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UMS Concert Program, Friday Sep. 20 To Oct. 09: University Musical Society: Fall 2002 - Friday Sep. 20 To Oct. 09 --

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Day
9
Month
October
Year
2002
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Rights Held By
University Musical Society
OCR Text

Season: Fall 2002
University Of Michigan, Ann Arbor

ums presentation
University Musical Society of the University of Michigan Fall 2002 Season
university musical society
University of Michigan Ann Arbor
UMS leadership 2 Letters from the Presidents
4 Letter from the Chair
5 Corporate LeadersFoundations
11 Profiles
14 UMS Board of Directors
14 UMS Senate
14 Advisory Committee
15 UMS Staff
15 UMS Teacher Advisory Committee
UMSservices 17 General Information
18 Tickets
19 Group Tickets
19 Discounted Student Tickets
19 Gift Certificates
21 The UMS Card
21 www.ums.org
UMSannals 23 UMS History
25 UMS Choral Union
26 VenuesBurton Memorial Tower
UMSexperience 29 The 0203 UMS Season
35 Education & Audience Development
37 Restaurant & Lodging Packages
39 UMS Preferred Restaurant Program
39 BRAVO!
43 UMS Delicious Experiences
UMSsupport 45 Advisory Committee
45 Sponsorship & Advertising
47 Internships & College Work-Study
47 Ushers
48 Support
56 UMS Advertisers
Front Coven Cleveland Orchestra. Gmpo Corpo (osc Luis Pederneiras), (Viet a no Vcloso (Anthony Barboza), Can Upas de Santa Maria, Back Coven HoKhm Ballet: Snvn I.tL; Myung-Whun Chung (Viviannc Purdom), Hcrbic Hancock (Nitin Vadukul), Inside Back Coven Canligas de Santa Maria. Anouar Brahcm IMonccf Pefali), Rolshoi Ballet: Swan Lake
FROM THE UM PRESIDENT
The University of Michigan (UM) would like to join the University Musical Society (UMS) in welcoming you to the 2002 2003 season. Additionally, we would like to thank you for your support of the performing arts. We are proud of the wonderful partner?ship we have developed with UMS and of our
role as co-sponsor and co-presenter of several events on this season's calendar. These events reflect the artistic beauty and passion that are integral to the human experience. They are also wonderful opportunities
for University of Michigan students and fac?ulty to learn about the creative process and sources of inspiration that motivate artists and scholars.
The current season marks the second resi?dency by the Royal Shakespeare Company of Stratford, England, which performs three plays in March: The Merry Wives of Windsor, Coriolanus, and Salman Rushdie's Midnight's Children. UM and UMS co-presentations are not limited to theater, but also include per?formances by the Vienna Philharmonic, the Bolshoi Ballet, and a special event entitled "Evening at the Apollo," in which the best performing groups from Detroit and Ann Arbor are given a chance to compete for a slot at Harlem's Apollo Theater Amateur Night, where Ella Fitzgerald, Sarah Vaughn, Billie Holiday, and other legends of 20th-
century American music got their big breaks. As befits the educational missions of both the University and UMS, we should also recognize the co-sponsorship of educational program?ming involving, among others, the Abbey Theatre of Ireland, Grupo Corpo, Sekou Sundiata and creative co-sponsorship of presentations by the Hubbard Street Dance Company and the well-known female a cap-pella group Sweet Honey in the Rock.
Most significantly, I would like to thank the faculty and staff of UM and UMS for their hard work and dedication to making this partnership a success. UMS staff, in particular, work with the University's faculty and students to create learning opportunities for our campus, and in the case of the larger residencies, for the greater community.
The University of Michigan is pleased to support the University Musical Society during its 0203 season. We share the goal of making our co-presentations the type of academic and cultural events that benefit the broadest possible constituency.
Sincerely,
Mary Sue Coleman
President, University of Michigan
FROM THE UMS PRESIDENT
Thank you for joining us for this UMS performance. We appreciate your support of the performing arts and of UMS, and we hope we'll see you at more of our programs this season. Check the complete listing of UMS's 20022003 events beginning on page 29 and on our website at www.ums.org.
We welcome UM President Mary Sue Coleman to the southeast Michigan com?munity and to membership on the UMS Board of Directors. The university from which President Coleman came to Michigan
has a distinguished record in its support of creative artists. During the Millennium season alone, while Dr. Coleman was president, the University of Iowa's Hancher Auditorium premiered over 20 new works in music, dance, and theater, all of them commissioned by Hancher. This unprecedented level of support of creative artists by a university presenting organization captured the attention of the performing arts field worldwide and reinforced the idea that research in the performing arts is as important and as valid to a great university as is research in other fields. We thank Dr. Coleman and her predecessors Lee C. Bollinger and B. Joseph White for the extra?ordinary level of UM support for the second residency of the Royal Shakespeare Company March 1-16 and of eight other projects this season that offer special value to the University's mission of teaching, research, and service.
This season offers some special challenges for UMS with the closing of Hill Auditorium for restoration and renovation. With your understanding and support, we know we will
overcome these difficulties and have a success?ful season. As we await our reopening concert scheduled for January 2004, UMS is creating special opportunities for our patrons to see and hear world-renowned artists in outstand?ing venues in Detroit, Ypsilanti, and Ann Arbor. You won't want to miss the first southeast Michigan presentations of the Bolshoi Ballet November 20-24 or the February 27 return of the Vienna Philharmonic for the first time in the region since 1988. For many of our Detroit performances, UMS is offering transportation by luxury coach to our Ann Arbor patrons. And we urge you to bring the whole family to UMS's first event in Crisler Arena when the Boston Pops performs its Holiday Concert on December 8.
Yes, things will be different this season. The UMS staff is determined to do everything we can to make this season run as smoothly as possible for you and our other patrons. Please let us know if you have any questions or problems. Call our ticket office at 734.764.2538, now led by Ticket Services Manager Nicole Paoletti, successor to Michael Gowing, who retired August 30. You should also feel free to get in touch with me about anything related to UMS. If you don't see me in the lobby at our performances, you can send me an email message at kenfisch@umich.edu or call me at 734.647.1174.
Very best wishes,
Kenneth C. Fischer UMS President
leadership
LETTER FROM THE CHAIR
It is a pleasure to welcome you to this performance of the UMS 0203 season. With world-renowned performers, new community partnerships, and ever-expanding educational activities, our 124th season continues our commitment to artistic and educational excellence and our dedication to our audiences and extended com?munity. 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 performance. To bridge the gap, we must rely on the generosity of our many individual, corporate, govern?mental and foundation donors. In supporting UMS, they have pub?licly recognized the importance of the arts in our community and helped create new educational opportunities for students and adults of all ages and backgrounds.
So, as you read through the program book and take pleasure in this performance, 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
John M. Rintamaki
Group Vice President, Chief of Staff, Ford Motor Company
"At Ford Motor Company, we believe the arts educate, inspire and bridge differences among cultures. They present for us all a common language and enhance our knowledge of each other and the world. We continue to support the University Musical Society and its programs that through the arts bring forth the human spirit of creativity and originality."
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. UMS 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's patrons."
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."
William M. Broucek President and CEO, Bank of Ann Arbor "Bank of Ann Arbor is pleased to contribute to the rich?ness of life in our community by our sponsorship of the 20022003 UMS season. We look forward to many remarkable performances over the year. By your atten?dance you are joining with us in support of this vibrant organization. Thank you."
Jorge A. Solis
Senior Vice President, Bank One, Michigan "Bank One is honored to be a partner with 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. "As a supporter of the University Musical Society, Borders Group is pleased to help strengthen our com?munity's commitment to and appreciation for artistic expression in its many forms."
Carl Brauer
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.
"We're pleased to be in the group of community businesses which supports UMS Arts and Education. We encourage those who have yet to participate to join us. Doing so feels good."
Richard A. Collister
Executive Vice President, Comerica Incorporated President, Comerica Charitable Foundation "The University Musical Society is renowned for its rich history and leadership in the performing arts. Comerica understands the nurturing role UMS plays in our commu?nity. We are grateful to UMS for coordinating this 124th grand season of magnificent live performances."
W. Frank Fountain
President, DaimlerChrysler Corporation Fund 'DaimlerChrysler is committed to nurturing strong and vibrant communities through its support of the arts. We are pleased to partner with UMS in its effort to promote the cultural and economic vitality of our community."
