus. Since then, the choir has per?formed two seasons of The Harlem Nutcracker and has appeared with Alvin Ailey American Dance Theater in Detroit. The Rudy Hawkins Singers is currently comprised of fifty adult singers, all from the Detroit area. Under the musical direction of Dr. Rudolph V. Hawkins, the choir has been able to connect with both regional and national audiences through performances and a series of musically-based educational events sponsored by the University Musical Society in Ann Arbor and Detroit.
In the late Fall of 2000, the Rudy Hawkins Singers embarked on their first nation-wide tour of the US, presenting performances of A Gospel Christmas in cities such as St. Louis, Cleveland, Kansas City, and Buffalo, culminating in a holiday performance at Detroit's Music Hall. Recent projects include extensive residency activities with the Liz Lerman Dance Exchange, culminating in the October 2001 presentation of Hallelujah! under UMS auspices. The Rudy Hawkins Singers have performed regionally on the stages of the Detroit Opera House, Music Hall, and Ann Arbor's Power Center, and were seen in the national television broad?casts of Amercia's Thanksgiving Day Parade in November of 1998 and 1999.
Tonight's performance marks the Rudy Hawkins Singers thirty-eighth appearance under UMS auspices.
The Rudy Hawkins Singers
Dr. Rudolph V. Hawkins, Music Director
Corrie L. Hix, Choir Manager
Nathan Brewer, Accompanist-Rehearsal Assistant
Linda Adams Gloria Black Gail Barker Angela Bostic E. Dianne Bradley Theodore Coleman Karen Cook Mary Crawford Lyndon Curd Demetrius Darling Malcolm Davis Mary Ann Davis George Dickens DeAnna Dorsey Alice Dunbar Tracey Durden Donna Eaton Virgy Edwards Henton Ellis Jr.
Net'fa Enzinga Sandra Feva-Dance Valerie Ford Silas Green Darris Halliburgh Jill Hamilton Eric Harabidian Joyce Harris Wilma Harris Corrie Hix Paula Hightower Armond Jackson Michael Jennings Angela Johnson Kitisha Johnson Norman Keys Dennis Kitchen Curtis Mann Yolanda Moore
Brenda Murray Thomas Nance Anita Newby Virginia Ridgeway Rochelle Robinson Sammie Rushing Regina Scott Ruth Sinclair Stacia Slaughter Phyllis Thaxton Pamela Thompson Arnold Timmons Ester Walton
Claire McKinney Wardlaw Reda Washington Barbara "Angel" Williams Linda Williams
Tribute Band
Javon Cohen, Drums Kenneth Gilmore, Bass Roland Hamilton, Piano James Shelton, Keyboards Charles Wilson, Organ
The Ranee Allen Group
Ranee Allen, Vocals
Steven Allen, Vocals
Thomas Allen, Vocals
Nick Allen, Drums
Chris Byrd, Piano
Gordon Henry, Bass
Terry Faison, Guitar
Courtnay Dwight, Hammond Organ
UMS
and
BankOne
present
Orchestre de Paris
Christoph Eschenbach, Music Director Pierre-Laurent Aimard, Piano
Program
Wednesday Evening, January 23, 2002 at 8:00 Hill Auditorium, Ann Arbor, Michigan
Olivier Messiaen Maurice Ravel
Les offrandes oubliees, meditation symphonique
Piano Concerto in G
Allegramente Adagio assai Presto
Pierre-Laurent Aimard
INTERMISSION
Ravel Ravel
La valse, poeme choregraphique
Daphnis et Chloe: Suite No. 2
Lever du jour--Pantomime--Danse generale
Thirty-third 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 Bank One. Additional support provided by media sponsor WGTE.
The piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
The US Tour of Orchestre de Paris is made possible through the generous sup?port of the Association Francaise d'Action Artistique.
Orchestre de Paris thanks The Florence Gould Foundation for its generous grant. Orchestre de Paris appears by arrangement with Columbia Artists Management, Inc. Please visit Orchestre de Paris on the Internet at www.orchestredeparis.com.
Large print programs are available upon request.
Les offrandes oubliees, meditation symphonique (The Forgotten Offerings, Symphonic Meditation) Olivier Messiaen
Born December 10, 1908 in Avignon, France Died April 28, 1992 in Clichy, Hauts-de-Seine
Tonight's performance marks the UMS pre?miere of Messiaen's Les offrandes oubliees, meditation symphonique.
It is an intriguing thought that the young Messiaen's first major work was completed the year before the middle-aged Ravel's last. What a symbolic changing of the guards! The twenty-two-year-old, who had just graduated from the Paris Conservatoire, may have been living in the same city as the maitre of fifty-five years of age, and been influenced by the older man's use of harmo?ny and color. But even at this early age, Messiaen had an artistic program all his own. A devout Catholic all his life (and therefore an heir to a 2000-year-old tradi?tion), Messiaen was also committed to artis?tic innovation, and the combination of those qualities propelled him on a spiritual journey that made him "a musician apart," in the words of Paul Griffiths, author of an insightful book on the composer. Long before his journey had led Messiaen to dis?cover Indian ragas, numerical permutations, and birdsong, and place them all in the ser?vice of his unique artistic vision, he expressed that vision with great clarity in the way he handled materials and tech?niques inherited from his elders.
Messiaen's meditation symphonique is in a single movement consisting of three sec?tions. Two slow sections frame a fast one at the center, which, at first sight, seems like a rather conventional formal plan. Yet Messiaen makes the tempo contrasts extreme: his metronome numbers in the
outer portions of the work are among the lowest on record. The basic beat of the final section is exactly four times slower than that of the preceding fast music which is an indi?cation of the deeper symbolic meaning of the tempo contrasts in this case.
In fact, the three sections of the work correspond to the three theological concepts of the Cross, Sin, and the Eucharist. Messiaen included the following poetic words in the score to illuminate his ideas:
Arms extended, sad unto death,
on the tree of the Cross you shed your blood.
You love us, sweet Jesus: that we have forgotten.
Impelled by folly or the serpent's tongue, on a panting, frantic, unceasing course, we went down into sin as into the tomb.
Here is the spotless table, the spring of charity, the banquet of the poor, here the Pity to be adored, offering the bread of Life and of Love.
You love us, sweet Jesus: that we have forgotten.
At the beginning of the first section ("Very slow, painful, and deeply sad"), the strings play a melody in a non-traditional scale that Messiaen developed by freely altering the medieval church modes. This melody is played in unison against a simple minor third played by the woodwinds in alternation. Despite the simplicity of the means employed, the effect is quite strong. The central section, the longest and most elaborate, is a "ferocious, desperate, and panting" evocation of the descent into sin. The influence of Stravinsky's Rite of Spring is evident in the relentless ostinatos and rhythmic asymmetries. The Messiaen of the future is most clearly anticipated in the final "Eucharist" ("Extremely slow, with great compassion and great love"): despite the Romantic flavor of the long, and longing, melody for muted violins, the sensuous har?monies accompanied by nine solo strings
(also muted) are filled with the special aura of this composer. All three sections of Les offrandes oubliees are thematically interrelat?ed--a fact that, no doubt, has a deeper the?ological significance, as Cross, Sin and Eucharist all have to be understood in the context of the human soul experiencing them.
Piano Concerto in G
Maurice Ravel
Born March 7,1875 in Ciboure, Basses-Pyrenees Died December 28, 1937 in Paris
Tonight's performance marks the UMS premiere of Ravel's Piano Concerto in G.
Some of the most original piano music in the first half of the twentieth century was written by Maurice Ravel. In the early Jeiix d'eau (1901) and the great cycles Miroirs (1904-05) and Gaspard de la nuit (1908), Ravel developed what he himself called "a special type of writing for the piano," and he defended his priority against critics who tried to trace his style to that of Debussy.
Himself a highly competent pianist, Ravel was a frequent performer of his own music (his performances survive on record). Thus, it is not entirely surprising that he should want to write a concerto; what is sur?prising is that it took him so long to do so.
As a matter of fact, Ravel toyed with the idea as early as 1906, according to biographer Arbie Orenstein. He was then thinking about a concerto based on Basque themes, from Ravel's native region in the Pyrenees. The projected work even had a title: Zaspiak-Bat, which means "The Seven Are One" in the Basque language--an allusion to the unity of the four Spanish and three French Basque provinces. But Zaspiak-Bat seems never to have progressed beyond the stage of initial sketches; World War I inter?vened, and Ravel, who had enlisted for mili-
tary duty, complained in a letter to a friend: "Impossible to continue Zaspiak-Bat, the documents having remained in Paris." Instead, the composer took up other pro?jects, and the concerto plans remained on the back burner until the late 1920s.
It was in 1928, after his American tour, that he began seriously to think about a concerto again. In the wake of this tour-and the recent, wildly successful premiere of Bolero--Ravel wanted to make the most of his popularity, and decided to return to the concert stage as a pianist, as his friend Igor Stravinsky had done a few years earlier. His work on a piano concerto was interrupted by Paul Wittgenstein's commission to write a concerto for the left hand only. Ravel worked on both concertos more or less at the same time. Asked by music critic Michel D. Calvocoressi to compare the two pieces, Ravel made the following statement:
Planning the two piano concertos simulta?neously was an interesting experience. The one in which I shall appear as the interpreter is a concerto in the truest sense of the word: I mean that it is written very much in the same spirit as those of Mozart and Saint-Saens. The music of a concerto should, in my opinion, be light-hearted and brilliant, and not aim at profundity or at dramatic effects. It has been said of certain great clas?sics that their concertos were written not "for" but "against" the piano. I heartily agree. I had intended to entitle this concerto "Divertissement." Then it occurred to me that there was no need to do so, because the very title "Concerto" should be sufficiently clear.
The concerto for left hand alone is very different. It contains many jazz effects, and the writing is not so light. In a work of this kind, it is essential to give the impression of a texture no thinner than that of a part written for both hands. For the same reason, I resorted to a style that is much nearer to that of the more solemn kind of traditional concerto.
One has to understand Ravel's way of thinking to unravel some of the puzzles contained in this statement. One might be surprised by the implication that Mozart's concertos are without "profundity" or "dra?matic effects." Ravel, however, understood those terms in a very specific way, and the real meaning of his remark was something he left unsaid. By the "great classics" whose concertos are "against the piano" he probably meant Brahms (and possibly Tchaikovsky), whose expansive Romanticism he had been
at pains to avoid. He had boundless admiration for Mozart, as had, among French composers before
him, Camille Saint-Saens; by mentioning these two names, Ravel defined an artistic lineage for himself and, by the same token, implicitly distanced him-
self from the Beethoven-Wagner-Franck-d'Indy line with which he was out of sympathy. Ravel emphasized his debt to
Mozart in the Piano Concerto in G, but there are also many signs of jazz influence in the piece, particularly in the first movement. Ravel had been interested in jazz since the early 1920s when it first became the rage in the Parisian clubs that he frequented. He had included a "Blues" movement in his Sonata for Violin and Piano, written between 1923 and 1927. His enthusiasm grew consid?erably, however, after his visit to the United States. At a party given in New York in honor of his fifty-third birthday, Ravel met
George Gershwin, of whose Rhapsody in Blue (1924) he was very fond. Gershwin asked Ravel to take him on as a pupil, but Ravel declined, saying, "You would only lose the spontaneous quality of your melodies and end up writing bad Ravel."
The first movement has many of the trappings of classical sonata form: a succes?sion of contrasting themes, and a clearly recognizable moment at which the recapitu-
lation begins. But the emphasis, as always with Ravel, is not so much on motivic development as on the juxtaposition of self-contained melodies. The first one of these melodies is introduced by the piccolo in a very fast tempo; the piano accompanies it with lively figurations. This theme has been said to suggest a Basque folk melody: it probably contains material from the aban?doned Zaspiak-Bat concerto. After this first theme, the tempo slows down, and the high-pitched E-flat clarinet plays the first of several
jazz-related motifs. The movement, which
remained true to Ravel's original
"Divertissement" idea, has a mag-
nificent piano cadenza at the end,
preceded by two other striking solo passages: one for the harp, and one in which one woodwind instrument after another plays
virtuoso flourishes against the
sustained melody of the first horn. The second movement opens
with a long, expressive piano solo. It is a
single uninterrupted phrase that goes on for more than three minutes; after a while, the piano is joined by the flute, oboe, and clar?inet. There is a middle section where the piano plays in a faster motion against the slow-moving melodies in the orchestra. The initial long phrase then returns, played by the English horn, and accompanied by the crystalline thirty-second notes of the piano. Ravel said that he had modeled this move?ment on the "Larghetto" from Mozart's Clarinet Quintet (K. 581); the connection is subtle, but can be clearly heard in the softly moving long phrases in 34 time and the rich ornamentation of the melodic lines.
The last movement is a lively romp in perpetual motion. Like the first movement, it is a cavalcade of themes including allusions to marches, dances, and folk songs, and containing some jazzy "smears" in the trom?bones and demanding solos for the wood?winds. The high jinks continue until the
timpani and the bass drum put an abrupt end to the music.
As he said in the statement quoted above, Ravel was planning to play the piano part in his concerto himself. Sadly, he was prevented from doing so by the onset of his illness which proved fatal. He developed a progressively incapacitating nervous disor?der that made it impossible for him to play the piano, though in 1932, he could still conduct. He entrusted the solo part to Marguerite Long, a great pianist who had been a close friend and dedicated performer of his works for many years, and they took the concerto on tour in some twenty European cities. In January 1933, Ravel con?ducted the premiere of his Concerto for the Left Hand, and shortly afterwards finished the three songs Don Quichotte a Dulcinee for voice and orchestra. But soon he was no longer able to read music or sign his name, much less to compose (though his hearing, his musical judgment, and his intelligence in general remained unimpaired). The Piano Concerto in G remained Ravel's penultimate composition, a fact belied by the work's freshness and youthful vigor. One may understand Ravel's distress when, in the last year of his life and gravely ill, he burst into tears: "I still have so much music in my head. I have said nothing. I have so much more to say."
La Valse, poeme choregraphique Ravel
Tonight's performance marks the eighteenth UMS performance of Ravel's La Valse. The Chicago Symphony Orchestra gave the UMS premiere of La Valse in May 1924.
Dance was always an important source of inspiration for Ravel. Works so different as Pavane, Tombeau de Couperin, Menuet sur le
nom d'Haydn, Habanera, and of course Bolero, in addition to many parts of the opera L'Enfant et les Sortileges, all incorpo?rate dance rhythms of one sort or another. He was particularly fascinated by the waltz. In 1906 he started planning a large waltz-fantasy he wanted to call Wien (Vienna). As he wrote to his friend Jean Marnold in February 1906,
What I'm undertaking at the moment is not subtle: a grand waltz, a sort of homage to the memory of the great Strauss--not Richard, the other one, Johann. You know of my deep sympathy for these wonderful rhythms, and that I value the joie de vivre expressed by the dance far more deeply than the Franckist puritanism.
Some years later, in 1911, he composed Valses nobles et sentimentales for piano (orchestrating it the next year). In this work he paid homage to an earlier waltz style, as found in the dances of Schubert. But Wien remained unfinished for a long time. During World War I, Ravel, an ardent French patriot voluntarily involved in mili?tary duties, could not bring himself to work on a composition named for an enemy capi?tal. And when he returned to it after war's end, to complete the score in 1920, the piece had become very different from the original conception. For by that time, the Hapsburg Empire, whose old-world atmosphere Johann Strauss' great waltzes had symbol?ized, had collapsed. World War I left deep scars on the European collective psyche; the joy expressed in those classical waltzes became not only nostalgic but downright painful memories.
La Valse--as the piece was called in its final version--is the longest and most seri?ous of Ravel's dance-inspired works. It is much more than a dance; it is dance, but at the same time also a reflection about dance, the representation of the birth of dance, its life and its apotheosis, as Ravel himself had
said. Diaghilev, whose musical instincts were uncanny, saw this right away: he called the work "not a ballet but the portrait of a bal?let," and this was why he never staged it. Ravel had the following paragraph printed in the score:
At first the scene is dimmed by a kind of swirling mist, through which one (A) dis?cerns, vaguely and intermittently, the waltzing couples. Little by little the vapors disperse, the illumination grows brighter, revealing an immense ballroom filled with dancers; the blaze of the chandeliers comes to full splen?dor (B). An Imperial court about 1855.