Fred Shell
Vice President, Corporate and Government Affairs, DTE Energy
'Plato said, 'Music and rhythm find their way into the secret places of the soul.' The DTE Energy Foundation congratulates UMS for touching so many hearts and souls by inspiring, educating and enriching the lives of those in our community."
Edward Surovell
President, Edward Surovell Realtors
"It is an honor for Edward Surovell Realtors to support the distinguished University Musical Society. For over a century it has been a national leader in arts presentation, and we encourage others to contribute to UMS's future."
Leo Legatski
President, Elastizell Corporation of America "The University Musical Society is a leading presenter of artistic groups--music, dance and theater. Please support their efforts in the development of new works, which they combine with educational workshops in the region."
Rick M. Robertson
Michigan District President, KeyBank
"KeyBank is a proud supporter of the performing arts and we commend the University Musical Society on its contributions to the cultural excellence it brings to the community."
Jan Barney Newman
Michigan Regional Director, Learning Express "Learning Express-Michigan is committed to promoting toys that excite imaginations of children. It is therefore with pleasure that we support the stimulating and diverse presentations of UMS that educate and enrich the entire community."
Eugene "Trip" Bosart
Senior Managing Director, McDonald Investments, Inc. "McDonald Investments is delighted to partner with the University Musical Society and bring world class talent and performances to audiences throughout southeastern Michigan."
Albert M. Berriz
President and CEO, McKinley Associates, Inc. "The success of UMS is based on a commitment to present a diverse mix of quality cultural performances. McKinley is proud to support this tradition of excel?lence which enhances and strengthens our community."
Erik H. Serr
Principal, Miller, Canfield, Paddock & Stone, P.L.C. "As 2002 marked Miller Canfield's 150th anniversary, we salute and appreciate the University Musical Society for presenting wonderful cultural events to our community for more than 120 years. Miller Canfield is proud to support such an inspiring organization."
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."
Joe 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 UM-Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS pro?vides the best in educational entertainment."
Sharon L Beardman
Regional Vice President, TIAA-CREF Individual and Institutional Services, Inc.
"TIAA-CREF works with the employees of the perform?ing arts community to help them build financial security, so that money doesn't get in the way of the art. We are proud to be associated with the great tradition of the University Musical Society."
PROFILES
Peter Laki
Program Note Annotator
Peter Laki is a native of Budapest, Hungary, where he studied violin, piano, composition, voice, and musicology. Peter has been a con?tributing writer to UMS since 1995 and has contributed over 240 individual pieces to UMS, covering the classical music repertoire from Bach to 21st-century composition. After studies at the Sorbonne in Paris, he came to the United States in 1982 and earned a Ph.D. in musicology
from the University of Pennsylvania in 1989. Since 1990 he has served as Program Annotator of The Cleveland Orchestra and has also taught music history at Kent State, John Carroll, and Case Western Reserve Universities. He is the editor of Bartok and His World, a collection of essays and documents published by Princeton University Press (1995). He has also contributed two articles to the Cambridge Music Handbook series and has lectured at musicological conferences in the US and Europe.
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 The Power Foundation Wallace-Reader's Digest Funds
$50,000 99,999 Community Foundation for Southeastern Michigan
$10,000 49,999
Association of Performing Arts
PresentersArts Partners National Endowment for the Arts New England Foundation for the Arts
$1,000 9,999
Arts Midwest
Gelman Educational Foundation
Heartland Arts Fund
The Lebensfeld Foundation
Mid-America Arts Alliance
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 Mary Sue Coleman 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 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
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 Robert F. DiRomualdo
James J. Duderstadt 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 Shirley C. Neuman 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 Eileen Lappin Weiser Gilbert Whitaker B. Joseph White Marina v.N. Whitman Iva M. Wilson
ADVISORY COMMITTEE
Sara B. Frank, Chair Louise Townley,
Vice-Chair Sue Schroeder,
SecretaryTreasurer Raquel Agranoff Barbara Bach Lois Baru Judi Batay-Csorba Kathleen Benton Mimi Bogdasarian Jennifer Boyce Victoria Buckler
Laura Caplan
Cheryl Cassidy
Patrick Conlin
Elly Rose Cooper
Nita Cox
Mary Ann Daanc
Norma Davis
Sally Stegeman DiCarlo
Lori Director
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 Penny Schreiber Aliza Shevrin Morrine Silvernian Maria Simonte Loretta Skewes Cynny Spencer Wendy Woods
UMS STAFF
Administration Finance
Kenneth C. Fischer,
President Lisa Herbert,
Special Projects Director 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 Jason Harris, Assistant
Conductor Andrew Kuster, Associate
Conductor Kathleen Operhall,
Manager Donald Bryant,
Conductor Emeritus
Development
Susan McClanahan,
Director 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 Erin Dahl, Youth
Education Assistant Kristin Fontichiaro,
Youth Education
Manager Dichondra Johnson,
Manager Warren Williams,
Manager
MarketingPublic Relations
Sara Billmann, Director Susan Bozell, 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 Jasper Gilbert, Technical
Director Jeffrey Golde, Production
and Programming
Assistant Susan A. Hamilton,
Artist Services
Coordinator Mark Jacobson,
Programming Manager Bruce Oshaben, Head
Usher
Ticket Office Nicole Paoletti, Manager Angela Clock, Associate Sally A. Cushing,
Associate Laurel Hufano, Group
Sales Coordinator Robert W. Hubbard,
Staff
Work-Study
Aubrey Alter April Chisholm Kindra Coleman Jamie Freedman Lakshmi Kilaru Dawn Low Claire Molloy Fred Peterbark Rosie Richards Jennie Salmon Corey Triplett Sean Walls
Interns
Shirley Bartov Vineeta Bhandari Carla Dirlikov Jennifer Gates Milena Grubor Lindsay Mueller Sameer Patel
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 Dcckert Gail Dybdahl Keisha Ferguson Doreen Fryling Yulonda Gill-Morgan Brenda Gluth Louise Gruppen Vickey HoUey Foster
Linda Jones Deborah Katz Deb Kirldand 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 INFO RMATION Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, the Power Center, Mendelssohn Theatre and Detroit Opera House 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 Rackham Auditorium, Trueblood Theatre, Power Center, and Mendelssohn Theatre please call University Productions at 734.763.5213. For items lost at St. Francis of Assisi Catholic Church, Michigan Theater, Crisler Arena, Pease Auditorium, Detroit Opera House and Orchestra Hall please call the UMS Production Office at 734.764.8348.
Parking
Parking for Ann Arbor events is available in the Liberty Square (formerly Tally Hall), Church Street, Maynard Street, Thayer Street, Fletcher Street and Fourth Avenue structures for a minimal fee. Parking for Detroit events
is available in the Orchestra Hall lot, Detroit Opera House garage and People Mover lots for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. UMS members at the Principal level and above receive 10 complimentary parking passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for per?formances in the 0203 Choral Union series. Cars may be dropped off in front of the per?formance venues beginning one hour prior to performance. There is a $10 fee for this service. UMS members at the Producer level and above are invited to use this service at no charge.
For up-to-date parking information, please see the UMS website at www.ums.org.
Refreshments
Refreshments are served in the lobby during intermissions of events in the Power Center, Detroit Opera House and Orchestra Hall, and are available in the Michigan Theater. Refresh?ments are not allowed in the seating areas.
Smoking Areas
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
TICKETS
In Person
The UMS Ticket Office and the University Productions Ticket Office have merged! Patrons are now 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 is 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 ad?dress 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
By Mail
UMS Ticket Office Burton Memorial Tower 881 North University Avenue Ann Arbor, MI 48109-1011
Performance hall ticket offices open 90 minutes prior to each performance.
Returns
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the Ticket Office. Refunds are not available; however, you will be given a receipt for an income tax deduc?tion. Please note that ticket returns do not count toward UMS membership.
GROUP TICKETS
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 $50,000 on some of the most popular events in our season. Don't miss our current season, featuring world-renowned artists such as Altan, the Boston Pops, Audra McDonald, Herbie Hancock, and many more, including our special Brazil Series, all at special group rates!
Imagine yourself surrounded by ten or more of your closest pals 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 Laurel Hufano, Group Sales Coordinator, at 734.763.3100. Don't wait--rally your friends and reserve your seats today!
DISCOUNTED STUDENT TICKETS
Did you know Since 1990, students have purchased over 122,000 tickets and have saved more than $1.8 million through special UMS student programs! UMS's commitment to affordable student tickets has permitted thousands to see some of the most impor?tant, impressive and influential artists from around the world. For the 0203 season, stu?dents may purchase discounted tickets to UMS events in three ways:
1. Each semester, UMS holds a Half-Price Student Ticket Sale, at which students can purchase tickets for all UMS events for 50 off the published price. This extremely popu?lar event draws hundreds of students every fall--last year, students saved nearly $100,000 by purchasing tickets at the Half-Price
Student Ticket Sale! Be sure to get there early as some performances have limited numbers of discounted tickets available.
2. Students may purchase up to two $10 Rush Tickets the day of the performance at the UMS Ticket Office, or 50 off at the door, subject to availability.
3. Students may purchase the UMS Card, a pre-paid punch card that allows students to pay up front ($50 for 5 punches, $100 for 11 punches) and use the card to purchase Rush Tickets during the 0203 season. Incoming freshman and transfer students can purchase the UMS Card with the added perk of buying Rush Tickets two weeks in advance, subject to availability.
GIFT CERTIFICATES
@@@@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.
In an effort to help reduce distracting noises and enhance the theater-going experience, Pfizer Inc is providing compli?mentary HallsO Mentho LyptusO cough suppressant tablets to patrons attending UMS performances throughout our 0203 season.
THE UMS CARD
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 $100 or more. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe
Ann Arbor Art Center
Ann Arbor Automotive
Back Alley Gourmet
Bivouac
The Blue Nile
Restaurant Bodywise Therapeutic
Massage Cafe Marie Dough Boys Bakery Gandy Dancer Great Harvest John's Pack and Ship Kerrytown Bistro King's Keyboard
House
Le Dog
Michigan Car Services,
Inc. and Airport
Sedan, LTD Nicola's Books, Little
Professor Book Co. Paesano's Restaurant Randy Parrish Fine
Framing Ritz Camera One Hour
Photo Shaman Drum
Bookshop Washington Street
Gallery
.UMS.ORG
Join the thousands of savvy people who log onto www.ums.org each month!
Why should you log onto www.ums.org
Tickets Forget about waiting in long ticket lines--order your tickets to UMS performances online! And now you'll know your specific seat location before you buy online.
Cyber$avers Special weekly discounts appearing every Tuesday, only available by ordering over the Web.
Information Wondering about UMS's history, event logistics, or volunteer opportunities Find all this and more.
Program Notes and Artist Bios Your online source for performance programs and in-depth artist information. Learn about the artists and repertoire before you enter the hall!
Sound Clips Listen to recordings from UMS performers online before the concert.
Education Events Up-to-date information detailing educational opportunities surrounding each UMS performance.
Development Events Current infor?mation on UMS Special Events and activities outside of the concert hall. Find details on how to support UMS and the arts online!
BRAVO! Cookbook Order your UMS hardcover coffee-table cookbook featur?ing more than 250 recipes from UMS artists, alumni and friends, as well as historic photos from the UMS archives.
Choral Union Audition information and performance schedules for the UMS Choral Union.
UMSannals
UMS HISTORY
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 123 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 90 perform?ances and more than 150 educational events each season. UMS has flourished with the support of a generous community that this year gathers in 11 diverse venues in Ann Arbor, Ypsilanti, and Detroit.
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, special project support from UM, and endowment income.
UMS CHORAL UNION
Throughout its 123-year history, the UMS Choral Union has performed with many of the world's distinguished orchestras and conductors.
Based in Ann Arbor under the aegis of the University Musical Society, the 150-voice Choral Union is known for its definitive per?formances of large-scale works for chorus and orchestra. Nine years ago, the Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra (DSO). Among other works, the chorus has joined the DSO in Orchestra Hall and at Meadowbrook for sub?scription performances of Stravinsky's Symphony of Psalms, John Adams's Harmonium, Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe and Brahms's Ein deutsches Requiem, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
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.
The Choral Union will open its upcom?ing season with performances of Mahler's Symphony No. 3 with the DSO, followed by a performance of Beethoven's Symphony No. 9 with the Ann Arbor Symphony Orchestra. In December the chorus will present its 124th series of annual performances of Messiah, using the rarely-heard Mozart revision of Handel's great work. The Choral Union's sea?son will conclude in March with a pair of magnificent French choral works: Honegger's King David, accompanied by members of the Greater Lansing Symphony Orchestra, and Durufle's mystical Requiem, accompanied by organist Janice Beck.
The Choral Union's 0102 season includ?ed performances of Messiah, Ives's Symphony No. 4 with Michael Tilson Thomas and the San Francisco Symphony Orchestra and Brahms's Ein deutsches Requiem with Thomas Sheets conducting the Ann Arbor Symphony Orchestra, all in Hill Auditorium. To conclude its 123rd season, the Choral Union joined the DSO and Neeme Jarvi in three critically acclaimed performances of Beethoven's Missa Solemnis.
During the 20002001 season, the UMS Choral Union appeared in two series with the DSO. The season culminated in a perform?ance of Berlioz's Requiem with the Greater Lansing Symphony Orchestra, along with tenor Stanford Olsen and members of the UM School of Music Symphony Band in Hill Auditorium.
The Choral Union is a talent pool capa?ble of performing choral music of every genre. In addition to choral masterworks, the Choral Union has performed Gershwin's Porgy and Bess with the Birmingham-Bloomfield Symphony Orchestra, and other musical theatre favorites with Erich Kunzel and the DSO at Meadowbrook. The 72-voice Concert Choir drawn from the full chorus has performed Durufle's Requiem, the Langlais Messe Solennelle, and the Mozart Requiem. Recent programs by the Choral Union's 36-voice Chamber Chorale include "Creativity in Later Life," a program of late works by nine composers of all historical periods; a joint appearance with the Gabrieli Consort and Players; a performance of Bach's Magnificat, and a recent joint performance with the Tallis Scholars.
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 membership in the UMS Choral Union, e-mail choralunion@umich.edu or call 734.763.8997.
VENUESBURTON MEMORIAL TOWER
With the 18-month closing of Hill Auditorium for renovations, the 0203 UMS season will include performances by the world's celebrated music, theater and dance artists in 11 venues in three cities: Ann Arbor, Ypsilanti and Detroit.
Ann Arbor Venues Hill Auditorium
The 18-month, $38.6-million dollar reno?vation to Hill Auditorium began on May 13, 2002 under the direction of Albert Kahn Associates, Inc., and historic preservation architects Quinn EvansArchitects. Hill was first opened to Michigan audiences in 1913 and this current renovation project will update all of its infrastructure systems and restore much of the interior decor to its original splendor.
Exterior renovations will rebuild brick paving and stone retaining walls, restore the south entrance plaza, rework the west barrier-free ramp and loading dock, and improve the landscaping which surrounds the building.
Interior renovations will create additional restrooms, improve audience circulation by providing elevators, replace main-floor seating to increase patron comfort, introduce barrier-free seating and stage access, replace audio?visual systems, and completely replace all mechanical and electrical infrastructure sys?tems for heating, ventilation, and air condi?tioning.
Upon reopening in January 2004, Hill Auditorium will decrease in seating capacity from 4,169 to 3,710.
Crisler Arena
Crisler Arena, home to the Michigan Wolverine basketball teams, stands as a tribute to the great Herbert O. "Fritz" Crisler, Michigan's third all-time winning football coach. Crisler served 10 years as Michigan's football coach (1938-1947) and 27 years as athletic director (1941-1968) of the University. The arena was designed by Dan Dworksky under the architectural firm of K.C. Black & C.L. Dworsky and opened in 1968. The event facility has a capacity of 13,609.
While serving as a site of Big Ten Conference championship events, Crisler has also played host to popular acts such as Pearl Jam, Bill Cosby, the Grateful Dead, and even Elvis Presley during his final concert tour.
Lydia Mendelssohn Theatre
Notwithstanding an isolated effort to estab?lish a chamber music series by faculty and students in 1938, UMS regularly 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. The superlative Mendelssohn Theatre has been the home of the UMS Song Recital series for the past eight years.
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.
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.
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.
No seat in the Power Center is more than 72 feet from the stage. The lobby of the Power Center features two hand-woven tap?estries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
Rackham Auditorium
Sixty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including Univer?sity Hall (the precursor to Hill Auditorium), Hill Auditorium, and Newberry Hall, the cur?rent home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of human history and human thought, died in 1933, his will established the Horace H. Rackham and Mary A. Rackham Fund, which subsequently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School, which
houses the 1,129-seat Rackham Auditorium, but also to establish a $4-million endowment to further the development of graduate studies.
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 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and con?templation of sacred a cappella choral music and early music ensembles.