(Ravel indicated by the letters A and B exactly when the dancers appeared and the light got brighter; I shall refer to those let?ters in my analysis below.)
Like the great Strauss waltzes (On the Beautiful, Blue Danube, for example), La Valse is really a whole set of waltzes, with a number of melodies following one another in close succession. The work starts almost imperceptibly: the distant drone of the muted double basses can barely be heard-we can say there is a gradual transition from silence to music. Only instruments with a low range play at first; the first fragment of what is to evolve into the first waltz melody is intoned by two bassoons. Instruments with a higher pitch such as violas and clar?inets come next, followed later by oboes and flutes. What they play is an introduction to the series of waltzes: The Blue Danube and other works by Strauss also have such an introduction with fragments of themes rather than complete melodies. The first real waltz tune is played by the violas divided into two groups (A). It is the first time, but certainly not the last, that the composer expressly instructed string players to change left hand-positions with a glissando, an effect that contributes much to the Viennese ambiance. The theme is continued and
expanded by the violins and then by the full orchestra (B).
The next waltz features delicate wood?wind solos (oboe, flute) as the harmonic language gradually becomes more and more dissonant and adventuresome. The third waltz starts with a strong downbeat on the timpani and bass drum and features the brass section in a prominent role. Next, the violins play a waltz full of longing, later joined by the woodwinds.
The sky begins to darken as the next section starts with a strong fortissimo and some of the harshest dissonances heard so far. However, the clouds can be dispelled for now, as the clarinets and cellos get their chance at a sweet, lilting melody. But the dissonant ninth intervals don't go away; on the contrary, they receive more emphasis when played by the entire orchestra's fortis?simo. The duo of two solo violas, coming next, are pervaded by painful feelings, and the following graceful woodwind melody-the last new tune in the piece--is perturbed by violent trills on the horns that seem to spell doom.
At this point--we are about halfway through the piece--a recapitulation starts with the somber murmur of the string bass and the short melodic fragment on the bas?soon, heard at the beginning. Several of the earlier waltz tunes now return; their order of sequence is different from the first time, and the orchestration is entirely new. The gentle violin tune, described above as "full of longing," is now blasted forth on horns and trombones amidst a great commotion in which the entire orchestra participates. The delicate viola duo becomes a major dra?matic outburst that leads directly to the final climax, in which the tender little waltz melodies are stirred up to a state of hysteria. The tempo accelerates to the end, and the dissonances become harsher than ever. The next to the last measure contains four quar?ter-notes instead of three--that's how far we
have gotten from the original idea of the waltz. The destruction of the waltz is now complete: even three-quarter time has been abolished.
At the close of World War I, Maurice Ravel recorded in La Valse the violent death of the nineteenth-century world. The waltz, long the symbol of gay Vienna, became in the composer's hands a frantic danse macabre. Ravel wrote: "I feel in this work a kind of apotheosis of the Viennese waltz, linked in my mind with the impression of a fantastic whirl of destiny." His grotesque memorial serves as a symbolic introduction to a problem of history: the relationship of politics and the psyche in fin de siecle Vienna.
Ravel's musical parable of a modern cultural crisis, whether or not he knew it, posed the problem in much the same way as it was felt and seen by the Austrian intelligentsia of the fin de siecle. How had their world fallen in chaos...
(From Carl E. Schorske, Fin de siecle Vienna: Politics and Culture [New York: A. Knopf, 1980], p. 3-4.)
Daphnis and Chloe, Suite No. 2
Ravel
Tonight's performance marks the twenty-first UMS performance of Ravel's Daphnis and Chloe, Suite No. 2. The Boston Symphony Orchestra gave the UMS premiere oDaphnis and Chloe in October 1931.
Daphnis and Chloe is a celebration of sensu?al love and beauty set in an imaginary world of ancient Greek shepherds; many a secret dream, many an amorous fantasy is embod?ied in this luxuriant ballet score.
The story came from a pastoral romance by the Greek author Longus (third century, A.D.). The romance tells about the awakening of love between two young peo?ple, both foundlings and tending their herds together. After various adventures-amorous rivalries, abductions by pirates, and other intrigues--it turns out that both are children of aristocratic families and they have a grand wedding, living happily ever after.
Ravel's ballet on this subject was writ?ten on a commission from Serge Diaghilev, the brilliant Russian impresario and founder of the Russian Ballet. Ravel received the commission in 1909, but the score was not completed until 1912. By the time the long-awaited score was completed, the fast-mov?ing Diaghilev had initiated so many new projects that Ravel's effort seemed to be overshadowed by other productions, includ?ing a very controversial adaptation of Debussy's Prelude to an Afternoon of a Faun, which opened just two weeks before Daphnis. Stravinsky's Firebird and Petrouchka received their premieres in 1910 and 1911, respectively; Debussy's Jeux and Stravinsky's Rite of Spring were already in the making. Even the Greek topic had been "stolen" from Ravel with the ballet Narcisse, another Fokine production with Nijinsky in the title role, which premiered in 1911 with music by Nikolai Tcherepnin. Finally, the Daphnis premiere was given on June 8, 1912, two days before the end of the season, and shown only twice before the company went on summer break.
Daphnis and Chloe remained Ravel's most extensive work, both in terms of length and the size of the orchestra. Yet as a work for the stage, it got off to a rather inauspicious start. The work has been more successful in the concert hall, mainly in the form of the two suites Ravel extracted from the score. The first suite is identical to the second part of the three-part ballet, the sec-
ond suite to the last part.
The Second Suite consists of three seg?ments whose titles are given in the score: Lever dujour (Sunrise), Pantomime, and Danse generate (General Dance) appear together on the title-page of the score. The words of the ballet script are inscribed within the staves of the score. The portion relating to the second suite, in Philip Hale's English translation, reads as follows:
No sound but the murmur of rivulets fed by the dew that trickles from the rocks. Daphnis lies stretched before the grotto of the nymphs. Little by little the day dawns. The songs of birds are heard. Afar off, a shepherd leads his flock. Another shepherd crosses the back of the stage. Herdsmen enter, seeking Daphnis and Chloe. They find Daphnis and awaken him. In anguish he looks about for Chloe. She at last appears encircled by shepherdesses. The two rush into each other's arms. Daphnis observes Chloe's crown. His dream was a prophetic vision: the intervention of Pan is manifest. The old shepherd explains that Pan saved Chloe, in remembrance of the nymph Syrinx, whom the god loved.
Daphnis and Chloe mime the story of Pan and Syrinx. Chloe impersonates the young nymph wandering over the meadow. Daphnis, as Pan, appears and declares his love for her. The nymph repulses him; the god becomes more insistent. She disappears among the reeds. In desperation he plucks some stalks, fashions a flute, and on it plays a melancholy tune. Chloe comes out and imitates by her dance the accents of the flute.
The dance grows more and more animated. In mad whirlings, Chloe falls into the arms of Daphnis. Before the altar of the nymphs he swears on two sheep his fidelity. Young girls enter; they are dressed as Bacchantes and shake their tambourines. Daphnis and Chloe embrace tenderly. A group of young men come on the stage. Joyous tumult. A general dance. Daphnis and Chloe.
The music begins with a texture of lush figurations on the flutes, clarinets, harps, and celesta, under which the strings begin a majestic tune in the pentatonic scale (i.e. one that could be played on the black keys of the piano alone). The melody, first intoned by the basses and cellos, grows and grows, gradually taken over by the violas and the violins. The first shepherd crossing the stage is portrayed by the piccolo, the second by the equally high-pitched E-flat clarinet (both are on the stage in the origi?nal ballet version). The embrace of Daphnis and Chloe is marked by an orchestral climax where the violins reach their highest regis?ter. The music winds down as the old shep?herd, Lamon, tells his story (oboe solo).
The "Pantomime" starts with a trio of two oboes and English horn, playing a vari?ant of the first movement's pentatonic melody. The scene between Pan and the nymph brings alternating woodwind solos; when the god creates his flute from reed-stalks (it is the instrument known as the panpipe!), we hear one of the most enchant?ing flute solos in the entire orchestral litera?ture. It is a perfect example of the new "impressionistic" melody: it hovers around a certain pitch to which it keeps returning, then moves and hovers around another pitch, but there seems to be no pre-deter-mined direction in which the melody pro?gresses.
The gradual intensification of the dance is felt by a speeding up of the tempo, and excited tremolos (very rapid note repeti?tions) and arpeggios (broken chords) in the strings.
In a meter rather unusual for a ballet, large stretches of the Danse generate were written in the asymmetrical meter of 54. This asymmetry and the way rhythmic and harmonic ostinatos are used throughout this ecstatic final section remind us that Stravinsky's Rite of Spring is only a year away.
Ravel and Stravinsky became fast friends after the young Russian had been catapulted to fame by his ballet Firebird (1910), written for the same Diaghilev who had commissioned Ravel's work. In later years, Stravinsky remembered Ravel "play [ing] for me fragments of his mar?velous Daphnis and Chloe, which he was composing." Both Daphnis and The Rite of Spring end with similar effects, with short rhythmic units repeated, varied, and stirred up to a paroxysm; and the fact that Stravinsky was to carry this effect even fur?ther does not take away from the brilliance and the excitement of Ravel's finale.
Program notes by Peter Laki.
Acclaimed as "one of the best musicians of our day," Christoph Eschenbach, the German born conductor-pianist, is in his sec?ond season as Music Director of the Orchestre de Paris.
Chief Conductor of the Hamburg NDR Symphony since 1998, Conductor Laureate of the Houston Symphony Orchestra since 1999 (following eleven years as its Music Director), Music Director of the Ravinia Festival (summer home of the Chicago Symphony Orchestra since 1994), and Artistic Director of the Schleswig-Holstein festival since 1999, Maestro Eschenbach was recently appointed Music Director of the Philadelphia Orchestra as of September 2003. He will then share his time mainly between Philadelphia and Paris. He is also regularly heard at the head of the major American and European orchestras.
He has brought new energy and excite?ment to the Orchestre de Paris, expanding its repertoire and championing new music. Maestro Eschenbach's 20012002 season includes many engagements of note. In the
US, he makes his debut at the Metropolitan Opera conducting performances of Arabella with soprano Renee Fleming in the title role. Tonight's current tour marks his first appearance in the US with the Orchestre de Paris.
In Paris, Maestro Eschenbach gives twenty-four concerts a year with the Orchestre de Paris, and as pianist, joins the musicians and soloists for chamber music concerts. In Europe he has led the French musicians at the Enesco Festival in Bucharest, the televised BBC Proms in London, and on tours in Germany and Austria.
A prolific recording artist, Christoph Eschenbach has made over sixty-five record?ings, as pianist, conductor, or both.
Tonight's performance marks Maestro Eschenbach's sixth appearance under UMS auspices. He last appeared in Ann Arbor as conductor and piano soloist with the Chicago Symphony Orchestra in September 1997.
The temptation to pigeonhole artist can be hard to resist. Throughout Pierre-Laurent Aimard's unique career there are landmarks which might initially invite such a labeling: winning first prize in the 1973 Messiaen Competition and his association with that composer's music ever since; being appointed at the age of just nineteen by Pierre Boulez to become the Ensemble InterContemporain's solo pianist; Aimard's extremely close col?laboration, since the mid-1980s, with Gyorgi Ligeti, including being chosen by the great composer to record his complete works for Sony, and being the dedicatee of several of his Etudes. Pierre-Laurent Aimard is without doubt a key figure in the new music world. But it has always been a driving force in Aimard's professional musical life to explore as broad a range as possible of music from different ages and sources. He continually strives to illuminate the importance of his?torical, musical and cultural contexts as well as influences between composers both with?in and between generations and centuries. Through his teaching work at the Paris Conservatoire and at the Hochschule in Cologne as well as through an international program of concertlectures, he sheds a very personal light on music of the past, present and future.
Born in Lyon, France in 1957, Pierre-Laurent Aimard studied at the Paris Conservatoire where he won four first prizes. He had the opportunity to study with Yvonne Loriod and then Maria Curcio. Now Pierre-Laurent Aimard performs throughout the world each season with the most eminent orchestras and conductors, as well as in recital and chamber music programs in the most prestigious venues. Current orchestral projects include Beethoven Piano Concertos with the Berlin PhilharmonicHaitink; with the Chamber Orchestra of EuropeHarnoncourt; and with NDR HamburgEschenbach; Mozart with the Netherlands Radio Chamber Orchestra Bruggen; Messiaen's Turangalila with both the Berlin PhilharmonicNagano and the Boston SymphonyOzawa; Ligeti's Piano Concerto with the Cleveland OrchestraBoulez and with the Birmingham Contemporary Music GroupRattle; and Scriabin's Prometheus and Piano Concerto with the Russian National OrchestraPletnev. Recital projects will be performed in Cleveland, Chicago, Vienna, Amsterdam, Frankfurt, Berlin, and Hamburg. During the 19992000 season at the Chatelet, Paris, he created a sequence of performances incorporating six twentieth-century works for piano and instrumental group-featuring a wide range of disciplines such as ancient music, techno-music, street music and cinema.
Pierre-Laurent Aimard has recorded for DGG, Sony, Erato, Wego and Lyrinx and continues to create and record for the televi?sion station Arte a series of films focusing on great composers of the twentieth century. His first CD recording for Teldec, Messiaen's Vingt Regards sur Venfant Jesus, was released in Spring 2000 to enormous critical acclaim.
Tonight's performance marks Pierre-Laurent Aimard's UMS debut.
One of the world's premiere sym?phonic ensembles, the Orchestre de Paris is rich in its musical her?itage. Founded in 1967 by the writer Andre Malraux, then Minister of Culture under General de Gaulle, and the composer Marcel Landowski, Director of the Music Department in the Ministry, it stems directly from one of the oldest orchestras, the Societe des Concerts du Conservatoire, which introduced Beethoven, Berlioz and Brahms to Paris audiences. Its first Music Director was the renowned Charles Munch who led the Orchestra on its tri?umphant first American tour in 1968. He was succeeded by Herbert von Karajan, Sir Georg Solti, Daniel Barenboim, Semyon Bychkov and, since 2000, by Christoph Eschenbach.
In recent years, young talented musi?cians have joined the ranks of the Orchestra and brought their enthusiasm to the explo?ration of new repertoires. Sometimes with its chorus, the Orchestre de Paris gives an average of 120 concerts per season in Paris and on tours in all the musical capitals of the world.
The most famous conductors have led the Orchestra, among them Pierre Boulez, who recently completed in Paris and other European capitals a memorable series of fif?teen Bartok concerts. True to the tradition of its ancestry as Berlioz' choice symphonic ensemble, the Orchestre de Paris has taken the lead in the celebration of the 200th Anniversary of Berlioz' birth with an inter?national project labeled Berlioz 2003 which includes the participation of American, French and other European scholars and musicians. After its triumph in The Trojans at the 2000 Salzburg Festival, and the highly praised concerts given with Christoph Eschenbach, the Orchestre de Paris is now widely recognized as the best Berlioz ensem?ble in the world.
The Orchestra's distinctive sonority and musicianship have attracted the attention of some of the prominent composers of our times who have had their works premiered by the French musicians. Among them, Luciano Berio, Pierre Boulez, Henri Dutilleux, Olivier Messiaen, and Witold Lutoslawski. Marc-Andre Dalbavie, its pre?sent composer-in-residence, was named "best new composer" by USA Today in 1998. Color, his latest work, will be premiered at Carnegie Hall in January 2002.
This is the tenth American tour of the Orchestre de Paris, its first with Christoph Eschenbach.
Tonight's performance marks the Orchestre de Paris' second appearance under UMS aus?pices. The Orchestra made its UMS debut in October 1976 under the baton of Daniel Barenboim.
Orchestre de Paris
Christoph Eschenbach, Music Director Arthur Oldham, Choir Master Marc-Andre Dalbavie, Composer-in-residence
Violins
Philippe Aiche, Concertmaster
Roland Daugareil, Concertmaster
Eiichi Chijiiwa, Principal second
Serge Pataud, Principal second
Nathalie Lamoureux
Christian Briere
Joseph Ponticelli
Philippe Balet
Elsa Benabdallah
Jacqueline Billy-Herody
Gaelle Bisson
Fabien Boudot
Marc Calderon
Mireille Cardoze
Christiane Chretien
Joelle Cousin
Christiane Cukersztein
Odile Graef
Gilles Henry
Momoko Kato
Hisako Kobayashi
Sotiris Kyriazopoulos
Jean-Pierre Lacour
Angelique Loyer
Nadia Marano-Mediouni
Esther Mefano
Pascale Meley-Macarez
Daniel Nalesso
Phuong-Ma'i Ngo
Jean-Louis Ollu
Etienne Pfender
Marie-France Pouillot
Gabriel Richard
Richard Schmoucler
Bernard Sicard
Caroline Vernay
Violas
Ana Bela Chaves, First principal
Jean Dupouy, First principal
Nicolas Carles, Second principal
Dominique Richard, Third principal
Eiko Besset
Denis Bouez
Florent Bremond
Franchise Douchet-Le Bris
David Gaillard
Chiho Maupetit
Alain Mehaye
Marie Poulanges
Estelle Villotte
Florian Wallez
Marie-Christine Witterkoer
Cellos
Emmanuel Gaugue, First principal Eric Picard, First principal Guy Besnard, Second principal Francois Michel, Third principal Laurence Allalah Claude Giron Serge Le Norcy Frederic Peyrat Aurelien Sabouret Hikaru Sato lacques Sudrat leanine Tetard
Basses
Bernard Cazauran, First principal Vincent Pasquier, First principal Sandrine Vautrin, Second principal Benjamin Berlioz Igor Boranian GSdric Carlier Pierre Moreilhon Bertrand Richard Gerard Steffe
Flutes
Vincent Lucas, Principal Vicens Prats, Principal Florence Souchard Georges Alirol
Piccolo Ivan Degardin
Oboes
Michel Benet, Principal Alexandre Gattet, Principal Benoit Leclerc Jean-Claude Jaboulay
Clarinets
Philippe Berrod, Principal Pascal Moragues, Principal Arnaud Leroy
E-flat Clarinet
Olivier Derbesse
Bass Clarinet
Philippe-Olivier Devaux
Bassoons
Marc Trenel, Principal Antoine Thareau
Contrabassoon
Yves d'Hau
Horns
Andre Cazalet, Principal Michel Garcin-Marrou, Principal Patrick Poigt Jean-Michel Vinit Philippe Dalmasso Bernard Schirrer
Trumpets
Frederic Mellardi, Principal Bruno Tomba, Principal Laurent Bourdon Stephane Gourvat Andre Chpelitch
Trombones
Guillaume Cottet-Dumoulin, Principal Christophe Sanchez, Principal Charles Verstraete
Tuba
Stephane Labeyrie
Timpani
Frederic Macarez, Principal Eric Sammut, Principal
Percussion
Francis Brana Alain Jacquet Nicolas Martynciow
Harp
Marie-Pierre Chavaroche
President
Pierre Joxe
General Director
Georges-Francois Hirsch
General Secretary Herve Burckel de Tell
Founders
Marcel Landowski Charles Munch
UMS would like to express its deepest appreciation to the following University of Michigan School of Music students for their special contribution to tonight's performance.
Violin
Mary Golden, Concertmaster
Jennie Salmon, Principal second
Karen Abrashkin
Elizabeth Bakalyar
Chun Yan Gao
Saskia Guitjens
Gretchen Heller
Jeremy Kittel
Regina Sadowski
Eric Shieh
Viola
Anthony Cheung, Principal Sarah Carsman Raquel Laneri Dina Maccabee
Cello
April Chisholm, Principal Alexander Cheung Will Dunlap Anna Schultz
Bass
Sabrina Behrens Ron Merhavi
UMS
and
Butzel Long
present
Charlie Haden's
Quartet West with Strings
with
Bill Henderson, Vocals Ruth Cameron, Vocals
Charlie Haden, Bass Ernie Watts, Saxophones Alan Broadbent, Piano Larance Marable, Drums
Program Friday Evening, January 25, 2002 at 8:00
Lydia Mendelssohn Theatre, Ann Arbor, Michigan
The Art of the Song
Individual song selections will be announced by the artists from the stage.
Thirty-fourth
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 by Butzel Long.
Presented with support from the Wallace-Reader's Digest Funds.
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.
Special thanks to Ellen Rowe and the U-M Department of Jazz for their involve?ment in this residency.
Charlie Haden's Quartet West appears by arrangement with Burgess Management, Inc.
Large print programs are available upon request.
Charlie Haden (bassist, composer, bandleader and conscientiously political artist) is truly a musician of imaginative, intuitive and com?municative powers. A "poet" of the bass, he has contributed his virtuosity to many of the most compelling records in jazz. As a vital part of a jazz revolution begun by his mentor Ornette Coleman, he leads his own groups and through his music, communicates his deep, rich, reso?nant sound reflecting a profound sensibility to music and to life. Quoting Joachim Berendt, author of The Jazz Boob.
[Mr. Haden j revolutionized the harmonic concept of bass playing in jazz. He was the first bassist who consistently avoided playing changes or following pre-established har?monic schemes, but instead created a solid harmonic foundation out of the passage of independent melodies. In technical terms, Mr. Haden isn't a virtuoso. His virtuosity lies on a higher level-in an incredible ability to make the double bass 'sound out.' Mr. Haden cultivates the instrument's gravity as no one else in jazz: with an unfathomably dark resonance and an earthiness of timbre, endowing even apparently 'simple' lines with an affecting quality. He is a master of sim?plicity, which is among the most difficult things to achieve.
Charlie Haden was born in Shenandoah, Iowa in 1937. From the time he was two years old until he was fifteen, he sang on the radio, and later television, nearly every day with his family's country and western group. He learned to play the bass during his teens and, after graduating from high school, moved to Los Angeles where he met and worked closely with Art Pepper, Hampton Hawes, Dexter Gordon and Paul Bley. It was in Los Angeles in 1957 that Charlie also met Ornette Coleman. It was a prophetic meeting, for Charlie became the bass player for Ornette's adventurous new quartet, a quartet that also included Don
Cherry on pocket trumpet and Billy Higgins on drums. The group caused a revolution in the jazz world by liberating the soloist from conventional, pre-determined structures-both harmonic and rhythmic.
Charlie played a vital role in this revo?lutionary new approach, evolving a way of playing that sometimes complemented the soloist and sometimes moved independently. In this respect, like influential musicians such as Jimmy Blanton and Charles Mingus, he helped to change the role of the bass player from being strictly an accompanist to becoming a more direct participant in music-making and furthermore to become an important, individual voice within an ensemble.
Not only did Mr. Haden continue to work with Ornette throughout the 1960s, but he recorded with John Coltrane, Archie Shepp and Pee Wee Russell. In 1966 he began touring with Keith Jarrett.
In 1969 Charlie and composerarranger Carla Bley assembled eleven musicians (including Don Cherry, Gato Barbieri and Roswell Rudd) under the banner of Liberation Music Orchestra to make a record that has become a milestone in recorded jazz. The group-titled record is a heartfelt and emo?tional statement about freedom from oppression and repression. It won the Grand Prix Charles Cros (the French equivalent of the Grammy) as well as Japan's Gold Disc Award from the magazine Swing Journal. It also received a Grammy nomination. In the same year, Mr. Haden was awarded a Guggenheim Fellowship for composition.
In 1976, Mr. Haden, Don Cherry, Dewey Redman and Ed Blackwell (all of whom had worked closely with Ornette Coleman) formed the group, Old and New Dreams, to keep alive Ornette's compositional and improvisational approaches-as well as his music. A debut album was recorded for Black Saint and several subsequent albums were done for ECM.
Charlie reorganized the Liberation Music Orchestra in 1984 with many of the original members-Paul Motian, Don Cherry, Dewey Redman, Carla Bley and Michael Mantler. Some new faces joined the group, including Mick Goodrick and Jim Pepper. As Charlie says, "The whole under?lying theme for the new music.. .is to com?municate honest, human values, and in doing that to try to improve the quality of life." The new album, Ballad of the Fallen (MCAImpulse), was named "Record of the Year" in the 1984 Down Bear Critics' Poll.
In 1986, Charlie and Jack Dejohnette, playing with Ornette Coleman and Pat Metheny, recorded Song X, which won the Down Beat Readers' and Critics' Polls.
Charlie contributed to yet another award-winning album in 1987, The Michael Brecker Album, which won both of the Down Beat polls once again. During the same year, Charlie participated in the his?toric reunion tour of the original Ornette Coleman Quartet, which also produced the album, In All Languages.
Quartet West is Mr. Haden's first ven?ture as a small-group leader, an ensemble that debuted in 1987 with Quartet West (PolygramVerve) and performs to high critical acclaim throughout the world. The group is made up of Los Angeles-based musicians Ernie Watts on saxophones, Allan Broadbent on piano and Larance Marable
on drums. The ensemble is a vehicle for the vast scope of Charlie's musical interests, evoking the Raymond Chandler film noir atmosphere of Hollywood in the 1940s. The band plays everything from Pat Metheny to Ornette Coleman to Charlie Parker to Mr. Haden's originals (some of which are inspired by the traditional folk tunes he sang as a boy). A second album, Angel City (PolygramVerve) followed. A third, Haunted Heart (PolygramVerve) was released in 1992 to enormous popular and critical acclaim including a pick in Time Magazine as one of the "Top Ten Albums" of 1992, appearances on the Jay Leno Show and the Charles Kuralt Sunday Show, and culmi?nated in a Grammy nomination for "Best Small Group Jazz Recording" of 1992. The group's fourth album, Always Say Goodbye (Verve), released in 1994, was the recipient of two Grammy nominations as well as being selected in the Down Beat Critics' Poll as "Album of the Year." Quartet West's fifth album, Now is the Hour (Verve), features the string arrangements of Alan Broadbent, and its most recent, Art of the Song (Verve), fea?tures guest vocalists Shirley Horn and Bill Henderson and string arrangements by Alan Broadbent. Quartet West was named "Acoustic Jazz Group of the Year" in the
1994 Down Beat Readers' Poll and in the
1995 Down Bear Critics' Poll. Charlie's Liberation Music Orchestra
completed its trilogy of recordings with the 1991 release of Dream Keeper (Blue Note), which had the unique distinction of winning both the Down Beat Critics' and Readers' Polls as "Album of the Year," as well as earn?ing a Grammy nomination and appearing on more than thirty "Top Ten Jazz Albums of 1991" listings throughout the world. The Orchestra's repertoire continues to draw its inspiration from liberation struggles throughout the world. The Liberation Music Orchestra has performed in Europe, Japan, the US and Canada, performing most recently at the Hollywood Bowl.
In a fitting tribute to a musician who has been involved with so many of the most creative musicians of the past three decades, the 1989 Montreal Jazz Festival devoted eight consecutive concerts to Mr. Haden, each night featuring him with a different artist or ensemble he has performed with in the past, including Pat Metheny, Quartet West, Egberto Gismonti and Gonzalo Rubalcabo.
Mr. Haden received a pair of Grammy nominations for Now is the Hour in 1997 along with the long-anticipated duo record?ing with guitarist Pat Metheny, Beyond the Missouri Sky (Verve), which received a Grammy award in 1998.
Mr. Haden has expanded his musical palette with recordings with Rickie Lee Jones (on Pop Pop) and Bruce Hornsby (on Night on the Town). In 1995, Charlie released Steal Away (Verve), a duet recording with piano great Hank Jones in a program of hymns, spirituals and folk songs. As a composer, Mr. Haden is being heard more frequently with
First Song For Ruth which is rapidly becom?ing a jazz standard, having been recorded by Quartet West, Gonzalo Rubalcaba, Stan Getz and Kenny Barron, David Sanborn, Pat Metheny (with the London Philharmonic) and a vocal version by Abby Lincoln (who wrote a set of lyrics).
Founder of the jazz studies program at California Institute of the Arts in 1982, Charlie Haden moved jazz education away from the traditional clinics, big bands and studios, and pointed it towards a more cre?ative and individual educational approach. Emphasizing the spiritual connection to the creative process, Mr. Haden helps students discover their individual sound, melodies and harmonies. For his educational work, the Los Angeles Jazz Society recently hon?ored Mr. Mr. Haden as "Jazz Educator of the Year."
Tonight's performance marks both Charlie Haden's and Quartet West's VMS debuts.
UMS
and
Miller, Canfield,
Paddock and
Stone, P.L.C.
present
Da Camera of Houston Marcel Proust's Paris
Conceived and Directed by Sarah Rothenberg
American String Quartet Peter Winograd, Violin Laurie Carney, Violin Daniel Avshalomov, Viola David Geber, Cello
William Sharp, Baritone Sarah Rothenberg, Piano Andre' Aciman, Narrator
Program
Reynaldo Hahn
Reynaldo Hahn Marcel Proust
Marcel Proust
Gabriel Faure
Saturday Evening, January 26, 2002 at 8:00
Lydia Mendelssohn Theatre, Ann Arbor, Michigan
Five Songs
Reverie
Mai
D'une Prison
Fetes galantes
Le Printemps
Mr. Sharp, Ms. Rothenberg
Portraits de Peintres
Paulus Potter Antoine Watteau
Mr. Sharp, Ms. Rothenberg
Reading from Swann's Way
Mr. Aciman
Sonata for Violin and Piano No. 1 in A Major, Op. 13
Allegro molto Andante Allegro vivo Allegro quasi presto
Mr. Winograd, Ms. Rothenberg
INTERMISSION
Marcel Proust
Reading from Within A Budding Grove
Mr. Aciman
Gabriel Fame
Chant d'automne
Mr. Sharp, Ms. Rothenberg
Cesar Franck
String Quartet in d minor
Poco lento-Allegro
Scherzo. Vivace
Larghetto
Finale. Allegro molto
American String Quartet
Thirty-fifth Performance of the 123rd Season
Thirty-ninth Annual Chamber Arts 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 by Miller, Canfield, Paddock and Stone, P.L.C.
This performance is presented with support from the National Endowment for the Arts.
This performance is made possible in part by a grant from Michigan Humanities Council, an affiliate of the National Endowment for the Humanities.
UMS is grateful to the University of Michigan for its support of the exten?sive educational activities related to this performance.
Additional support provided by media sponsor Michigan Radio.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Special thanks to Marcel Muller, Naomi Andre and the U-M Institute for the Humanities for their involvement in this residency.
Large print programs are available upon request.
Marcel Proust's Paris
by Sarah Rothenberg
Marcel Proust (1871-1922) first encountered the young Reynaldo Hahn in the summer of 1894 at the fashionable Parisian salon of Mme. Madeleine Lemaire on the Rue Monceau. The young composer of Venezuelan-Jewish roots, a student of Massenet, charmed the guests with performances of his elegant song settings of French poetry, and the affair between Hahn and Proust began immediately.
Hahn was as passionate about literature as Proust about music. In fact, their dis?agreement about "the essence of music," in Proust's words, finds the writer arguing for music's power to "arouse the mysterious depths" inexpressible in language, while Hahn, described by Proust as "a literary composer," sees music as "subordinate to the word," and is more interested in using music to elucidate the nuances of a given text-hence his predilection for vocal music. Their varying views reveal how profoundly each was involved in the artistic medium of the other; the two also shared a taste for high society. Their relationship compelled Proust to confront his homosexuality, which would become a theme of the later volumes of In Search of Lost Time. When the affair faded at the end of two years, what remained was a deep friendship that would endure until Marcel Proust's death.
In 1894, Hahn was only nineteen years old, yet he was already well connected in lit?erary circles, having composed incidental music for a play by Alphonse Daudet when he was fifteen. The Victor Hugo song which opens our program, "Reverie," was com?posed by a precocious thirteen year-old.
The texts that Hahn chose to set reflect the world in which he, and now Proust, lived. Francois Coppee, the poet of "Mai,"
was an established poet of the Parnassian group. Proust and Hahn met him at a din?ner at the Daudets; Proust noted afterwards the anti-Semitic undercurrent to the literary discussion. In fact, in a few years, as Paris society became divided over the treason trial of the Jewish army officer Albert Dreyfus, Coppee would found the right-wing Ligue de la patrie francaise, placing him in direct opposition to Proust and the Dreyfusards. This crisis in French politics and society was crucial to Proust's own identity, and would later become a central theme of In Search of Lost Time.