Ypsilanti Venues
EMU Convocation Center
An exciting new era in EMU athletics was set in motion in the fall of 1998 with the opening of the $29.6-million Convocation Center. The Barton-Malow Company along with the architectural firm Rossetti Associates of BirminghamThe Argos Group began con?struction on the campus facility in 1996. The Convocation Center opened its doors on December 9, 1998 with a maximum seating capacity of 9,510 for center-stage entertain?ment events.
Pease Auditorium
Built in 1914, Pease Auditorium was reno?vated in 1995. Earlier this year, the resto?ration of the AeolianSkinner pipe organ was completed and the interior of the auditorium was refurbished. Pease Auditorium can seat up to a total of 1,541 concertgoers.
Detroit Venues
Detroit Opera House
The Detroit Opera House opened in April of 1996 following an extensive renovation by Michigan Opera Theatre. Boasting a 75,000-square-foot stage house (the largest stage between New York and Chicago), an orchestra pit large enough to accommodate 100 musicians and an acoustical virtue to rival the world's great opera houses, the 2,735-seat facility has rapidly become one of the most viable and coveted theatres in the nation. As the home of Michigan Opera Theatre's grand opera season and dance series, and through quality programming, partnerships and educational initiatives, the Detroit Opera House plays a vital role in enriching the lives of the community.
Orchestra Hall
Orchestra Hall was dedicated in 1919 as the new home of the Detroit Symphony Orchestra. In 1939, after the depression, the orchestra moved to the Masonic Temple Theatre and the facility was renamed the Paradise Theatre. The Paradise became one of the nation's most famous stages for African-American Jazz musicians (1941-1951).
In the late 1950s, the building was aban?doned and fell into disrepair. In 1964, it was headed for the wrecking ball, but local citizens rallied to save the great concert hall. DSO musicians and volunteers founded Save Orchestra Hall, Inc., to marshal citizen sup?port for the retention and restoration of the building to its former architectural grandeur.
In September 1989 the DSO returned to Orchestra Hall, now its permanent home, capping a multi-million-dollar restoration effort.
In 1996, the Detroit Symphony Orchestra launched Orchestra Place, an $80-million development project on eight acres of land surrounding Orchestra Hall.
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 returned to our familiar home at Burton Memorial Tower in August 2001, following a year of significant renovations to the University landmark.
This upcoming season marks the second year of the merger of the UMS Ticket Office and the University Productions Ticket Office. Due to this new partnership, the UMS walk-up ticket window is now conveniently located at the Michigan League Ticket Office, on the north end of the Michigan League building at 911 North University Avenue. The UMS Ticket Office phone number and mailing address remains the same.
University Musical Society
of the University of Michigan 2002 Fall Season
Event Program Book Friday, September 20 through Wednesday, October 9, 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 let yourself and other audience members become immersed in the arts during this UMS event: electronic-beeping or chiming digital watches, ringing cellu?lar phones, beeping pagers and click?ing portable computers should be turned off during performances. In case of emergency, advise your paging ser?vice of auditorium and seat location in Ann Arbor venues, 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.
Hubbard Street Dance Chicago
Friday, September 20, 8:00 pm 5
Saturday, September 21, 8:00 pm 11
Sunday, September 22, 2:00 pm 17 Power Center Ann Arbor
Anouar Brahem Trio 27
Sunday, September 22, 4:00 pm
Lydia Mendelssohn Theatre Ann Arbor
Cullberg Ballet 31
Tuesday, October 8, 8:00 pm Power Center Ann Arbor
Cleveland Orchestra 39
Wednesday, October 9, 8:00 pm Orchestra Hall Detroit
UMS Educational
UMS Educational Events through Thursday, October 10,2002
All UMS educational activities are free and open to the public unless otherwise noted ($). Please visit www.ums.org for complete details and updates.
Essential Primers
This series is designed for the seasoned concert-goer, as well as the uninitiated audience mem?ber. Each Essential Primer will help further and deepen one's basic understanding about a particular art form, and to fur?ther appreciation of an art form which may be unfamiliar.
Classic Music: An Insider's Guide to UMS's Choral Union, Chamber Arts, and Song Recital Series
UMS Director of Programming Michael Kondziolka will give an overview of UMS's classical music programming as well as give a "behind-the-scenes" glimpse into why UMS decided to choose each of these artists. To register, contact Warren Williams at 734.647.6712 or email umsed@umich.edu; limited capacity. Monday, September 23, 7 pm, Michigan League, Hussey Room, 2nd Foor, 911 N. University, Ann Arbor
Deep Listening: The World of Symphonic Music
Covering the basics of sym?phonic performance, Naomi Andr? will discuss the history and elements of this important art form, as well as practice some deep listening exercises to determine norms, patterns, and expectations.
To register, contact Warren Williams at 734.647.6712 or email umsed@umich.edu; limited capacity. Wednesday, September 25, 7 pm, Michigan League, Vandenberg Room, 2nd Floor, 911 N. University, Ann Arbor
Beauty and Boundaries: Understanding UMS's 0203 Dance Season
Modern dance and ballet can be the hardest art forms to understand. Using UMS's 20022003 dance season, as well as local dancers, EMU Professor of Dance, Julianne O'Brien-Pederson, will lead this intro?duction through the use of dis?cussion, video and live dance. To register, contact Dichondra Johnson at 734.615.6739 or email umsed@umich.edu; limited capacity. Wednesday, October 2, 7 pm, Dance Gallery Studio, 111 Third Avenue, Ann Arbor
A UMS collaboration with Dance Gallery Studios and EMU Dance Department.
Hubbard Street Dance Chicago
Dance Masterclasses
For more information, contact Dichondra Johnson at 734.615.6739 or at umsed@umich.edu. September 18-22, UM Dance Building (Studio 4), EMU (Dance Building), and Dance Gallery Studio, Ann Arbor
UMS Teacher Workshop The Steps and Rhythms of Urban Tap ($) Susan Filipiak leads teachers through the dance styles and rhythms featured in the October 10 and 11 Youth Performances of Tamango's Urban Tap.
To register, call 734.615.0122 or e-mail umsyouth@umich.edu. Monday, September 30, 4:30-7:30 pm, Washtenaw Intermediate School District, 1819 S. Wagner, Ann Arbor
Abbey Theatre of Ireland:
Euripides's Medea Immersion
A listing of multiple events around Abbey Theatre of Ireland: Euripides's Medea -includes masterdasses, films, panels, and community engage?ment events.
Lecture: "Of Women and Sons and Lovers"
Ralph Williams, UM Professor
of English Language and
Literature
Thursday, October 3, 7pm,
Rackham Auditorium, 915 E.
Washington, Ann Arbor
Medea Study Club
Linda Gregerson, UM Professor
of English Language and
Literature
Monday, October 7, 7 pm,
Michigan Union, Anderson
Room, 1st Floor, 530 S. State,
Ann Arbor
A UMS collaboration with the UM Hellenic Student Association and UM Modern Greek Studies Department.
Medea Film Series
Pasolini's Medea with Maria Callas (4 pm)
Jules Dassin's Crimes of Passion with Melina Mercouri (8 pm) Sunday, October 16, 7 pm, Lorch Hall, 615 Tappan, Ann Arbor
i Love and Death: An
j Interdisplinary Discussion about Medea in Performance
I Ybpie Prins, UM Professor of
I Comparative Literature, will moderate a discussion with
I guest artists in dialogue with
I UM Professors Benjamin
I Acosta-Hughes (Classics),
Linda Gregerson (English),
Kate Mendelof (Drama, RC),
and Ruth Scodel (Classics).
Friday, October 18, 12 noon,
i Michigan League, Koessler Room,
3rd Floor, 911 N. University,
i Ann Arbor
I A UMS collaboration with the UM ! Faculty Consortium on Contexts in i Classics.
UMS
and
DTE Energy Foundation
present
Hubbard Street Dance Chicago
Jim Vincent, Artistic Director Gail Kalver, Executive Director
Dancers Shannon Alvis Francisco Avina Brian Enos Taryn Kaschock Charlaine Katsuyoshi Cheryl Mann Jamy Meek Kendra Moore Geoff Myers
Mary Nesvadba Massimo Pacilli Joseph P. Pantaleon Yael Levitin Saban Patrick Simoniello Lauri Stallings Zachary Whittenburg Robyn Mineko Williams
Apprentices Erin Derstine Christopher Tierney
Lucas Crandall, Artistic Associate Sandi J. Cooksey, Rehearsal Director Richard J. Carvlin, Production Manager Anne Grove, Company Manager Kilroy G. Kundalini, Audio Engineer Ryan J. O'Gara, Lighting Supervisor Aprill C. Clements, Stage Manager Eric Schoenberger, Production Electrician Brigid Ann Brown, Wardrobe Supervisor
Lou Conte, Founder
Program Friday Evening, September 20 at 8:00
Power Center, Ann Arbor, Michigan
counterpart
INTERMISSION
Passomezzo
PAUSE
No More Play
INTERMISSION
Minus 16
Opening Performance of the 124th Season
12th Annual Dance Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by the DTE Energy Foundation.