It is with the poetry of Paul Verlaine that Hahn first introduced himself in the salons. Proust adored Verlaine, the first of the Symbolists to become known to him, from an early age. Harm's setting of "D'une prison" is dedicated to Leon Daudet, the son of Alphonse Daudet who would be instrumen?tal in Proust receiving the prestigious Goncourt Prize in 1919. (His younger brother, Lucien, became the romantic dis?traction that drew Proust away from Hahn). "D'une prison" paints a Proustian portrait of someone enraptured in solitude while the sounds of a nearby town waft faintly through the windows of his room. The festivities are present in "Fetes galantes," a song that reveals the frivolous side of Hahn. The clos?ing "Le Printemps" is filled with the effort?less elan and nuance so particular to Hahn's musical personality.
The Portraits de Peintres are true rarities for the concert hall. We find ourselves again at a musical soiree chez Mme. Lemaire, nearly a year after Hahn and Proust first met, with Proust's poems on four painters being recited to a piano accompaniment composed by Hahn. The melodrama, in which spoken narratives receive musical accompaniments, was a popular late nineteenth-century form of entertainment. Here the texts and the music are more lyrical than dramatic, com?bining to create pictures rather than stories.
The four early poems portraying Paulus Potter, Alfred Cuyp, Antoine Watteau and Anton Van Dyck, would be published in Proust's collection Les plaisirs et les jours in 1896. (He would notably not publish again until 1913, which is when "Swann's Way," the first volume of In Search of Lost Time, appears.) Although salon-like in tone, and in no way indicative of the genius that Proust would eventually reveal, the poems do indicate Proust's passion for and knowl?edge of painting, an important theme that reverberates throughout his large work. The two portraits we have chosen show Paulus Potter, a seventeenth-century Dutch con?temporary of Vermeer, whose work had a great effect on Proust and appears repeated?ly in his novel; and the eighteenth-century Antoine Watteau. In the piano accompani?ment to "Watteau", the listener will hear Hahn bring back, to Proustian effect, the music of his song "Fetes galantes."
The first reading from In Search of Lost Time takes us to the fictional home of Mme. Verdurin, where we observe a fashionable musical evening modeled very much after the real-life Tuesday soirees of Mme. Lemaire. The central character, Swann, attends such parties frequently, and on this night he recognizes, in the performance of a violin and piano sonata, a phrase of music that he first encountered a year earlier; hence, "la petite phrase." The encounter allows Proust to explore the elusive qualities of music, and he captures remarkably the essence of the listener's unconscious trans?formation of amorphic sound into a known shape and structure.
The telling "little phrase," which Swann learns is contained in a sonata by Vinteuil and has been the cause for much specula?tion. Just as the characters of the novel were based on real individuals, or composite ver?sions of them, the musical works have sources as well. The most often cited models for Vinteuil's sonata are Saint-Saens' Violin
Sonata No. 1 in d minor, Cesar Franck's Sonata for Violin and Piano in A Major and Gabriel Faure's Violin Sonata No. 1 in A Major, Op. 13. Proust himself, perhaps mis?chievously, liked to add to the list of sources in contradictory letters to different friends, and offered as other musical inspirations the prelude to Wagner's Lohengrin, a Faure Ballade for piano, and the spirit of Schubert. As Proust aimed for the universal, an inclu?sive view of the truth, in this case, is the appropriate one.
Gabriel Faure is of particular impor?tance to Proust's musical biography. When Proust met Hahn, he was already deeply enamored with the music of Faure. (Proust wrote to Faure, "Monsieur, I not only admire and venerate your music, I am in love with it.") Faure's setting of the Baudelaire poem, Chant d'automne, which appears on the second half of the program, was linked in Proust's mind to his memories of an early love affair with a young girl, described by a friend as a "childish and reci?procated love." The memory was powerful for Proust, and one he would draw on repeatedly in his writing, often connecting it to Faure's music.
Both Proust and Faure frequented the homes of Count Henri de Saussine and the Princesse Edmond de Polignac, and they met at one of these fashionable salons. While these salons held the glittery attrac?tion of social connections to the aristocra-cy-a temptation to which Proust was famously susceptible-they also were the most likely venues for hearing modern music. Faure, by 1894, was recognized as an established composer, but this distinction did not carry with it frequent performances of his music in the concert halls; an unfor?tunate yet not uncommon paradox. The musical activities of the salons offered Faure a much wider circle for his music than was available to him through the Societe Nationale de Musique. Along with gossip,
wit and snobbism, French society of the period had among its identifying character?istics a concern with Art. Fashion included the prevailing trends of music, painting and literature; it was important to know what was new, or "avant-garde."
In 1907, when Proust gave an elaborate dinner at the Ritz, carefully arranging the guest list and calling upon friends for advice on the menu and the seating ("How should I seat the non-nobles"), Faure was to per?form several of his own works. At the last minute the composer had to cancel, due to the onset of the illness that eventually led to his tragic deafness. In his stead, Faure's favorite pupil joined the Conservatoire's professor of violin in a performance of Faure's Violin Sonata No. 1 in A Major. (The more widely known Franck Sonata follows Faure's work by eleven years, and in some ways takes the younger composer's expan?sive work as a model.)
The second reading from Proust comes from Within a Budding Grove, and now it is the Narrator who hears the Vinteuil Sonata for the first time, played by Mme. Swann, years after the soiree at which Swann heard it chez Mme. Verdurin. This contemplation of the role of memory in listening to music is exceptional in its beauty and intricacies of perception.
Proust, in his pursuit of interior, rather than exterior, reality, followed in the path of the poet Charles Baudelaire. In Proust's final tome, Time Regained, the Narrator imagines himself as part of a literary lineage that includes Chateaubriand, Gerard de Nerval, and Baudelaire. In his letters and his fiction, there are cases of his characterizations of people being determined by their sensitivity, or lack thereof, to Baudelaire's work-a dis?tinction not of intellect but of feeling.
We hear Baudelaire's Harmonie du soir in a setting by Debussy, one of a group of five songs that dates from 1887-90, finding the composer at the end of his Wagnerian
phase. Debussy's exquisite setting reveals his astute attention to the form of the poem, in which the second and fourth lines of one quatrain become the first and third lines of the next, as well as his imaginative under?standing of color and sonority.
Proust's relationship with Debussy was a limited one, though Proust would have preferred otherwise. He had first discovered the composer's music in the early 1890s and championed it immediately, but not without incurring the wrath of Reynaldo Hahn, who considered himself a vehement anti-Wagnerian and a classicist opposed to the experimentalism of Debussy. The paths of Proust and Debussy crossed in the first years of the century at the Cafe Weber. By then, Hahn's views were no secret in the musical circles of Paris, and this strained relations between the composers. Proust once gave Debussy a ride home in his cab, and then later invited him to dinner, but the composer declined. Whether this was due to Debussy's coolness to a friend of Hahn or was based on a more visceral dislike of Proust's foppish and chattering manner ("he's longwinded and precious"), the acquaintance never developed into friendship.
Proust, however, became even more enthusiastic about the composer's work after the premiere of Pelleas and Melisande in 1902, and several references to Pelleas can be found in Proust's novel. Increasingly con?fined to his bed and his work, Proust did not attend the productions of the opera that occurred in 1911, but his intense desire to hear the piece again caused him to acquire from the opera an odd contraption called a theatrophone that allowed him to listen to the live performance over the telephone, which he reportedly did night after night for the opera's run.
The importance of Chant d'automne for Proust has already been discussed, and this is not the first time that Faure and Debussy have been found side by side; the two com-
posers shared more than a taste for poetry. Faure's "salon period" of the 1890s was also the time of his affair with Emma Bardac, the same woman who in 1904 caused Debussy to leave his wife, and who eventually became the next Mme. Debussy.
The String Quartet in D Major of Cesar Franck is among the composer's last works. The product of a late-Romantic French composer who was deeply tied to the music of Beethoven, the string quartet form-Franck's only endeavor in this area--lends the piece an added weight that was not unnoticed at the time of its successful pre?miere. Franck's cyclic structure, in which the same themes recur in different movements, was of particular importance to Proust as he developed his theories of memory and expe?rience.
Proust himself was very involved with the string quartets of Beethoven, especially in the years 1912-1914. (The story goes that at a dinner reception for Diaghilev that included Proust, Joyce, Picasso and Stravinsky among the guests, Proust had an opportunity to question the modern musical genius. "Do you like Beethoven" "I detest him!" "Even the quartets" "They are the worst!" Stravinsky later explained that he was reacting against what he thought was a fashionable posture, and not the result of Proust's profound relationship to the music.) The music of Beethoven appears in
each volume of In Search of Lost Time.
Proust heard the Franck Quartet per?formed by the Quatuor Poulet in November 1916. The details of the story vary in differ?ing accounts, but there is agreement on the central issue: Proust was so taken with the work and felt a deeper knowledge of it to be so necessary for his novel, that he took what even for himself was a wildly extravagant step and hired the quartet to come play for him in his apartment. The unconventionality of the gesture was heightened by the private concert, which took place at one a.m., to
accord with Proust's eccentric hours. No guests were invited. Proust lay motionless, with his eyes closed, his attention riveted on the music.
The image reminds us, as does the picture of Proust feebly hearing a distant Pelleas on the telephone, that this was a world in which music was not something to be experienced at the press of a button. When Proust withdrew from the outside world to his bedroom in 1909, he withdrew to a world of silence. Music belonged to public space; for much of his life it belonged to the social space he so immortalized, the Parisian salon. What remained, in silence, was the memory of listening, a memory that would exist only to the extent of the intensity with which the moment had been experi?enced. But a work of music is not just a "moment," is never a still picture, but always exists in the continuum of time; even expe?riencing it in the present requires an acute sense of memory. As the Narrator discovers, "Having been able to love all that this sonata was giving me only on successive hearings, I never possessed it wholly: it was like life. But, less disappointing than life, such great masterpieces do not begin by giving us the best of themselves."
Marcel Proust was born in 1871, of a Catholic father and a Jewish mother. At the age of ten he suffered his first asthma attack and the disease was to recur throughout his life. Though he with?drew from an existence of intense social engagement by 1909, living alone with his enormous project and making notorious forays into the world, he was quite con?scious of immortalizing. Proust died of asthma at the age of fifty-two.
Between 1890 and 1907 he published stories, poems, and essays (some collected in
a volume called Les Plaisirs et les Jours, 1896), translated two books by Ruskin, and produced two versions of a vast novel, which, after his mother's death in 1905, he rewrote altogether, finally calling it In Search of Lost Time, of which a first volume was published in 1913. Although a second vol?ume was then in preparation, it was not published until 1919, when it was awarded
the Goncourt Prize; two more volumes
were published before Proust died in 1922; the remaining three vol-
umes were published by 1927. These first editions of the novel were editorially uncertain, and though there is still no such thing as a definitive version of the text, all of Proust's additions, revisions and variants have been recuperated in recent years in a
series of major French critical editions.
Even the first English translation, by Scott Moncrieff, has been twice revised to con?form more closely to what is now perceived as the author's textual intentions.
Remarkably responsive to nature, and to the bel epoque Paris of his youth, Proust possessed, as well, an astonishingly wide range (and sharp focus) of cultural passions; his work is a sort of summa of French litera?ture, with special emphasis on the historical chronicles of Saint-Simon and the novels of Balzac, though studies of Baudelaire and Stendhal, which he published late in his life, must not be overlooked as inspirations. But Proust's command of the creative issues inherent not only in writing, but in painting, in theater, and in music as well, is apparent in his analysis of characters (composite fig?ures based on a great many different artistic figures of his own day)-the writer Bergotte, the actress Berma, the painter Elstir, the composer Vinteuil-who epitomize entire philosophies of art as they are developed in the course of the novel-like the other dra-
matic personages, veritable "giants in time."
Though most readers who approach Proust's work, dismayed by the elaborate and intricate nature of his prose and the formidable length of his fiction (sentence by sentence as well as volume by volume), sel?dom continue past the first book-that is, past Combray and Swann in Love-it is cru?cial to the sense and significance of the
novel that it be read to the end: for in
this cumulative resolution of
themes developed over 3000
pages and constituting, inciden?tally, a convincing portrait of an entire era (which Proust extended to include the First World War), the narrator Marcel, ultimately reconciled to
time and to his situation within
and outside it, resolves to write the
book he has born within himself and
for so long evaded. It will incarnate his response to time and reveal to his readers, quite evangelically, how any life, similarly regarded as the subject of a search for lost time, can triumph over mere mortality in the consciousness gained by art (inveterately at the cost of friendship, society and love).
Structure and significance, in this enor?mous creation, are most usefully conceived as "musical": that is, like works of music they must be experienced in time to be understood and enjoyed; they cannot be epitomized in an abstract summary, and they cannot be perceived as a strictly linear development or logical. By performing music to which Proust was devoted, not only an opportunity of listening to pieces which cast a formative spell on the author of In Search of Lost Time, but a way of read?ing, of "listening to," Proust's work itself.
Biography by Richard Howard.
The American String Quartet has achieved a position of rare esteem in the world of chamber music. On annual tours that have included vir?tually every important concert hall in eight European countries and across North America, the Quartet has won critical acclaim for its presentations of the complete quartets of Beethoven, Schubert, Schoenberg, Bartok and Mozart, and for collaborations with a host of distinguished artists. In the 19981999 season, the American celebrated its twenty-fifth anniversary with a tour that included concerts in all fifty states, a performance at the Kennedy Center in Washington, DC and two European tours. Resident Quartet at the Aspen Music Festival since 1974, the American String Quartet also has ongoing series at Princeton University and the Orange County Performing Arts Center in California. The Quartet is credited with broadening public awareness and enjoyment of chamber music across North America through educational programs, seminars, broadcast performances, and published articles. It was one of the first ensembles to receive a National Arts Endowment grant for its activities on col?lege campuses. The Quartet's commitment to contemporary music has resulted in numerous commissions and awards, includ?ing three prize-winners at the Kennedy Center's Friedheim Awards, and, most recently, Richard Danielpour's Quartet No. 4. The American String Quartet has been Quartet-in-Residence at the Manhattan School of Music in New York since 1984, served as Resident Quartet at the Taos School of Music from 1979 to 1997 and was previ?ously on the faculty of the Peabody Conservatory. They have recently completed a three-year visiting residency at the University Musical Society of the University of Michigan and have served as resident ensemble for the Van Cliburn International Piano Competition. In 1999, the American
String Quartet was invited to judge the first Bordeaux International String Quartet Competition.
The American String Quartet continues to reach a widening audience through its recordings, including the complete Mozart quartets for MusicMastersMusical Heritage, recorded on a set of matched Stradivarius instruments and released as a boxed-set in 1998. The Quartet's diverse activities have also included numerous radio and television broadcasts in fifteen countries, tours to Japan and the Far East, and performances with the Montreal Symphony, the New York. City Ballet and the Philadelphia Orchestra.
The four musicians studied at The Juilliard School, where the Quartet was formed in 1974, winning the Coleman Competition and the Naumburg Award that, same year. Outside the Quartet, each finds time for solo appearances and recitals.
Tonight's performance marks the American String Quartet's eleventh appearance under UMS auspices.
Baritone William Sharp is a con?summate artist possessing the rare combination of vocal beauty, sensitivity and charisma. Praised by The New York Times as a "sen?sitive and subtle singer" who is able to evoke "the special character of every song that he sings," Mr. Sharp has earned a reputation as a singer of great versatility and continues to garner critical acclaim for his work in con?cert, recital, opera and recordings.