Additional support provided by media sponsors WDET and Metro Times.
Special thanks to Julianne O'Brien-Pederson, EMU Dance Department, Bill DeYoung, UM Dance Department, and Dance Gallery Studio for their involvement in this residency.
Large print programs are available upon request.
COUnterpart (27 minutes)
Choreography
and Decor Jim Vincent
Costume Design Mara Blumenfeld
Lighting Design James F. Ingalls
Music Johann Sebastian Bach
Decor Construction Richard J. Carvlin
Sound Design for counters Kilroy G. Kundalini
Text and Voice Massimo Pacilli
Dedicated to the Hubbard Street Dance Chicago Board of Directors.
Dancers Shannon Alvis Yael Levitin Saban
Cheryl Mann Lauri Stallings
Brian Enos Massimo Pacilli
Jamy Meek Patrick Simoniello
Geoff Myers Christopher Tierney
Peter and Karen Lennon are the exclusive underwriters for counterpart, Jim Vincent's inaugural work for HSDC.
Created for and premiered by Hubbard Street Dance Chicago at the Cadillac Palace Theatre, Chicago, Illinois, April 12,2002.
"Allegro" from Concerto No. 3 in G Major, BWV 1048 by J.S. Bach from the album Brandenburg Con?certos Nos. 1-3, performed by 1 Musici: Maria Teresa Garatti. Italian Concerto, BWV 971 by J.S. Bach from the album Concertos for 3 and 4 Harpsichords directed by Bob Van Asperen. "Adagio" from Con?certo No. 3 in G Major, BWV 1048 by J.S. Bach from the album Brandenburg Concertos Nos. 3, 4 and 5, performed by Academy of St. Martin-in-the-Fields conducted by Sir Neville Marriner. "Adagio" from Concerto No. 1 inFMajor,BWV 1046 by J.S. Bach from the album Brandenburg Concertos Nos. 1-3, performed by 1 Musici: Felix Avo, Maurice Bourque, et al. Prilude in e minor from Eight Little Preludes and Fugues, BWV 555 by J.S. Bach from the album Bach to Bach, performed by Julia Shaw and Nora Bumanis. "Allegro" from Concerto No. 1 in F Major, BWV 1046 by J.S. Bach from the album Branden?burg Concertos Nos. 1-3, performed by I Musici: Felix Avo, Maurice Bourque, et al.
Passomezzo (9 minutes)
Choreography Ohad Naharin
Costume Design Mari Kajiwara
Lighting Design Ohad Naharin
Music Anonymous
Dancers Robyn Mineko Williams, Christopher Tierney
Passomezzo is underwritten by a gift from the Elizabeth F. Cheney Foundation.
Originally commissioned by the Nederlands Dans Theater II for the "Serious Fun! Festival" in 1989. Mari Kajiwara, assistant to the choreographer. The Chicago premiere was performed by Hubbard Street Dance Chicago at the Cadillac Palace Theatre, Chicago, Illinois, April 17,2001.
"Greensleeves" from The Beggar's Opera, from the album The Beggar's Opera, arranged by Jeremy Barlow, performed by the Broadside Band.
No More Play (15 minutes) (New work in preview)
Choreography Jiri Kylidn
Set and
Costume Design Jiri Kylian
Lighting Design Joop Caboort
Music Anton Webern
Dancers Taryn Kaschock
Cheryl Mann Francisco Avina Jamy Meek Massimo Pacilli
The Sara Lee Foundation is the Exclusive Sponsor oNo More Play and Hubbard Street Dance Chicago's "Kylidn Project, Phase II."
Additional funding provided by the National Endowment for the Arts.
Created for Nederlands Dans Theater in 1988. Staged by Roslyn Anderson. Five Pieces for String Quartet, Op. 5 by Anton Webern from the recording Complete Music for String Quartet performed by Quartetto Italiano.
The basic idea for this choreography is inspired by a small sculpture of Alberto Giacometti: a simple, slightly deformed board-game with little craters and ditches and two pieces of wood resembling human figures. One might feel like having been invited to a game, the rules of which are being kept secret, or have never been determined. But as you begin to play this mysterious game, you start to learn its laws only sometimes too late. Anton Webern's music has a fascinating feeling of essentiality and inevitability. Its sound and structure create captivating transparency and dynamic tension.
These qualities assembled by Webern's uncompromising genius become a source of energy which has a direct influence on anything that might be simultaneously happening on stage. The seriousness of much of what we set out to undertake, often results in no more than a grotesque gri?mace, but it should be accepted as such, and become a valid part of our being. So this choreographic play of bodies, mind, sound and light in time and space is merely a metaphor of a game with extremely severe rules, which someone wrote in a long forgotten language.
-Jiri Kylian
Minus 16 (30 minutes)
Choreography Ohad Naharin
Costume Design Ohad Naharin
Lighting Design Ohad Naharin and Avi Yona Bueno (Bambi)
Music Various
The Company
Minus 16 is based on excerpts from the works Anaphase, Zachacha, Sabotage Baby and Moshe.
Principal underwriting for Minus 16 provided by The Julius Frankel Foundation. Additional funding generously provided by Lois and Steve Eisen and Ideal Box Company.
Created for Nederlands Dans Theater in 1999. Aya Israeli and Mari Kajiwara, assistants to the choreographer. The US premiere was performed by Hubbard Street Dance Chicago at the Cadillac Palace Theatre, Chicago, Illinois, October 3, 2000.
From the album Cha-Cha de Amor, Ultra-Lounge Volume 9, produced and compiled by Brad Benedict, 1996 Capitol Records, Inc.: "Sway" by Dean Martin (P.B. RuizN. Gimbel), orchestra con?ducted by Dick Stabile; "Recado Bossa Nova" by Laurindo Almeida and The Bossa Nova All-Stars (L. AntonioD. Ferreira). "M." from the album Ole! Bossa Nova!; and "Choo Choo Cha Cha" by Rinky Dinks (L. FordC. Ford) recorded January 1959 from a Capitol Records single. From the album Mambo Fever, Ultra-Lounge Volume 2, produced and compiled by Brad Benedict, 1996 Capitol Records, Inc.: "Hooray for Hollywood (Cha-Cha)" by Don Swan and his Orchestra; "Chihuahua" by Luis Oliveira and his Bandodalua Boys; and "Glow Worm Cha Cha Cha" by Jackie Davis. From the album Unkown Territory of Dick Dale, 1994 Highton Records: "Hava Nagila: Ehad Mi Yodea," tradi?tional music arranged and played by the Tractor's Revenge (ACUM Tel-Aviv); "Somewhere Over The Rainbow" by Harold Arlen and E.Y. Harburg adapted by Marusha; and "Asia 2001."
Please refer to page 22 for complete biographical information on Hubbard Street Dance Chicago.
UMS
presents
Hubbard Street Dance Chicago
Jim Vincent, Artistic Director Gail Kalver, Executive Director
Dancers Shannon Alvis Francisco Avina Brian Enos Taryn Kaschock Charlaine Katsuyoshi Cheryl Mann Jamy Meek Kendra Moore Geoff Myers
Mary Nesvadba Massimo Pacilli Joseph P. Pantaleon Yael Levitin Saban Patrick Simoniello Lauri Stallings Zachary Whittenburg Robyn Mineko Williams
Apprentices Erin Derstine Christopher Tierney
Lucas Crandall, Artistic Associate Sandi J. Cooksey, Rehearsal Director Richard J. Carvlin, Production Manager Anne Grove, Company Manager Kilroy G. Kundalini, Audio Engineer Ryan J. O'Gara, Lighting Supervisor Aprill C. Clements, Stage Manager Eric Schoenberger, Production Electrician Brigid Ann Brown, Wardrobe Supervisor
Lou Conte, Founder
Program Saturday Evening, September 21 at 8:00
Power Center, Ann Arbor, Michigan
Petite Mort (Small Death)
PAUSE
Passomezzo
INTERMISSION
Lefs Call the Whole Thing Off
PAUSE
Rassemblement
(The Gathering)
Second Performance of the 124th Season
12th Annual Dance Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Support provided by media sponsors WDET and Metro Times.