Mr. Sharp has appeared throughout the US with major orchestras and music festi?vals. In recent seasons he has performed with the New York Philharmonic, St. Louis Symphony, San Francisco Symphony, National Symphony, New Jersey Symphony, and the St. Paul Chamber Orchestra. He is a frequent participant in Lincoln Center's Mostly Mozart Festival, Aspen Music Festival, Colorado Music Festival and the Marlboro Music Festival. Mr. Sharp also enjoys his work in the performance of baroque and pre-baroque music. He has made numerous appearances with the Bach Aria Group, the Boston Handel and Haydn Society and the Maryland Handel Festival. During the 20012002 season, William Sharp's performances include two engage?ments with Da Camera of Houston, Schumann's Dichterliebe and Marcel Proust's Paris, a program of songs by French com?posers. Mr. Sharp also performs Harbison's Words from Peterson with the Boston Symphony Chamber Players. Highlights from 20002001 included Four Saints in Three Acts with the Mark Morris Dance Group at the Brooklyn Academy of Music and at Cal Performances in Berkeley; Purcell's Dido and Aeneas, also with the Mark Morris Dance Group; John Adams' The Nixon Tapes with the Los Angeles Philharmonic; works of Bach and Zelenka with Toronto's Tafelmusik; David del Tredici's Gay Life with the San Francisco Symphony; Brahms' Ein Deutsches Requiem
with the Fort Worth Symphony; Bach's Christmas Oratorio with the Bethlehem Bach Festival; a recital of songs by American composers with Da Camera of Houston; and Messiah with the Vancouver Cantata Singers.
During the 19992000 season, Mr. Sharp performed as Chou En-Lai in Nixon in China with the Brooklyn Philharmonic; Sam in Trouble in Tahiti with VARA Radio in the Netherlands; Messiah with Musica Sacra at Avery Fisher Hall; the St. Matthew Passion on a national tour with Santa Fe Pro Musica; and the Mass in b minor with the Bethlehem Bach Festival in New York, Washington, and Bethlehem, PA.
A highly respected and sought-after recording artist, William Sharp was nomi?nated for a 1989 Grammy award for "Best Classical Vocal Performance" for his record?ing featuring the works of American com?posers including Virgil Thomson and Lee Hoiby on the New World Records label. Mr. Sharp can also be heard on the 1990 Grammy award-winning world-premiere recording of Leonard Bernstein's Arias and Barcarolles on the Koch International label. He also collaborates with soprano Judith Kaye and pianist Steven Blier on Gershwin's
Songs and Duets. Other recent recordings include the songs of Marc Blitzstein with The New York Festival of Song, and J.S. Bach solo cantatas with the American Bach Soloists (both on Koch). Mr. Sharp has also recorded for Vox-Turnabout, Newport Classics, Columbia Records, Nonesuch and CRI. William Sharp made his New York recital debut at the 92nd Street "Y" in 1983 and in recent seasons has appeared there in the Schubertiade. In 1984 he made his Kennedy Center debut and in 1989 his Carnegie Hall recital debut which earned him high praise from critics including Bill Zakariasen of The Daily News who wrote that Mr. Sharp's "musicianship is right on the button, his knowledge of styles seems infinite, and he has an infectious sense of humor." He is the winner of the 1987 Carnegie Hall International American Music Competition.
Tonight's performance marks William Sharp's second appearance under UMS auspices.
Andre Adman, American mem?oirist, essayist, and critic, was born and raised in Alexandria, Egypt. Mr. Aciman also lived in Italy and France before settling in the US in 1968. He took a doctorate from Harvard, and has taught French and com?parative literature at several colleges and universities, including Harvard, Princeton, New York University, and Bard. His much-acclaimed memoir, Out of Egypt (1995), tells the story of his cultured, urbane Jewish family's sixty-year sojourn in Egypt, from their arrival in Alexandria in 1905 to their final expulsion in 1965, just before he turned fifteen. Aciman's lyrical, witty reflec?tions on place, time, and memory have appeared in many publications, including The New York Times and The New Yorker, and were collected in False Papers: Essays on
Exile and Memory (2000), a book that led one critic to call him "our contemporary Proust." He also contributed to and edited the collection of essays Letters of Transit: Reflections on Exile, Identity, and Loss (1999). Aciman's literary criticism has appeared in Partisan Review, The New York Review of Books, and The New Republic, among other journals.
Tonight's performance marks Andre Aciman's UMS debut.
Sarah Rothenberg, pianist and artistic director of Da Camera of Houston, has one of the most distinguished and creative careers of her generation. Noted for her "power and introspection" (The New York Times) and "heart, intellect and fabulous technical resource" (Fanfare), she has received international acclaim as solo recitalist and chamber musician, and for the innovative programs that she conceives and directs. A frequent performer on Lincoln Center's Great Performers series in New York, other highlights of recent seasons include performances at London's Barbican Centre, The Aldeburgh Festival (England), Teatro Municipale (Santiago, Chile), Washington's Kennedy Center for the Performing Arts, the Library of Congress, Los Angeles County Museum and frequent appearances in Amsterdam and Maastricht. Ms. Rothenberg recently received the Medal of Chevalier in the Order of Arts and Letters from the French government.
Since becoming Artistic Director of Da Camera of Houston in 1994, Ms. Rothenberg has created numerous original performance works, including the celebrated Music and the Literary Imagination series linking music to the works of Proust, Kafka, Mann, Akhmatova and others. Following their pre?mieres at the Wortham Center, these pro-
grams have been presented in New York's Lincoln Center, as well as in England, Holland, Mexico and on performance series across the US. Ms. Rothenberg also conceived and performed in the Da Camera production Moondrunk, a chamber musicdance theatre piece featuring Schoenberg's Pierrot lunaire that inaugurated Lincoln Center's New Vision series in January 1999 and was hailed by American Theatre magazine as "the birth of a new genre."
A champion of both contemporary music and forgotten works from the past, Ms. Rothenberg performed the American premiere of Fanny Mendelssohn's virtuosic piano-cycle Das Jahr in 1991. Her recording of Das Jahr for Arabesque Records received the 1996 "Best Solo Classical Recording" award from the Association of Independent Recording Companies. She previously received international attention for Rediscovering the Russian Avant-Garde 1912-1925: Lourie, Roslavetz and Mosolov (GM Recordings). She has also recorded for the BBC, CRI, Bridge, and Deustche Grammophon labels. The 200102 season brings the release of two new solo CDs on Arabesque: Shadows and Fragments (Brahms and Schoenberg 1892-1911), and Time and Memory (Bach, Schat, Ustvolskaya, Brahms, Maw, Chopin).
In the 200102 season, Ms. Rothenberg makes her solo debuts at Amsterdam's Concertgebouw and Brussel's Palais des Beaux-Arts, and performs her solo recital program Shadows and Fragments, Time and Memory at the 92nd Street "Y" in New York. This season also sees the premiere of Ms. Rothenberg's latest performance project, Epigraph for a Condemned Book, which brings together the music of Chopin and the poetry of Baudelaire. Conceived, directed and per?formed by Ms. Rothenberg, Epigraph is a Da Camera of Houston production that has been co-commissioned by the Yale Repertory Theater, University Musical Society of the University of Michigan and the Krannert Center for the Performing Arts.
Prior to coming to Da Camera, Ms. Rothenberg co-founded the Bard Music Festival in 1990, and served as co-artistic director for the festival's first five seasons. She was member pianist of the Da Capo Chamber Players from 1985-1994, and has premiered over seventy-five new works. As chamber musician she has collaborated with members of the American, Brentano, Emerson, Schoenberg, St. Lawrence and Juilliard string quartets. In addition to her performing activities, Ms. Rothenberg appears frequently as a public speaker on musical, literary and cultural issues. Her writings have appeared in The Musical Quarterly, Chamber Music, The Crisis of Criticism (New Press), World Policy Journal, Nexus (The Netherlands), and most recently in the Spring 2001 issue of Conjunctions. She studied at The Curtis Institute of Music with Seymour Lipkin and Mieczeslaw Horszowski, and in Paris with Yvonne Loriod.
Tonight's performance marks Sarah Rothenberg's second appearance under UMS auspices.
A Da Camera of Houston Production
Sarah Rothenberg, Artistic Director Mary Lou Aleskie, Executive Director
UMS
and
Bank of Ann Arbor
present
The Chieftains
Paddy Moloney, Uileann Pipes Kevin Conneff, Bodrahn Matt Molloy, Flute Sean Keane, Fiddle Derek Bell, Harp
with
Allison Moorer, Vocals
Natalie MacMaster, Fiddle and Dancing
Jeff White, Guitar
Traditional Irish Dancers
Donny Golden
Jon and Nathan Pilatzke
Program
Sunday Afternoon, January 27, 2002 at 3:00 Hill Auditorium, Ann Arbor, Michigan
This afternoon's program will be announced by the artists from the stage.
Thirty-sixth Performance of the 123rd Season
Seventh Annual Michigan Favorites Series
The photographing or sound recording of this concert or possession of any device for such pho?tographing or sound recording is prohibited.
This afternoon's performance is sponsored by Bank of Ann Arbor. Additional support provided by media sponsor WDET.
The piano used in this afternoon's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
The Chieftains record exclusively for RCA Victor.
The Chieftains appear by arrangement with ICM Artists, Ltd.
Large print programs are available upon request.
' ???? f there is a more beautiful musical sound in all the world than that made by The Chieftains, I haven't heard it," declared Bob Claypool, ?k music critic of the Houston Post in a review of the band during a recent sold-out US tour. The Chieftains, celebrating their fortieth anniversary next year, are now regarded internationally as the most famous exponents of traditional Irish music in the world. They have uncovered the wealth of traditional Irish music that has accumulated over the centuries, making the music their own with a style that is as exhilarating as it is definitive. Although their early following was purely a folk audience, the astonishing range and variation of their music very quickly captured a much wider public, resulting in their present fame worldwide.
That same broad appeal has encouraged artists from a variety of genres to record with The Chieftains. Released in January 1995, The Long Black Veil became the highest charting album of the band's career when it entered Billboard magazine's Top 200 Album Chart at No. 24. The recording quickly became The Chieftains' first gold recording in the US for sales of 500,000 copies, topped the World Music Chart and was selected by Time as an "Album of the Year." The Long Black Veil also earned a Grammy Award in the "Best Pop Collaboration with Vocals" cate?gory for The Chieftains' recording of Van Morrison's "Have I Told You Lately That I Love You" The album features guest performances by Sting, Mick Jagger, Sinead O'Connor, Marianne Faithfull, Tom Jones, Mark Knopfler, Ry Cooder and The Rolling Stones.
In the midst of all of this success from pop collaborations, The Chieftains went on in typical fashion to record Santiago, which draws its inspiration from an unlikely source of Celtic music--Galicia, Spain. An assortment of ancient instruments gives each track the unique sound that won the band its fifth Grammy Award, for "Best World Music Album" of 1996.
Without missing a beat, The Chieftains embarked on Tears of Stone. Released in February 1999, it was three years in the making, and according to Paddy Moloney, a labor of love: "Our goal was to marry the many-faceted voices of contemporary women artists from around the world with the simple beauty of traditional Irish music." Among those performing on the album are legendary vocalists Bonnie Raitt and Joni Mitchell, as well as other unique singers, including Natalie Merchant, Loreena McKennitt, Joan Osborne, Mary Chapin Carpenter, The Corrs and frequent Chieftains' guest Sinead O'Connor.
The Chieftains newest release on RCA Victor is a return to traditional music entitled Water from the Well (February 2000), which recently received a Grammy nomination for "Best World Music Album." This remarkable collection brings together songs from every corner of Ireland, hand-picked by each mem?ber of the band. The tracks were recorded at a variety of memorable locations throughout Ireland, allowing The Chieftains to absorb the culture of the numerous counties and towns they revisited in the course of this lat?est musical journey. The making of Water from the Well was portrayed in a television special broadcast worldwide this past spring.
The trappings of fame have not com?promised The Chieftains' respect of their roots. They are as comfortable swapping tales and tunes in a Dublin pub as they are headlining a concert at London's Royal Albert Hall. There can be little doubt that The Chieftains' range of music is among the most eclectic and expansive in the world today. Thirty-nine years and as many albums, The Chieftains continue to surprise.
This afternoon's performance marks The Chieftains' third appearance under UMS auspices. They last appeared in Ann Arbor in March 2000.

experience
THE 2002 UMS WINTER SEASON
Please 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.
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
The Saturday performance is sponsored
by Borders.
These performances arc 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 Co-sponsored by AlfStudios and Joseph Curlin Studios. 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 Camcratu 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 front the Wallace-Reader's Digest Funds and JazzNet. Media sponsors WEMU and WDET.
Da Camera of Houston: Marcel Prousfs Paris + Conceived and directed by Sarah Rothenberg Saturday, January 26, 8 p.m. Lydia Mendelssohn Theatre Sponsored by Miller, Canfield, 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.
The FORD HONORS PROGRAM is made possible by a generous grant from the Ford Motor Company Fund and benefits the UMS Education Program. Each year, UMS honors a world-renowned artist or ensemble with whom we have maintained a long-standing and 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 Cliburn 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
1999
The
Canadian Brass
2000
Isaac Stern
2001
Marcel Marceau
r 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 finanaal 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.
Special Discounts for Teachers and Students to Public Performances
UMS offers special discounts to school groups attending world-class evening and weekend performances not offered through the First Acts program. Please call the Group Sales hotline at 734.763.3100 for 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 at the historic Michigan League on the corner of N. University and Fletcher. The dinner buffet 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.
2002 Winter Camerata Dinners
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
RESTAU RANT & LODGING PACKAGES
Celebrate 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:
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 RESTAU RANT PROGRAM
Visit 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. http: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.
The Bistro on Main 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.
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
Back 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.
support
UMS volunteers are an integral part of the success of our organi?zation. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome you to the UMS family and involve you in our exciting programming and activities. We rely on volunteers for a vast array of activities, including staffing the edu?cation residency activities, assisting in artist services and mailings, escorting students for our popular youth performances and a host of other projects. Call 734.936.6837 to request more information.
ADVISORY COMMITTEE
The 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 with this dynamic group, please call 734.936.6837 for more information.
SPONSORSHIP & ADVERTISING
dvertising in the UMS program book ior sponsoring UMS performances
enables you to reach 130,000 of southeastern Michigan's most loyal concertgoers.
Advertising
When you advertise in the UMS program book you gain season-long visibility while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descriptions that are so important to performance experi?ences. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book.
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
Internships with UMS provide experience in performing arts administration, mar?keting, publicity, promotion, production and arts education. Semesterand year-long internships are available in many of UMS' departments. For more information, please call 734.764.6833.
COLLEGE WORK-STU DY
Students 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
Without 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.
Aubrey Alter Emily Avers Sara Billma Susan Bozell
Gulshirin Dubasl
Christine Field Kenneth C. Fisch Kristin Fontichia
Susan Hamilton Andrew Hause
.el Hufano arkjacobson
d of Di
I
epest appreciation
@@@@rs of the
staff
2001-2002 Membership Campaign.
Elizabeth John Ben Johnson
Lisa Michiko Murray M. Joanne Navarre Kathleen Operhall Chandrika Patel John Peckham Ronald Reid
Christina Thoburn Warren Williams
SUPPORT FOR THE UNIVERSITY MUSICAL SOCIETY
This 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 November 26, 2001. Every effort has been made to ensure its accuracy. Please call 734.647.1178 with any errors or omissions.