Special thanks to Julianne O'Brien-Pederson, EMU Dance Department, Bill DeYoung, UM Dance Department, and Dance Gallery Studio for their involvement in this residency.
Large print programs are available upon request.
Petite Mort (Small Death) (18 minutes)
Choreography
Set and
Costume Design
Lighting Design
Music
Dancers
Jiri Kylian
Joke Visser
Joop Caboort
Wolfgang Amadeus Mozart
Charlaine Katsuyoshi, Joseph P. Pantaleon Mary Nesvadba, Geoff Myers Erin Derstine, Francisco Avina Yael Levitin Saban, Massimo Pacilli Cheryl Mann, Patrick Simoniello Shannon Alvis, Jamy Meek
"There is nothing finer than a warrior successful in battle to return, and then to die in the arms of the woman he loves." Faust
The Sara Lee Foundation is the Exclusive Sponsor oPetite Mort and Hubbard Street Dance Chicago's "Kylidn Project, Phase I."
Created for Nederlands Dans Theater in 1991. First performed by Hubbard Street Dance Chicago at the Shubert Theatre, Chicago, Illinois, March 28, 2000. Staged by Roslyn Anderson.
"Adagio" from Piano Concerto, No. 23 in A Major, KV 488 and "Andante" from Piano Concerto, No. 21 in C Major, KV 467, composed by Wolfgang Amadeus Mozart.
Passomezzo
(9 minutes)
Choreography Ohad Naharin
Costume Design Mari Kajiwara
Lighting Design Ohad Naharin
Music Anonymous
Dancers Cheryl Mann
Jamy Meek
Passomezzo is underwritten by a gift from the Elizabeth F. Cheney Foundation.
Please refer to page 8 for complete program information on Passomezzo.
Let's Call the Whole Thing Off
(9 Minutes)
Choreography Harrison McEldowney
Costume Design Jackson Lowell
Lighting Design Todd Clark
Music George and Ira Gershwin, Mose Allison,
Sammy Cahn
Dancers Erin Derstine, Christopher Tierney
Let's Call the Whole Thing Off is underwritten by a gift from Andy and Betsy Rosenfield.
Created for the Dance Chicago Festival in 1997. First performed by Hubbard Street 2 in 1998. First performed by Hubbard Street Dance Chicago at the Ravinia Festival, Highland Park, Illinois, September 1, 1999.
"Let's Call the Whole Thing Off" by George and Ira Gershwin. Performed by Sam Harris from the recording Standard Time, Finer Arts Records. Published by Warner Chappell. "Your Mind Is On Vacation" by Mose Allison. Performed by Van Morrison from the recording How Long Has This Been Going On: Van Morrison with Georgie Fame and Friends, VervePolygram Records. Published by Audre Mae Music Co. "Call Me Irresponsible" by Sammy Cahn. Performed by Dinah Washington from the soundtrack recording That Old Feeling, UniversalMCA Records. Published by Paramount Music Corporation.
Rassemblement (The Gathering) (26 minutes)
Choreography Nacho Duato
Costume Design Nacho Duato
Set Design Walter Nobbe
Lighting Design Nicolas Fischtel
Music Dancers
Toto Bissainthe
Shannon Alvis
Kendra Moore, Geoff Myers
Mary Nesvadba, Joseph P. Pantaleon
Robyn Mineko Williams, Brian Enos, Christopher Tierney
Jamy Meek, Francisco Avina
Rassemblement is underwritten by the Above & Beyond Campaign.
Created for the Cullberg Ballet in 1990. First performed by Hubbard Street Dance Chicago at the Shubert Theatre, Chicago, Illinois, April 13, 1999.
O1998, Nacho Duato, all rights reserved.
Tony Fabre, Ballet Master.
Costume materials: Atelier van der Berg (Holland). Sets: John Campbell Scenic Studio (Great
Britain). Organization: Mediart Producciones SL (Spain). Music: RasambUman by Toto Bissainthe,
used with permission of Milena Sandier. From the recording Haiti Chanti, courtesy of ARION, Paris.
By special arrangement with SACD, Paris.
Please refer to page 22 for complete biographical information on Hubbard Street Dance Chicago.
UMS
and
Pfizer Global Research and Development, Ann Arbor Laboratories
present
Hubbard Street Dance Chicago
Jim Vincent, Artistic Director Gail Kalver, Executive Director
Dancers Shannon Alvis Francisco Avina Brian Enos Taryn Kaschock Charlaine Katsuyoshi Cheryl Mann Jamy Meek Kendra Moore Geoff Myers
Apprentices Erin Derstine Christopher Tierney
Mary Nesvadba Massimo Pacilli Joseph P. Pantaleon Yael Levitin Saban Patrick Simoniello Lauri Stallings Zachary Whittenburg Robyn Mineko Williams
Lucas Crandall, Artistic Associate Sandi J. Cooksey, Rehearsal Director Richard J. Carvlin, Production Manager Anne Grove, Company Manager Kilroy G. Kundalini, Audio Engineer Ryan J. O'Gara, Lighting Supervisor Aprill C. Clements, Stage Manager Eric Schoenberger, Production Electrician Brigid Ann Brown, Wardrobe Supervisor
Lou Conte, Founder
Program Sunday Afternoon, September 22 at 2:00
Power Center, Ann Arbor, Michigan
counterpart
INTERMISSION
Rassemblement
(The Gathering)
INTERMISSION
Minus 16
Third Performance of the 124th Season
12th Annual Dance Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by Pfizer Global Research and Development, Ann Arbor Laboratories.
Special thanks to Dr. David Canter of Pfizer Global Research and Development for his generous support of UMS.
Additional support provided by media sponsors WDET and Metro Times.
Special thanks to Julianne O'Brien-Pederson, EMU Dance Department, Bill DeYoung, UM Dance Department, and Dance Gallery Studio for their involvement in this residency.
Large print programs are available upon request.
counterpart
(27 minutes)
Choreography
and Decor Jim Vincent
Costume Design Mara Blumenfeld
Lighting Design James F. Ingalls
Music Johann Sebastian Bach
Decor Construction Richard J. Carvlin
Sound Design for counters Kilroy G. Kundalini
Text and Voice Massimo Pacilli
Dedicated to the Hubbard Street Dance Chicago Board of Directors.
Dancers Charlaine Katsuyoshi Mary Nesvadba
Kendra Moore Robyn Mineko Williams
Francisco Avina Massimo Pacilli
Jamy Meek Joseph P. Pantaleon
Geoff Myers Zachary Whittenburg
Peter and Karen Lennon are the exclusive underwriters for counterpart, Jim Vincents inau?gural work for HSDC.
Please refer to page 7 for complete program information on counterpart.
Rassemblement (The Gathering)
(26 minutes)
Choreography Nacho Duato
Costume Design Nacho Duato
Set Design Walter Nobbe
Lighting Design Nicolas Fischtel
Music Dancers
Toto Bissainthe
Shannon Alvis
Kendra Moore, Geoff Myers
Mary Nesvadba, Joseph P. Pantaleon
Robyn Mineko Williams, Brian Enos, Christopher Tierney
Jamy Meek, Francisco Avina
Rassemblement is underwritten by the Above & Beyond Campaign.
Please refer to page 15 for complete program information on Rassemblement (The Gathering).
Minus 16 (30 minutes)
Choreography Ohad Naharin
Costume Design Ohad Naharin
Lighting Design Ohad Naharin and Avi Yona Bueno (Bambi)
Music Various
The Company
Minus 16 is based on excerpts from the works Anaphase, Zachacha, Sabotage Baby and Moshe.
Principal underwriting for Minus 16 provided by The Julius Frankel Foundation. Additional funding generously provided by Lois and Steve Eisen and Ideal Box Company.
Created for Nederlands Dans Theater in 1999. Aya Israeli and Mari Kajiwara, assistants to the choreographer. The US premiere was performed by Hubbard Street Dance Chicago at the Cadillac Palace Theatre, Chicago, Illinois, October 3, 2000.
Please refer to page 10 for complete program information on Minus 16.
Hubbard Street Dance Chicago (HSDC) was founded in 1977 by veteran dancer and choreog?rapher Lou Conte. Today, under the dynamic leadership of Artistic Director Jim Vincent, 20 culturally diverse dancers represent Hubbard Street Dance Chicago throughout the world, per?forming annually for more than 130,000 people.