SOLOISTS
Mrs. H. Gardner Ackley Hal and Ann Davis Randall and Mary Pittman Philip and Kathleen Power
MAESTROS
Carl and Isabelle Brauer
Kathleen G. Charla
Peter and Jill Corr
Ronnie and Sheila Cresswell
Jim and Millie Irwin
Charlotte McGeoch
Ann Meredith
Mr. and Mrs. Irving Rose
Prudence and Amnon Rosenthal
Herbert Sloan
Ronald and Eileen Weiser
m
VIRTUOSI
Beverley and Gerson Geltner Leo and Kathy Legatski
CONCERTMASTERS
Herb and Carol Amster Maurice and Linda Binkow Douglas D. Crary David Eklund Estate Charles N. Hall David and Phyllis Herzig Marc and Jill Lippman Robert and Pearson Macek Gilbert Omenn and
Martha Darling Susan B. Ullrich Marina and Robert Whitman Ann and Clayton Wilhite
LEADERS
Bob and Martha Ause
Bradford and Lydia Bates
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
Alice B. Crawford
Dennis A. Dahlmann
Jim and Patsy Donahey
Mr. and Mrs. Thomas C. Evans
Ken and Penny Fischer
John and Esther Floyd
Michael and Sara Frank
Betty-Ann and Daniel Gilliland
Sue and Carl Gingles
Dr. and Mrs. William A. Gracie
Jeffrey B. Green
Ms. Cynthia A. Greene
Linda and Richard Greene
Debbie and Norman Herbert
Janet Woods Hoobler
Dr. Isaac Thomas III and
Dr. Toni Hoover John and Patricia Huntington Keki and Alice Irani Thomas and Shirley Kauper Robert and Gloria Kerry Amy Sheon and Marvin Krislov Lawrence and Rebecca Lohr Judy and Roger Maugh Paul and Ruth McCracken Rebecca McGowan and
Michael B. Staebler Shirley Neuman
Gilbert Omenn and Martha Darling 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 B. Joseph and Mary White Marion T. Wirick and
James N. Morgan Paul and Elizabeth Yhouse
PRINCIPALS
Dr. and Mrs. Gerald Abrams Jim and Barbara Adams Bernard and Raqucl Agranoff Michael Allemang and Denise
Boulange
Lesli and Christopher H,ill.ml Emily W. Bandera, M.D. Karen and Karl Bartscht 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 Howard and Margaret Bond 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 Letitia J. Byrd Betty Byrne
Thomas and Marilou Capo Jim and Priscilla Carlson Jean and Kenneth Casey Janet and Bill Casscbaum Anne Chase
Don and Betts Chisholm Mr. and Mrs. John Alden Clark Leon and Heidi Cohan Mr. Ralph Conger Anne and Howard Cooper Paul N. Courant and Marta A. Manildi Elaine Buxbaum Cousins Mr. Michael J. and Dr. Joan Crawford George and Connie Cress Kathleen J. Crispell and
Thomas S. Porter Peter and Susan Darrow Richard and Betsy DeVos Jack and Alice Dobson Molly and Bill Dobson Elizabeth A. Doman Mr. and Mrs. John R. Edman Susan Feagin and John Brown David and Jo-Anna Featherman Yi-tsi M. and Albert Feuerwerkcr Ray and Patricia Fitzgerald Bob and Sally Fleming James and Anne Ford llene H. Forsyth Dr. and Mrs. Arthur B. French Otto and Lourdes E. Gago Marilyn G. Gallatin Marilyn Tsao and Steve Gao Charles and Rita Gelman lames and Cathie Gibson
William and Ruth Gilkey
Dr. Sid Gilman and Dr. Carol Barbour
Alvia G. Golden and
Carroll Smith-Rosenberg Victoria Green and Matthew Toschlog Frances Greer John and Helen Griffith Susan Harris Taraneh and Carl Haske Thomas and Connie Heffner Julian and Diane Hoff Robert M. and Joan F. Howe Sun-Chien and Betty Hsiao Timothy and Jo Wiese Johnson Robert L. and Beatrice H. Kahn Herbert Katz
Richard and Sylvia Kaufman Dorian R. Kim Diane Kirkpatrick Jim and Carolyn Knake Victoria F. Kohl and Thomas Tecco Bud and Justine Kulka Ko and Sumiko Kurachi Barbara and Michael Kusisto Jill M. Latta and David S. Bach Ted and Wendy Lawrence Peter Lee and Clara Hwang Frank Legacki and Alicia Torres Carolyn and Paul Lichter Evie and Allen Lichter Dean and Gwen Louis John and Cheryl MacKrell Natalie Matovinovic Margaret W. Maurer Joseph McCune and Georgiana Sanders Hattie and Ted McOmber Ted and Barbara Meadows Andy and Candice Mitchell Lester 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
Maya Savarino
Mrs. Richard C. Schneider
Rosalie and David Schotlenfeld
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
Steve and Cynny Spencer
Lloyd and Ted St. Antoine
Gus and Andrea Stager
lames and Nancy Stanley
Victor and Marlene Stoeffler
lames L. and Ann S. Telfer
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
Karl and Karen Weick
Elise and Jerry Weisbach
Roy and JoAn Wetzel
Harry C. White and
Esther R. Rcdmount Max Wicha and Sheila Crowley David and April Wright Ed and Signe Young Gerald B. and Mary Kay Zelenock
BENEFACTORS
Robert Ainsworth
Dr. and Mrs. Robert G. Aldrich
Michael and Suzan Alexander
Dr. and Mrs. David G. Anderson
Dr. and Mrs. Rudi Ansbacher
Elaine and Ralph Anthony
Janet and Arnold Aronoff
John R. Barcham
Norman E. Barnett
Mason and Helen Barr
Robert and Wanda Bartlctt
Astrid B. Beck and David Noel Freedman
L. S. Berlin
Tom and Cathie Bloem
Ron and Mimi Bogdasarian
Charles and Linda Borgsdorf
Jim Botsford and Janice Stevens Botsford
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
Benefactors, continued
Edwin and Judith Carlson lack and Wendy Carman Marshall F. and Janice L. Carr Carolyn M. Carty and
Thomas H. Haug James S. Chen Janice A. Clark Hubert and Ellen Cohen Edward J. and
Anne M. Comeau Carolyn and
L. Thomas Conlin Jim and Connie Cook Hugh and Elly Rose Cooper Malcolm and Juanita Cox Jean Cunningham and
Fawwaz Ulaby Roderick and
Mary Ann Daane Pauline and Jay J. De Lay Julie and Jonathan Dean Ellwood and Michele Derr Marnee and John DeVine Delia DiPietro and
Jack Wagoner, M.D. Steve and Lori Director Al Dodds
Charles and Julia Eisendrath Kathryn A. Eklund Stefan S. and Ruth S. Fajans Dr. and Mrs. S.M. Farhat Claudinc Farrand and
Daniel Moerman Ms. Irene Fast
Dr. and Mrs. John A. Faulkner I )cdc and ( XsL.tr l'cklman Larry and Andra Ferguson Dr. and Mrs. James Ferrara Joseph and Nancy Ferrario Sidney and Jean Fine Carol Finerman Clare M. Fingerle John and Karen Fischer Mrs. Gerald J. Fischer
(Beth B.)
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 M. Gates Drs. Steve Geiringer and
Karen Bantel Thomas and
Barbara Gelehrter Beverly Gershowitz 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 Paul Hysen and Jeanne Harrison Walter and Dianne Harrison Clifford and Alice Hart Jcanninc and Gary Hayden Bob and Lucia Heinold Mrs. W.A. Hiltner Drs. Linda Samuelson and
Joel Howell
David and Dolores Humes Eileen and Saul Hymans Stuart and Maureen Isaac John and Gretchen Jackson Wallic and lanet Jeffries Jim and Dale Jerome Susan and Stevo Julius John B. and Joanne Kennard Emily and Ted Kennedy Richard Kennedy David and Sally Kennedy Dick and Pat King Steve and Shira Klein Hermine R. Klingler Philip and Kathryn Klintworth Joseph and Marilynn Kokoszka Dr. and Mrs. Melvyn Korobkin Samuel and Marilyn Krimm Bert and Catherine La Du Lee and Teddi Landes Mr. John K. Lawrence Laurie and Robert LaZebnik Jacqueline H. Lewis Donald J. and
Carolyn Dana Lewis Leslie and Susan Loomans Richard and Stephanie Lord John and Jane Lumm Brigitte and Paul Maassen Melvin and Jean Manis Catherine and Edwin L. Marcus Nancy and Philip Margolis Claude and Marie Martin Marilyn Mason Chandler and Mary Matthews Griff and Pat McDonald Eileen Mclntosh and
Charles Schaldenbrand Henry D. Messer -
Carl A. House Leo and Sally Miedler Myrna and Newell Miller Melinda and Bob Morris Brian and Jacqueline Morton Cyril and Rona Moscow Lcn and Nancy Niehoff Marylen and Harold Oberman Mark and Susan Orringer Mitchel Osman, M.D. Julius A. and Sharon L. Otten Helen 1. Panchuk Rene and Hino Papo Margaret and Jack Petersen
Wayne Pickvet and
Bruce Barrett Elaine and Bertram Pitt Stephen iiml Bi'llin.i Pollock Jerry and Lorna Prescott Richard H. and Mary B. Price Larry and Beverly Price Mrs. Gardner C. Quarton Mrs. Joseph S. Radom Jeanne Raisler and
Jonathan Allen Cohn Rudolph and Sue Reichert Molly Resnik and John Martin H. Robert and Kristin Reynolds Ruth Bardenstein 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 J. Amrhein Meeyung and
Charles Schmitter Ann and Thomas J. Schriber Juliannc and Michael Shea Howard and Aliza Shevrin Frances U. and
Scott K. Simonds Kate and Philip Soper Mr. and Mrs. Neil J. Sosin Juanita and Joseph Spallina David and Ann Staiger James Steward and Jay Pekala Charlotte B. Sundelson Edward and Natalie Surovcll Brian and Lee Talbot Bob and Betsy Teeter Elizabeth H. Thieme Christina and
Thomas Thoburn Dr. and
Mrs. Merlin C. Townley Joan Lowenstein and
Jonathan Trobe Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachingcr Dr. and Mrs. Samuel C. Ursu Jim and Emilic Van Bochove Charlotte Van Curler Jack and Marilyn van der Velde William C. Vassell Kate and Chris Vaughan Florence S. Wagner Wendy L. Wahl and
William R. Lee Robin and Harvey Wax Willes and Kathleen Weber Raoul Weisman and
Ann Friedman Robert O. and
Darragh H. Weisman Angela and Lyndon Welch Dr. Steven W. Werns Max and Mary Wisgerhof
Dean Karen Wolff J. D. and Joyce Woods Don and Charlotte Wyche
ASSOCIATES
Michael and Marilyn Agin
Anaslasios Alcxiou
Christine Webb Alvey
David and Katie Andrea
Harlene and Henry Appclman
Jeff and Deborah Ash
Mr. and Mrs. Arthur J. Ashe III
Dwight Ashley
Dan and Monica Atkins
Jonathan and Marlcne Ayers
Geoffrey L. and Holly Baker
Laurence R. and Barbara K. Baker
Cy and Anne Barnes
Lois and David Baru
Gary Beckman and Karla Taylor
Christopher and Sheila Behlcr
Harry and Betty Benford
Professor and
Mrs. Erling Blondal Bcngtsson Linda and Ronald Benson Donald and Roberta Blitz David and Martha Bloom Jane M. Bloom Dean Paul C. Boylan Dr. and Mrs. C. Paul Bradley Morton B. and Raya Brown Sue and Noel Buckncr Trudy and Jonathan Bulkley Margot Campos Valerie and Brent Carey (eannctte and Robert Carr lames and Mary Lou Carras Cheryl Cassidy Dr. and Mrs. Joseph C. Cerny Tsun and Siu Ying Chang Dr. Kyung and Young Cho Kwang and Soon Cho Robert ). Cierzniewski Reginald and Beverly Ciokajlo Mark Clague and
Anne Vandcn Belt Nan and Bill Conlin Lolagcne C. Coombs Jane Wilson Coon Mary Cordes and Charlecn 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 John and lean Debbink Penny and Larry Deitch Elena and Nicholas Delbanco Lloyd and Genie Dcthloff Elizabeth Dexter Bill and Peggy Dixon (can Dolega
Heather and Stuart Dombey Dr. and Mrs. Edward F. Domino Thomas and Esther Donahue
John Drydcn and Diana Raimi Rhetaugh Graves Dumas Richard and Myrna Edgar Elizabeth Edmond MD Martin and Rosalie Edwards Dr. Alan S. Eiser Judge and Mrs. S. J. Elden Ethel and Sheldon Ellis Mack and Marcia Endo Joan and Emil Engel Patricia Enns
Leonard and Madeline Eron Elly and Harvey Falil Dr. fohn W. Farah Dr. )ames F. Filgas Clarisse (Clay) Finkbcincr C. Peter and Bcv-A. Fischer Susan R. Fisher and
John W. Waidley Guillermo Flores Doris E. Foss
Howard and Margaret Fox Jason I. Fox Lynn A. Freeland Lcla . Fuester
Mr. and Mrs. William Fulton Harriet and Daniel Fusfcld Bernard and Enid Gallcr Thomas J. Garbaty Wood and Rosemary Geist Deborah and Henry Gerst Leo and Renate Gerulaitis Beth Gennc and Allan Gibbard Elmer G. Gilbert and
Lois M. Verbrugge Matthew and Debra Gildea lames and Janet Gilsdorf Joyce and Fred Ginsberg Maureen and David Ginsburg Albert and Almeda Girod Irwin Goldstein and
Martha Mayo William and Sally Goshorn Enid M. Gosling Charles Goss Michael L. Gowing 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 Grovcr David and Kay Gugala Ken and Margaret Guire Arthur W. Gulick, M.D. Susan and John Halloran Claribel Halstcad Margo Hals ted Yoshiko Hamano Jane and Bill Hann Martin D. and Connie D. Harris Robert and Sonia Harris Susan S. Harris I. Lawrence and Jacqueline
Stearns Henkcl Dr. and Mrs. Keith S. Henley Lorna and Mark Hildebrandt Louise Hodgson Mr. and Mrs. William B. Holmes
Dr. Ronald and Ann Holz
Mrs.V.CHubbs
Mr. and Mrs. William Hufford
lane H. Hughes
Dr. and Mrs. Ralph M. Hulett
Ronald R. and
Gayc H. Humphrey Ann D. Hungerman Marilyn C. Hunting Thomas and
Kathryn Huntzicker Susan and Martin Hurwitz Robert B. Ingling Margaret and Eugene Ingram Kent and Mary Johnson Dr. and Mrs. Mark S. Kaminski George Kaplan and Mary Haan Herbert and Jane M. Kaufer Marsha Kemppaincn Frank and Patricia Kennedy Donald R and Mary A. Kiel Howard King and
Elizabeth Sayre-King Mrs. Rhea K. Kish Dr. David E. and
Heidi Castleman Klein Laura Klem
Thomas and Ruth Knoll Dimitri and Suzanne Kosacheff Barbara and Ronald Kramer Bert and Gcraldine Kruse Mr. and Mrs. Henry M. I-apeza Neal and Anne Laurance Beth and George LaVoie John and Theresa Lee Mr. and Mrs. Fernando S. Leon Myron and Bobbie Levinc Mark Lindley and Sandy Taibott Daniel Little and Bernadette Lintz Rod and Robin Little Vi-Cheng and Hsi-Yen Liu Naomi E. Lohr E. Daniel and Kay Long Helen B. Love Charles and Judy Lucas Virginia and Eric Lundquist Pamela J. MacKintosh Virginia Mahle Deborah Malamud and
Ncal Plotkin Latika Mangrulkar Marcovitz Family Invin and Fran Martin Sally and Bill Martin eff Mason and Janet Netz Margaret E. McCarthy Ernest and Adele McCarus W. Bruce McCuaig Michael G. McGuirc James Mclntosh Mr. and Mrs. Ernest Merlanti Bcrnice and Herman Merte Sonya R. Miller Jcancttc and Jack Miller Thomas and Doris Miree James and Kathleen Mitchiner Kathryn and Bertley Moberg William G. and
Edith O.Mollcr, Jr. Jane and Kenneth Moriarty James and Sally Mueller Gerry and Joanne Navarre Charles H. Nave
Frederick C. Neidhardt and
Germaine Chipault Edward C. Nelson Laura Nitzberg and
Thomas Carli Donna Parmclee and
William Nolting Arthur and Lynn Nusbaum Constance L. and
David W. Osier Marysia Ostafin and
George Smillie Mr. David T. Pacheco Sujit and Lima Pandit William and Hedda Panzer Penny and Steve Papadopoulos Nancy K. Paul Elizabeth Payne Zoe and Joe Pearson Dr. Owen Z. Pcrlman Jim and Julie Phelps C. Anthony and
Marie B. Phillips Joyce Phillips Lorraine B. Phillips Mr. and Mrs. Frederick R. Pickard Wayne and Sucllen 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 J. Thomas and Kathleen Pustell Lcland and
Elizabeth Quackenbush Patricia Randlc and James Eng Jim and leva Rasmusscn Anthony L. Reffells and
Elaine A. Bennett Glcnda Renwick Betty Richart
Jack and Margaret Ricketts Thomas and Ellen Riggs Constance O. Rinehart Jay and Machrec Robinson Mr. and Mrs. Stephen ). Rogers Robert and Joan Rosenblum Gay and George Rosenwald Gustave and Jacqueline Rosseels Craig and Jan Ruff Carol Rugg and
Richard Montmorency Ina and Terry Sandalow Michael and Kimm Sarosi Christi and Mike Savitski Gary and Arlenc Saxonhouse Albert J. and Jane L. Sayed David and Marcia Schmidt Jean Scholl David E. and
Monica N. Schtcingart Edward and Sheila Schwartz Dr. ohn ]. H. Schwarz Harriet Seiin Erik and Carol Serr Thomas and Valeric Yova Sheets Lorraine M. Shcppard John and Arlenc Shy Scott and Joan Singer Tim and Marie Slottow Mr. and Mrs. William B. Slowcy Alcnc M. Smith
Carl and Jari Smith Donald C. and Jean M. Smith Mrs. Robert W. Smith Susan M. Smith Jorge and Nancy Solis Dr. Elaine R. Soller Cynthia I. Sorensen Yoram and Eliana Sorokin Larry and Doris Sperling Jeffrey D. Spindler Allen and Mary Spivey Curt and Gus Stager Gary and Diane Stahlc Ron and Kay Stefanski Virginia and Eric Stein Wolfgang Stolper Professor Louis and
Glennis Stout
Dr. and Mrs. Stanley Strasius Eva and Sam Taylor Paul and Jane Thielking Mary H. Thieme Catherine Thoburn Edwin J. Thomas Bettc M. Thompson Nigel and Jane Thompson Jim Toy
Tanja and Rob Van der Voo Hugo and Karla Vandersypcn Lourdes Velez, M.D. Alice and Joseph Vining Carolyn and Jerry Voight John and Maureen Voorhees Harue and Tsuguyasu Wada Charles R. and
Barbara H. Wallgrcn Robert D. and Liina M. Wallin Ruth and Chuck Watts Deborah Webster and
George Miller
Marcy and Scott Westerman Douglas and Barbara White Iris and Fred Whitchousc Leslie Clare Whitficld Nancy Wiernik Reverend Francis E. Williams Brymer Williams Christine and Park Willis Lois Wilson-Crabtrcc Beverly and Hadley Wine Charles Witke and Ailcen Gatten Charlotte A. Wolfe Al and Alma Wooll Lynne Wright Phyllis B. Wright Sandra and Jonathan Yobbagy MaryGrace and Tom York Dr. and Mrs. Alejandro Zapata
ADVOCATES
Judith Abrams
John It. Adams
Tim and Leah Adams
Dr. Dorit Adler
Michael and Hiroko Akiyama
Ronald Albuchcr and Kevin Pfau
Gordon and Carol Allardyce
James and Catherine Allen
Richard and Bettyc Allen
Barbara and Dean Alscth
Advocates, continual
Pamela and Gordon Amidon
Helen and David Aminol'f
Mr. Andrew L. Amuro
Dr. and Mrs. Charles T. Anderson
Joseph and Annette Anderson
Catherine M. Andrea
Mary C. Arbour
H. E. and Doris Arms
Thomas and Mary Armstrong
Bert and Pat Armstrong
Eric M. and Nancy Aupperle
John and Rosemary Austgcn
Erik and Linda Lee Austin
Ronald and Anna Marie Austin
Shirley and Donald Axon
Karen Bachman
Linda Bennett and Bob Bagramian
Prof, and Mrs. J. Albert Bailey
Robert L. Baird
Barbara and Daniel Balbach
Helena and Richard Balon
M. A. Baranowski
David and Monika Barera
Maria Kardas Barna
Leslie and Anita Bassctt
Judith Batay-Csorba
Frank and Lindsay Baleman
Dorothy W. Bauer
Mrs. ierc M. Bauer
Charles Baxter
Kenneth C. Beachler
James and Margaret Bean
James M. Beck and
Robert J. McGranaghan Kathleen Beck
Mr. and Mrs. Steven R. Beckert Robert Bcckley and Judy Dincscn Patrick and Maureen Belden Walter and Antjc Bcncnson Joan and Rodney Bentz Mr. and Mrs. Ib Bcntzen-Bilkvisl Dr. Rosemary R. Berardi Helen V. Berg James A. Bergman and
Penelope Hommel Steven J. Bernstein Kent Bcrridge Gene and Kay Bcrrodin Andrew H. Berry, D.O. Mark Bert.