During its 24-year history, HSDC has emerged as one of the most innovative forces in contemporary dance. Recognized worldwide for its exuberant, athletic and eclectic repertory, Hubbard Street incorpo?rates diverse influences from ballet to American musical theater to cutting-edge choreography. The company and its distinc?tive repertoire have served as a living archive for significant choreographic works by world-class choreographers Marguerite Donlon, Nacho Duato, Daniel Ezralow, Jiri Kylian, Trey Mclntyre, Ohad Naharin, Kevin O'Day, Margo Sappington, Lynne Taylor-Corbett and Twyla Tharp. In addition, the company regularly collaborates with emerg?ing choreographers on new dance works.
HSDC performs in downtown Chicago and the metropolitan area and also tours extensively throughout the year. The com?pany has appeared in 42 states and 15 coun?tries at celebrated dance venues including the American Dance Festival, DanceAspen, the Holland Dance Festival, Jacob's Pillow Dance Festival, The Joyce Theater, the Kennedy Center, the Ravinia Festival and the Spoleto Festival of Two Worlds (Italy). This summer HSDC made its United Kingdom debut at Sadler's Wells Theatre and The Brighton Festival in addition to its first appearance at the Spoleto Festival USA in Charleston, South Carolina.
From its inception, HSDC has captured public attention and garnered local, nation?al and international critical acclaim. With four public television specials, including
two that aired nationally and in Canada, HSDC has enlightened and entertained audiences of all ages and backgrounds.
In March 1998, Hubbard Street Dance Chicago merged with the Lou Conte Dance Studio (LCDS) and relocated to a perma?nent facility in Chicago's West Loop Gate neighborhood. HSDC and the LCDS now serve as one institution dedicated to perfor?mance, dance training and community edu?cation. One of the most comprehensive dance centers in the US, this facility houses five dance studios equipped with state-of-the-art floors and audio systems, including two stage-sized spaces; production shops for building and maintaining sets and cos?tumes; storage space for the company's advanced sound and lighting systems; a sound mixing studio; and administrative offices and meeting rooms.
Hubbard Street 2 (HS2), under the leader?ship of Artistic Director Julie Nakagawa Bottcher, is a company of six dancers between the ages of 17 and 25 who perform a repertoire of works by some of the nation's most promising young choreogra?phers. HS2 reaches more than 25,000 people annually through performances in schools, community centers and theatres. Since its inception in 1997, the company has become a respected training ground for young, pro?fessional dancers and choreographers; a major component of HSDC's education program; a resource for new dancers for HSDC's main company; and a performing company in its own right.
HSDC's Education Department, through multi-layered programs, exposes students to dance, works with teachers to integrate dance and movement into the curriculum and partners with other Chicago arts organiza?tions on inter-disciplinary collaborations.
The Lou Conte Dance Studio offers more than 60 classes per week to adults and teens in ballet, jazz, modern, African, tap, hip-hopfunk and dance fitness. Named "Best Dance Class for Adults" by Chicago maga?zine, the Lou Conte Dance Studio offers various levels of classes for dancers from beginners to professionals, taught by some of Chicago's finest dance and music artists.
August 1, 2000 marked a major turning point in the life of HSDC, as Founder and Artistic Director Lou Conte retired and Jim Vincent, respected dancer, teacher, ballet master and choreographer, became the new artistic director. Vincent's relationships with Kylian, Duato, Naharin and other distin?guished choreographers will continue to build on HSDC's illustrious history as a contemporary repertory company.
In 1977, Hubbard Street Dance Chicago was launched to fill a community need. Today it stands as one of the most renowned dance institutions in America, dedicated to performance, dance training and community education, while serving as an emblem of Chicago's international cul?tural profile.
This weekend's performances mark Hubbard Street Dance Chicago's fifth, sixth and seventh appearances under UMS auspices. The com?pany made their UMS debut in March 1988.
Jim Vincent (Artistic Director) joined HSDC in August 2000 following an exten?sive career as a dancer, teacher, ballet master and choreographer. Mr. Vincent's dance training began at the age of five and contin?ued through his childhood with Mercer, Burlington and Princeton Ballets in New Jersey. He studied on scholarship at the Washington School of Ballet in Washington, DC, Harkness House of Ballet in New York City and North Carolina School of the Arts at the University of North Carolina. Mr.
Vincent's distinguished career as a profes?sional dancer includes a 12-year tenure with Jiri Kylian's Nederlands Dans Theater, a guest appearance with Lar Lubovitch and two years with Nacho Duato's Compania Nacional de Danza in Spain.
Mr. Vincent has served as ballet master for Nederlands Dans Theater II, Compania Nacional de Danza and Opera National de Lyon, where he rehearsed repertory by renowned choreographers Kylian, Duato, Forsythe, Ek, George Balanchine, Angelin Prejlocaj and Bill T. Jones. He has restaged choreographies for Duato, including Jardi Tancat, Synaphai and Na Floresta, and for Kylian, including Return to the Strange Land and Stamping Ground. Mr. Vincent has choreographed a number of works for Nederlands Dans Theater I and II, Quebec's Bande a Part and Switzerland's Stadt Theater Bern. At Hubbard Street Dance Chicago, he has recently choreographed counterpart, his first work for the company as artistic director. His teaching experience includes Holland's Royal Conservatory of the Hague, Australia's Victorian College of Art, Compania Nacional de Danza and Opera National de Lyon. He served as assis?tant artistic director of Compania Nacional de Danza from 1990-94.
In October 1997, Mr. Vincent joined the creative team of Disneyland Paris as a concept designer and show director. Born in New Jersey, Mr. Vincent is both a US and French citizen, speaks four languages and is married to France Nguyen, a former dancer with Ne?derlands Dans Theater, Compania Nacional de Danza and Lyon Opera Ballet. They have three daughters, Lena, Claire and June.
Gail Kalver (Executive Director), a native Chicagoan, joined HSDC in 1984. She received a degree in music education from the University of Illinois (Champaign Urbana) and a master's degree in clarinet performance from the Chicago Musical
College of Roosevelt University. Ms. Kalver founded the Windy City Wind Ensemble and also performed with the Chicago Symphony Orchestra, Lyric Opera Orchestra and Grant Park Symphony. She joined the Ravinia Festival staff in 1976, where she became associate manager before joining HSDC. Ms. Kalver was also music consultant to the Peabody Award-winning National Radio Theatre. She has served on the boards of the Chicago Music and Dance Alliance, DanceUSA and the National Association of Performing Arts Managers and Agents and on numerous funding pan?els. Ms. Kalver currently serves on the boards of the Illinois Arts Alliance, Chicago Dancers United and the West Loop Gate Association and on the advisory councils of Dancers Responding to AIDS and the Dance Initiative of the Chicago Community Trust. Ms. Kalver is the recipient of the Chicago Dance Coalition's 1988 Ruth Page Award, was recognized by Todays Chicago Woman in 1996 and has co-chaired Dance for Life and the Midwest Arts Conference.
Lou Conte (HSDC FounderDirector, Lou Conte Dance Studio), after a performing career including Broadway musicals, estab?lished the Lou Conte Dance Studio in Chicago in 1974. In 1977, he founded what is now Hubbard Street Dance Chicago with four dancers performing at senior citizens homes in Chicago. Originally the company's sole choreographer, he developed relation?ships with emerging and world-renowned choreographers as the company began to grow, adding bodies of work by a variety of artists. These relationships transformed HSDC into the internationally acclaimed repertoire company it is today. In the 1980s, Mr. Conte commissioned several works by Lynne Taylor-Corbett, Margo Sappington and Daniel Ezralow. He continued to build HSDC's repertoire by forging a key partner?ship with Twyla Tharp in the 1990s, acquir-
ing seven of her works including an original work for the company. Mr. Conte further expanded the company's repertoire to include European choreographers Jiri Kylian and Nacho Duato and Israeli choreographer Ohad Naharin. Throughout his 23 years as the company's artistic director, Mr. Conte received numerous awards, including the Chicago Dance Coalition's inaugural Ruth Page Artistic Achievement Award in 1986, the Sidney R. Yates Arts Advocacy Award in 1995 and the "Chicagoan of the Year" award from Chicago magazine in 1999. In 2002, he was elected a Laureate for Lincoln Academy, the states highest award for individual achievement.