Ralph and Mary Beuhler Dan and Irene Bibcr Rosalyn Biederman Christopher Biggc Eric and Doris Billcs Jack Billie and Shcryl Hirsch Sara Billmann and Jeffrey Kuras William and llenc Birge Drs. Ronald C. and
Nancy V. Bishop Barbara O. Black Tom and Amy Blair John Blankley and Maureen Foley Fran and Joy Blouin Dr. George and Joyce Blum Paula and Arthur Bolder Beverly J. Bole
Dr. and Mrs. Frank P. Bongiorno Lynda Ayn Boone Morris and Reva Bornstein Jeanne and David Bostian Victoria C. Botek and
William M. Edwards Bob and Jan Bower Dr. and Mrs. Ralph Bozcll Tom Brandt
William R. Brashcar Enoch and Liz Brater Mr. Joel Brcgman and
Ms. Elaine Pomcranz Mr. and Mrs. Gerald Bright Paul A. Bringcr Clifford and Amy Broman Olin and Alceta Browder Linda Brown and Joel Goldberg Cindy Browne
Edward and jcanctlc Browning Karen Brubaker Molly and John Brucgcr Carol Buatti Larry and Mac Buckner Dr. Frances E. Bull Margaret E. Bungc Marilyn Burhop Charles and loan Burlcigh Tony and Jane Burton Barbara H. Busch Robert Butsch Joanne Cage Barbara and Albert Cain Louis and Janet Callaway Susan and Oliver Cameron Jenny P. Campbell George R. Carignan James and Jennifer Carpenter Deborah S. Carr
Dennis B. and Margaret W. Carroll Thomas Champagne and
Stephen Savage K. M. Chan
Joan and Mark Chesler Tim Chin Catherine Christen Espernza and Stecn Christensen Edward and Rebecca Chudacoff I r. and Mrs. I avid Ihurch Sallie R.Churchill Nancy Cilley Pat Clapper
Brian and Cheryl Clarkson Donald and Astrid Cleveland Willis Colburn and Dcnisc Park Thomas A. and Janet E. Collet Marion T. Collier John and Penelope Collins Kenneth Collinson Ed and Cathy Colone Wayne and Melinda Colquilt Wendy and Mark Comstock Thomas Conner
Kathleen Cooney and Gary Faerber Gage R. Cooper Garnet and Joan Cousins Marjoric A. Cramer Mr. and Mrs. Winton L. Crawford Richard and Penelope Crawford Mary C. Crichton Mr. and Mrs. James 1. Crump Richard J. Cunningham Suzanne and Eugene Curtis Marcio Da Fonseca Marda A. Dalbcy Marylcc Dalton
Mildred and William B. Darnton Ruth E. Datz
Mr. and Mrs. John L. Dauer Mr. and Mrs. Arthur W. Davidgc Mark and Jane Davis Peter and Norma Davis Mrs. Frances Dcckard Dr. and Mrs. Raymond F. Decker Joe and Nan Decker
Rossanna and George DcGrood George and Margaret DeMuth Pamela DcTullio and
Stephen Wiseman Don and Pam Dcvinc Lorenzo DiCarlo and Sally
Stegeman DiCarlo Martha and Ron DiCecco Macdonald and Carolin Dick Timothy L Dickinson and
Anja Lchmann Ruth I. Doanc Judy and Steve Dobson Paula R. Donn Robert I. Donnellan Deanna and Richard Dorncr R. Paul Drake and Joyce E. Penncr Roland and Diane Drayson Mary P. Dubois Ronald and Patricia Due Rosaline and Sandy Duncan Mary H. Dunham Connie Dunlap Jean and Russell Dunnaback Dr. and Mrs. Theodore E. Dushanc Dr. and Mrs. Wolf Duvernoy Thomas E. Dwycr Mary E. Dwyer Linda Edberg
Morgan H. and Sara O. Edwards Julie and Charles Ellis II. Michael and Judith L. Endrcs Dave and Alexandra Engclke Mr. and Mrs. Fred A. Erb
Erb Foundation
Mr. & Mrs. Garwood E. Erickson Roger E. Erickson Steve and Pamela Ernst Dorothy and Donald Eschman Barbara Evans Mr. and Mrs. Robert B. Fair Mike and Bonnie Fauman [nka and David Fclbcck Phil and Phyllis Fellin Dennis and Claire Fernly Karl and Sara Fiegcnschuh Susan Filipiak
Swing City Dance Studio Gerald l. and
Catherine L. Fischer Dr. and Mrs. Richard L. Fisher Beth and Joe Fitzsimmons Rochclle Flumenbaum and
Paul Estenson Jessica Fogel and
Lawrence Weiner Scott and Janet Foglcr George and Kathryn Foltz Burke and Carol Fosscc William and Beatrice Fox Dan and Jill Francis Larry and Nancy Frank Hyman H. Frank l.ora Frankel Lucia and Doug Frccth Otto W. and Hclga B. Freitag Sophia L. French Marilyn L. Friedman and
Seymour Kocnigsbcrg Esther and Peretz Friedmann Jerry Frost Joseph E. Fugere and
Marianne C. Mussctt Frances and Robert Gamble Elkan and S. Zelda Gamzu
James M. and
Barbara II. Garavaglia Joann Gargaro lack ). and Helen Garris C. Louise Garrison )anct and Charles Garvin Tom Gasloli
Michael and lna Hanel-Gcrdenich W. Scott Gcrstcnbcrgcr and
Elizabeth A. Sweet Michael Gcrstenbcrger Paul and Suzanne Gikas Dr. and Mrs. Gary Gillespic Zita and Wayne Gillis Marcia K. Gilroy Beverly Jeanne Giltrow Robert Gockcl Albert L. Goldberg Ed and Mona Goldman Dr. and Mrs. Michael . Goldstein Mrs. Eszter Gombosi Mitch and Barb Goodkin Selma and Albert Gorlin William and Jean Gosling James W. and Maria J. Gousscff Steve and Carol Grafton Christopher and Elaine Graham Mr. and Mrs. Robert C. Graham Peter Granda and Kari Gluski Helen M. Graves Jerry M. ami M.uy K. (iray Larry and Martha Gray Isaac and Pamela Green Lewis R. and Mary A. Green Deborah S. Greer Linda Gregerson and
Steven Mullancy G. Robinson and Ann Gregory Linda and Roger Grckin Rita and Bob Grierson William L. and Martha B. Grimes Laurie Gross
Lionel and Carol Guregian Lorraine Gutierrez and
Robert Peyser Dr. Merle Haancs George and Mary Haddad Stephanie Hale
Barbara H. Hammitt (Mrs. F.G.) Tom Hammond Dora E. Hampel Carl T. and Judith M. Hanks Grace H. Hannenin Lourdes S. Bastos Hanscn David B. and Colleen M. Hanson Rachel Brett Harlcy Mary C. Harms
Stephen G. and Mary Anna Harper Ed Sarath and Joan Harris Laurelynnc and George Harris Jerome P. Hartweg Elizabeth C. Hassincn Anne I laugh
James B. and Roberta I (au.se Anne Ileacock
Kenneth and Jeanne Hciningcr James and Esther Hcitler William C. Heifer Sivana Heller Paula B. Henckcn and
George C. Collins Rose and John Henderson Karl Hcnkcl and Phyllis Mann Kathy and Rudi Hentschcl Jeanne Hernandez Fred and Joyce Hershcnson
Ronald D. and Barbara ). Hertz Roger F. Hewitt Herb and Dee Hildebrandt Frances C. Hoffman Hubert and Claire Hogikyan John H. and
Maurita Peterson Holland Ms. Carol Hollenshead and
Mr. Bruce Wilson Donna M. Hollowell Mrs. Howard Holmes Kenneth and Joyce Holmes Dave and Susan Horvath Albert Hou
James and Wendy Fisher House Jeffrey and Allison Housner G. C. Housworth Hclga and Jerry Hover Bellanina Day Spa Judc and Ray 1 lucttcnian Harry and Ruth Huff Joanne Winkleman 1 hike Jewel F. Hunter Diane C. Imredy Edward C. Ingraham Perry Irish Kali Israel
Sid and Harriet Israel Joan L. and )ohn H. Jackson Mel and Myra Jacobs Dr. and Mrs. Joachim Janccke Dean and Leslie Jarrett Marilyn G. Jeffs
Professor and Mrs. Jerome Jelinek Lois J. Jelneck Paula J. Jester Mark and Linda Johnson Marilyn S. Jones, Ph.D. Stephen Josephson and Sally Fink Andree Joyaux and Fred Blanck Mark Juergcns William and Ellen Kahn Douglas and Mary Kahn Mary Kalmcs and Larry Friedman Carol Kamm and James Howe Austin Kantcr Paul Kan tor 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 Dennis and Linda Kayes Julie and Phil Kearney Mr. and Mrs. Robert Kciser Linda D. and Thomas E. Kcnney George L. Kenyon and
Lucy A. Waskcll
David J. and JoAnn Z. Kcosaian Nancy Kcppelman and
Michael Smcrza Mr. Roland G. Kiblcr Tom and Connie Kinncar Diane Kirkpatrick Paul and Dana Kissncr Peter and Judith Kleinman Anne Kloack Rosalie and Ron Koenig Michael J. Kondziolka Charles and Linda Kooprnann Alan and Sandra Kortcsoja Dr. and Mrs. Richard Krachenbcrg William G. Kring Sara Kring Alan and Jean Krisch
Danielle and George Kuper
Alvin and I i.i Kushncr
Dr. and Mrs. Richard A. Kutripal
Mr. and Mrs. John La h iff
Tim and Kathy Laing
jane Laird
Mr. and Mrs. Seymour Lamport
Pamela and Stephen Landau
Janet Landsbcrg
Patricia M. Lang
Mrs. David A. Lanius
Carl F. and Ann L. LaKuc
Jennifer and Joseph Lavcllc
Chuck and Linda Leahy
Cyril and Ruth Lcder
Fred and Ethel Lee
Skip and Mary LcFauvc
Diane Lehman and Jeffrey Lehman
Ann M. Lcidy
Lucy H. Leist
Richard and Barbara Lcitc
Jim and Cathy Leonard
Sue Leong
Margaret E. Leslie
David E. Lcvine
Harry and Melissa LeVinc
George and Linda Levy
Robert and Julie Lewis
Carol N. Liebcr
Ken and Jane Lieberthal
Lcons and Vija Liepa
Dr. and Mrs. Richard H. Lincback
Margaret K. Liu and
Diarmaid M. O'Foighil Dr. and Mrs. F. A. Locke Julie M. Loftin Jane Lombard Ronald Longhofer and
Norma McKenna David Lootcns Armando Lopez Rosas Bruce Lough ry
Christopher and Carla Loving Lynn Luckcnbach Lawrence N. Lup Clair and Bettina Lussier Carl J. Lutkchaus Walter Allen M,uldo Suzanne and Jay Mahler Alan and Carla Mandel Dr. and Mrs. Steven G. Manikas Pearl Manning Alice K. and Robert G. Marks Peter Marshall
James B. and Barbara Martin Ann W. Martin and Russ Larson
I I.I . M.isnii
Vincent and Margot Massey
Larry and Rowena Matthews
Debra Mattison
Glenn D. Maxwell
Carole Mayer
Micheline Maynard
Oli i.i I1 Maynard
John Allen and Edith Maynard
Susan C. Guszynski and
Gregory F. Mazurc URuth C. McAfee Richard and Florence McBricn Margaret and Harris McClamroch Dores M. McCree Neil and Suzanne McGinn Mary and Norman Mclver Bill and Ginny McKcachie Ralph R. McKec and Jean L. Wong Nancy A. and Robert E. Mcadcr
Boh and Doris Mclling Allen and Marilyn Mcnlo Ingrid Mcrikoski Hcly Merle-Bcnner Mark P. Merriman and
Natalie I. Goldring George R. and Brigillc Mcrz Julie and Scoll Mcrz Arthur and Elizabeth Mcssiter Robert and Bcttic Mctcalf Helen Mctzncr Don and Lee Meyer Suzanne M. Meyer Ms Heidi Meyer Shirley and Bill Meyers Helen M. Michaels Gerald A. and Carol Ann Miller Prof, and Mrs. Douglas Miller Carmen and lack Miller Edward and Babara Mills Agnes M. Miner Elaine Mogerman Olga Ann Moir Mary Jane Molesky Molloy Foundation Inn and feanne Montic Mr. Erivan R. Morales and
Dr. Scigo Nakao Arnold and Gail Morawa Robert and Sophie Mordis Dr. and Mrs. George W. Morley A. A. Moroun Dorothy Morsfield Muriel Moskowitz Tom and Hedi Mulibrd ]. Thomas and Carol Mullen Bernhard and Donna Muller Marci and Katie Mulligan Gavin Eadie and Barbara Murphy Lora G. Myers
Dr. Guilder and Marliss Myran Alberto Nacif Rosemarie Nagel R. and J. Ncedlcman James G. Nelson and
(Catherine M. Johnson Arthur and Dorothy Nesse Sharon and Chuck Newman ohn and Ann Nicklas Mrs. Marvin Niehuss Susan and Richard Nisbctt Gene Nissen
Christcr and Outi Nordman Richard and Caroline Norman Richard S. Nottingham Dr. Nicole Obrcgon Patricia O'Connor Peter M. and Alicia C.Olin Chcric M. Olscn
Elizabeth Olson and Michcle Davis Ncls R. and Mary H. Olson Paul L and Shirley M. Olson Mitra O'Mallcy Robert and Elizabeth Oncal Kathleen I. Operhall Ted and Joan Operhall Mr. and Mrs. lames R. Packard Donna D. Park Bill and Katie Parker Eszther Pattantyus and Tibor Nagy Robert and Altaic Paup Vasso and Dimitris Pavlidis ( hi istoplifi I'jwl.ik
William and Susan Penncr Drs. R. Paul Drake and loyce E. Penncr
Steven and Janet Pepc Don and Giannine Perigo Bradford Perkins
Susan A. Perry Ncal W. Persky, M.D. F.rik and Rita Pctrovskis I loughs I'lii-lps -unl
Gwendolyn Jessie-Phelps Nancy S. Pick us Robert and Mary Ann Pierce Roy and Winnifred Pierce William and Betty Pierce Frank and Sharon PignancUi Dr. and Mrs. James Pikulski Lynn Powell Robert and Mary Pratt Jacob M. Price John and Nancy Prince Tony and Dawn Procassini Lisa M. Profcra Ernst Pulgram Dr. G. Robina Quale-Lcach Mr. and Mrs. Mitchell Radcliff Cheryl L. Rakich Alfred and Jackie Raphclson Mr. and
Mrs. Robert H. Rasmussen Dr. and Mrs. Mark Rayport Ms. Rossi Ray-Taylor Sandra Reagan Del Reddy
Richard and Patricia Redman Michael f. Redmond Russell and Nancy Reed Mr. and Mrs. Stanislav Rchak Mr. and Mrs. Bernard E. Reisman I. and S. Remen Anne and Fred Rcmlcy Dunne and Katie Rcnken John and Nancy Reynolds Timothy and Teresa Rhoades Alice Rhodes Lou and Sheila Rice Carol P. Richardson Lita Ristine
Kathleen Roelofs Roberts Dave and Joan Robinson Janet K. Robinson, Ph.D jni and Kathleen Robinson lonathan and Anala Rodgers Mary Ann and Willard Rodgers Joseph and Joan Rogers Mary F. Locfflcr and
Richard K. Rohrcr Michael J. and Yclena M. Romm Elizabeth A. Rose Bernard and Barbara Rosen Stephen Rosenblum and
Rosalyn Sarver
Richard Z. and Edie W. Rosenfeld Elva M. Roscnzweig Charles W. Ross Steven Ross Lisa and Bill Rozek Robert and Beth Ruskin Mitchell and Carole Rycus Simon Rygcll Ellen and Inn Saalberg Theodore and Joan Sachs William and Ellen Sachs Arnold Sameroff and
Susan McDonough Miriam S. Joffe Samson Miriam Sandwciss John and Reda Santinga Dr. Stephen ). and Kim R. Saxc
Advocates, continued
Hclga and Jochen Schacht Bonnie R. Schafcr Chuck and Gail Schartc Frank J. Schauerle Mary A. Schieve Bctina Schlossberg Elizabeth L. Schmitt Jeannellc Collins Schnccberger Susan G. Schooner Yizhak Schotten and
[?Catherine Collier Sue Schroeder David and Becky Schultz Dietrich and Mary Schulzc Aileen Schulze Ruth Scodel
David and Darlcne Scovell Peter and Kathleen Scullen Suzanne Sclig
Louis and Sherry L Senunas Mary M. Sexlon (Mrs. George H.) Herbert and Melody Shanbaum Brahm and Lorraine Shapiro David and Elvera Shappirio Ingrid and Cliff Sheldon liulnli and Ivan Shcrick Mr. and Mrs. Patrick M. Sherry Rev. William J. Sherzer Drs. Jean and Thomas Shope Hollis and Martha A. Showalter Mary Alice Shulnian Ray and Marylin Shustcr Dr. Douglas and Barbara Sidcrs Dr. Bruce M. Siegan Milton and Gloria Sicgel Susan Silagi Geoffrey Silverman Morrine Silverman Alida and Gene Silverman Carl Simon and Bobbi Low Michael and Maria Simonte Donald and Susan Sinta Bernard J. Sivak and Loretta Polish Donald and Sharyn Sivyer Irma I. Sklenar Beverly N. Slater Kirsten Marie Carr and Theodore
A. D. Slawecki Donald and Dorothy Smith Dr. and Mrs. Michael W. Smith Susan E. Smith Mr. and Mrs. Phillip H. Smith James A. Somers Errol and Pat Soskolnc Aline Soulcs
Bccki Spanglcr and Peyton Bland Tom Sparks
Peter Sparling and John Gutoskey Priscilla A. Spencer and
Rajecv llatra Elizabeth Spencer and
Arthur Schwartz
Mrs. Herbert W. Spendlove (Anne) Jim Spevak Charles E. Sprogcr Burnettc Staebler Irving M. Slahl and Pamela M. Rider loan and Ralph Stahman Constance D. Stankrauff Stephanie and Chad Stasik Dr. and Mrs. William C. Stebbins Frank D. Stella
William and Gcorgine Steude Jim 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
Eric and Ines Storhok
Ellen M. Strand and
Dennis C. Regan )oe Stroud and Kathleen Fojtik Mary Stubbins Roger Statesman Michael and Peg Supernault Earl and Phyllis Swain Thomas and Anne Swantek Richard and June Swartz Rebecca Sweet and Roland Loup Michael W. Taft and
Catherine N. Herrington Margaret Talburtt and James Peggs Jim and Sally Tamm Gerald and Susan Tarpley Prank and Carolyn Tarzia Robert and Carolyn Tatc Stephan Taylor and
Elizabeth Stumbo James B. Tcrrill Carol and Jim Thiry William Jerry Thornton Anna Thuren Peggy Tieman
Mr. and Mrs. W. Paul Tippett Bruce Tobis and Alice Hamele Robert Tomasulo Ronald and Jacqueline Tonks John and Gcraldine Topliss Pablo Tovar Sarah Trinkaus Ken and Sandy Trosien Jeff and Lisa Tulin-Silver William and Jewell Tustian Alvan and Katharine Uhle Paul and Frcdda Unangst Bernice G. and Michael L. Updike Toru and Tamiko Urata Amy Valade Madeleine Vallier Carl and Sue Van Appledorn Rebecca Van Dyke Douglas and
Andrea Van Houweling Fred and Carole van Reesema Virginia Vass Phyllis Vegter Sy and Florence Veniar Ryan and Ann Verhcy-Henke lames H. Vincent Gwen Vor Broker Virginia Wait
David C. and Elizabeth A. Walker Jo Ann Ward
Drs. Philip and Maria Warren Jill A. Warren Lorraine Nadelman and
Sidney Warschausky Edward C. Weber Joan D. Weber Keith and Christine Weber Carol Weber
Jack and Jerry Weidenbach Carolyn J. Wcigle Neal and Susan Wcinbcrg Gcrane and Gabriel Wcinreich Rosalyn and Gerald Weintraub Donna G. Weisman Lisa and Steve Weiss Paul E. Duffy and
Marilyn L Wheaton James B. and Mary F. White Mr. and Mrs. Nathaniel Whitcside
Donald E. Whiting Thomas F. Wieder William and Cristina Wilcox Sara S. Williams Shelly F. Williams Magnus and Carrie Wilson Richard C. Wilson Donna Winkelman and
Tom Easthopc
Sarajane and Jan Z. Winkelman Bethandl.W.Winstcn Dr. and Mrs. Lawrence D. Wise Jeff and Linda Witzburg Dr. and Mrs. Ira S. Wollner Richard E. and Muriel Wong Stan and Pris Woollams Israel and Fay Woronoff Alfred and Corinne Wu Fran and Ben Wylie Richard Yarmain James and Gladys Young Donna Benson Zajonc John J. Zerbiec
Ahmet, Christie, Eminc Zcrcn Erik and Lineke Zuidcrwcg 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
$50,000-399,999 Office of the Senior Vice Provost for Academic Affairs
$20,000-$49,999 McKinley Associates
$10,000-$19,999
Bank of Ann Arbor
Bank One
Borders Group, Inc.
Brauer Investment Company
CFI Group
DTE Energy Foundation
KeyBankMcDonald
Investments
MASCO Charitable Trust Sesi Lincoln Mercury
Volvo Mazda Thomas B. McMullen
Company Visteon
$5,000-$9,999
AAA Michigan
Ann Arbor Automotive
Arthur Andersen LLP
Butzel Long Attorneys
Cafe Marie
Comerica Incorporated
Consumers Energy
Edward Surovell Realtors
Elastizell Corporation
of America Mechanical Dynamics Miller, Canfield, Paddock
and Stone P.L.C. National City Bank Pepper Hamilton LLP
$l,000-$4,999 Alf Studios Bartech, Inc. Blue Nik-Charles Reinhart Co. Realtors Dennis Dahlmann Inc. Ideation
Joseph Curtin Studios ProQuest Republic Bank Rosebud Solutions TCF Bank Texaco
S100-S999
Ayse's Cafe
Bed & Breakfast on Campus
Bellanina Day Spa
Bodywise Therapeutic
Massage
Clark Professional Pharmace Coffee Express Doan Construction Dupuis & Ryden, P.C. Edward Brothers, Inc. Galamp Corporation Garris, Garris, Garris &
Garris, P.C.
General Systems Consulting Guardian Industries Learning Express Lewis Jewelers Malloy Lithographing Mundus & Mundus Palladium Associates Pollack Design Associates Scientific Brake & Equipment
FOUNDATION
and GOVERNMENT
SUPPORT
UMS gratefully acknowledges the support of the following foundations and government agencies:
$100,000 and above Doris Duke Charitable
FoundationJazzNet The 1 mil Foundation Michigan Council for Arts
and Cultural Affairs State of Michigan Arts,
Cultural and Quality of Life
Grant Program Wallace-Reader's Digest
1 uinls
$50,000 99,999 Community Foundation for
Southeastern Michigan The Power Foundation
$10,000 49,999
Ann Arbor Area Community
Foundation Arts Midwest Association of Performing
Arts PresentersArts Partners Elizabeth E. Kennedy Fund Heartland Arts Fund Michigan Humanities
Council
Mid-America Arts Alliance National Endowment for the
Arts New England Foundation for
the Arts Raymond C. Smith
Foundation Fund The Shiffman Foundation
(Richard Levey and Sigrid
Christiansen)
$1,000 9,999 Commonwealth of
Pennsylvania Council on
the Arts Gelman Educational
Foundation Harold and Jean Grossman
Family Foundation The Lebensfeld Foundation Montague Foundation THE MOSAIC FOUNDATION
(of R. and P. Heydon) Sarns Ann Arbor Fund Vibrant of Ann Arbor
$100 999
Erb Foundation
TRIBUTE GIFTS
Contributions have been received in honor andor memory of the following individuals.
Catherine S. Arcure
Barbara Everitt Bryant
David Eklund
Sara Frank
Kenneth Haas
George R. Hunsche
Gloria Kerry
Harold Jacobson
Joel Kahn
William McAdoo
Robert Meredith
Phil and Kathy Power
Gwen and Emerson Powrie
Steffi Reiss
Prue Roscnthal
Margaret Rothstein Isaac C.Thomas III Charles R. Tieman Mrs. Durwell Vetter Francis V. Viola Carl H. Wilmont Peter Holderness Woods
BURTON TOWER SOCIETY
The Burton Tower Society rec?ognizes and honors those very special friends who have included UMS in their estate plans. UMS is grateful for this important support, which will continue the great traditions of artistic excellence, educa?tional opportunities and com?munity partnerships in future years.
Anonymous
Carol and Herb Amster
Dr. and
Mrs. David G. Anderson Mr. Neil P. Anderson Catherine S. Arcure Mr. and Mrs. Pal E. Borondy Mr. Hilbert Beyer Elizabeth Bishop Barbara Everitt Bryant Pat and George Chatas Mr. and
Mrs. John Alden Clark Douglas D. Crary H. Michael and
Judith L. Endres Beverley and Gerson Geltner John and Martha Hicks Mr. and Mrs. Richard Ives Marilyn Jeffs Thomas C. and
Constance M. Kinnear Charlotte McGeoch Michael G. McGuire Dr. Eva Mueller Len and Nancy Niehoff Dr. and
Mrs. Frederick O'Dell Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Mr. and Mrs. Jack W. Ricketts Prudence and
Amnon Rosenthal Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wetzel 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 apprecia?tion to the many donors who have established andor con?tributed to the following funds.
H. Gardner Ackley
Endowment Fund Amster Designated Fund Catherine S. Arcure
Endowment Fund Choral Union Fund Hal and Ann Davis
Endowment Fund Ottmar Eberbach Funds Epstein Endowment Fund JazzNet Endowment Fund William R. Kinney
Endowment Fund NEA Matching Fund Palmer Endowment Fund Charles A. Sink Memorial
Fund Catherine S. ArcureHerbert
E. Sloan Endowment Fund University Musical Society
Endowment Fund
IN-KIND GIFTS
A-l Rentals, Inc. Raquel and Bernard
Agranoff Amadeus Cafe Ann Arbor Automotive Ann Arbor Art Center Arbor Brewing Co. The Back Alley Gourmet Bella Ciao Trattoria Bivouac
The Blue Nile Restaurant Bodywise Therapeutic
Massage Cafe Marie Chelsea Flower Shop Don and Betts Chisholm Cleveland's Bill and Nan Conlin Hugh and Elly Rose Cooper The Original Cottage Inn Cousins Heritage Inn Dr. and Mrs. Ronald
Cresswell Roderick and Mary Ann
Daane
D'Amato's Italian Restaurant David Smith Photography Peter and Norma Davis
Robert Derkacz The Display Group Dough Hoys Bakery Bob and Chris Euritt Katherine and Damian
1 .invll
Fine Flowers Ken and Penny Fischer Food Art
The Gandy Dancer Beverley and Gerson Geltner Great Harvest Bread
Company
Linda and Richard Greene John Leidy Shop John's Pack & Ship Steve and Mercy Kasle Kerrytown Bistro King's Keyboard House Ray Lance
George and Beth Lavoie LeDog
Mainstreet Ventures Michigan Car Services, Inc.
and Airport Sedan, LTD Robert and Melinda Morris The Moveable Feast Nicola's Books, Little
Professor Book Co. Paesano's Restaurant Randy Parrish Fine Framing Red Hawk Bar & Grill Regrets Only RightsideCi-llar Ritz Camera One Hour
Photo
Maya Savarino Seva
Shaman Drum Bookshop Dr. Elaine R. Soller Washington Street Gallery Weber's Restaurant 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

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