Lucas Crandall (Artistic Associate) was born in Madison, Wisconsin and began training in modern dance at the age of 14. After receiving several scholarships in the US and serving as an apprentice with the Milwaukee Ballet, he went to Europe to per?form with the Ballet du Grand Theatre in Geneva, Switzerland. In 1985, he joined Nederlands Dans Theater where he first worked with Hubbard Street Dance Chicago's artistic director, Jim Vincent. After performing with the Nederlands Dans Theater for two years, Mr. Crandall returned to the Ballet du Grand Theatre, working with choreographers including Ohad Naharin, Jiri Kylian, Mats Ek and Christopher Bruce. In 1996 he became the company's rehearsal director where he assisted choreographers including Oscar Araiz, Lionel Hoche, Amanda Miller, Toru Shimazaki and Etienne Frey, as well as rehearsing ballets from William Forsythe, David Parsons and Ohad Naharin. Since his arrival in August 2000, Mr. Crandall has assisted choreographers such as Harrison MacEldowny and Marguerite Donlon. He has also been on faculty with the Lou Conte Dance Studio, as well as ballet and repertory instructor for master classes throughout the
US. A choreographer since 1982, his pieces have been performed in a variety of coun?tries. In 1999, he was selected from 60 can?didates to be one of six participants for the third SIWIC International Choreographic Workshop in Zurich, Switzerland. Mr. Crandall will create his first production for Hubbard Street Dance Chicago this fall.
Sandi J. Cooksey (Rehearsal Director) was born and raised in Juneau, Alaska. She received her early dance training from Hidden Valley Dance Center (Carmel, CA), The Janice Hoist Dance School (Juneau, AK) and The National Academy of Arts (Champaign, IL). Upon moving to Chicago in 1984, she continued her training with Giordano Dance Center, Lou Conte Dance Studio and the Ruth Page School. Her pro?fessional career began with Ballet Iberio Hispanico of Chicago and Giordano Jazz Dance Chicago, joining HSDC in 1987.
Ms. Cooksey has performed works by numerous choreographers including Lou Conte, Lynn Taylor-Corbett, Nacho Duato, Daniel Ezralow, James Kudelka, Jiri Kylian, Harrison McEldowney, Ohad Naharin, David Parsons, Margo Sappington, Twyla Tharp and Mauricio Wainrot. In 1995, she received the Ruth Page Dance Achievement Award before taking a three-year leave from HSDC to attend Loyola University Chicago and spend one year touring with Twyla Tharp's NYC-based company, Tharp!. She served as HSDC rehearsal assistant for eight years before becoming the company's rehearsal director in 2002. In addition to her work with HSDC, Ms. Cooksey teaches throughout Chicago, is on faculty at the Lou Conte Dance Studio and gives masterclasses in the US and abroad.
Please visit Hubbard Street Dance Chicago on the Internet at www.hubbardstreetdance.com.
UMS
presents
Anouar Brahem Trio
Anouar Brahem, Oud Barbaros Erkose, Clarinet
LASSAD HOSNI, Bendir and Darbouka
Program Sunday Afternoon, September 22 at 4:00
Lydia Mendelssohn Theatre, Ann Arbor, Michigan
Fann Wa Tarab: An Evening of Arabic Music
Individual compositions will be announced from the stage by the artists.
Fourth Performance of the 124th Season
Ninth Annual World Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is made possible in part by a grant from the Association of Performing Arts Presenters Arts Partners Program, which is underwritten by the Wallace-Reader's Digest Funds and Doris Duke Charitable Foundation.
This performance is co-presented with the Arab Community Center for Economic and Social Services (ACCESS) with special support from the University of Michigan.
Additional support provided by media sponsor WEMU.
Large print programs are available upon request.
The lute is an instrument laden with symbolic significance that marks like an acoustic icon the conver?gence of Asia, Europe, and Africa as they come together to form the irregular circumference of the Mediterra?nean. An oud player like Anouar Brahem, who has explored the most secret depths of sound and pondered long on the legacy of the artistic music of the Arab world, and of the Islamic world in general, is thus a wit?ness to cultural transformations as complex as they are profound.
The way Mr. Brahem's music resists classification is a measure of the quality of his artistic career. If many young lutenists of today think of the oud as a particularly expressive instrument then it is thanks to the example set by this Tunisian musician, as well as to that set by the Iraqi brothers Jamil and Mounir Bashir. Mr. Brahem's taste for the cosmopolitan forms of Arab music, influenced by the Turkish school, at once reveals his concept of the oud a concept intimately linked with the essence of the tra?ditional language, that transnational frontier represented by the modal constellations known to Arab musicians as maqamat -and the organological kinship between the vari?ous members of the great Mediterranean lute family. Hence the allusions to the guitar, the saz, and the baglama, seen as elements of a composite identity that highlights the affinities between these instruments.
Fascinated by the cinema, the theater, and dance, Mr. Brahem seeks out musical signs in all other forms of artistic expression in order to decant them into his pure distil?late of sound. Elegance, transparency, sim?plicity, and above all an unmistakable style and touch. His mastery of the instrument springs from a school as illustrious as it is little known, that of his teacher AH Sriti, a lover of "eastern" Arab music, in other words, of the Syrian and Egyptian schools. From the subtle combination of the differ-
ent modal sensibilities of the Mahreq and the Maghreb, and from the confluence of different improvisational styles, the Tunisian artist has created a fascinating and highly personal idea of Arab music, far removed from stereotypes, and one that makes no concessions to the fad for the oriental "revival" now afflicting a part of the musical output of this area.
Anouar Brahem's music can be listened to without any knowledge of his origins and culture. The mellow and persuasive sweet?ness of his themes call up an acoustic imagery that knows no frontiers while the apparent tranquility of his musical dis?course conceals an explosive charge of silences, behind which there lurks a positive barrage of interrogatives.
If one were to seek a nexus or a direct comparison between the places evoked by the titles, from Asia Minor to the Caucasus, from Turkmenistan to Tanzania, from the Balkans to Azerbaijan, one would risk mis?leading listeners, accustomed to looking for correspondences between an artist's works and his biography. The most exciting thing about Anouar Brahem is precisely his capac?ity to project a contemporary dimension into the world of lute playing. While his music embraces the signs of the times it also seems to transcend them, but having said this it cannot be denied that his music has, perhaps unconsciously, absorbed much of the anguish caused by the events that cov?ered the international headlines in recent news.
Over and above all these considerations there stands the instrument. The oud is the most evocative symbol in Arab music. It is its commonplace, essence, synthesis, and development. The theory of modes was based on and explained by the oud, from whose strings legends and cosmogonies have sprung. Its sounds have been compared to aspects of the human temperament itself. The oud player is the creator of a concept of
music made up of an extraordinary balance between technique, form, and inspiration.
Anouar Brahem's instrumental explo?rations never stray from the model of the takht, that little ensemble of musicians capable of improvising to the point of ine?briating themselves and the public alike. Barbaras Erkose's clarinet is not merely a clarinet, it is an instrument-region that runs straight across the Balkan world to express a wordless song of rare intensity. Anouar's first meeting with Mr. Erkose, a Turkish clarinetist of gypsy origins, took place in 1985. The timbre of the clarinet is the ideal accompaniment for the lute in its modal forays. The precise and sober touch of the percussionist Lassad Hosni, who frequently cooperates with Mr. Brahem on his various projects, represents the perfect balance between accompaniment and musical ideas.
His need to explore different territory has led him to cross the paths taken by other musicians, interpreters of musical cul?tures from various epochs and regions, from Renaissance music to flamenco, from jazz to classical Indian music. At a time when the dialogue between different schools of music was still innocent of today's frenetic vanity, Mr. Brahem was experimenting with encounters that have brought his capacity to assimilate and compare to maturity. The profound tension generated by respect for traditional models, on the one hand, and the desire for innovation, on the other, a tension that was moreover the mark of the most prestigious and renowned masters of the past, is the inspiration behind the music heard this afternoon.
Program note by Paolo Scarnecchia. Translation: Alastair McEwen
Anouar Brahem was born in 1957 in Halfaouine, Tunisia. Encouraged by his father, an engraver and printer, Mr. Brahem began his studies of the oud at the age of 10 at the Tunis National Conservatory of Music, where his principal teacher was oud master Ali Sriti. At the age of 18 he decided to dedicate himself entirely to music, slowly beginning to write his own compositions and give solo concerts in vari?ous cultural venues. In 1981, he departed for Paris where he remained for four years, composing extensively for Tunisian cinema and performing in festivals around France, the former Yugoslavia, Spain and Italy. In 1985, he returned to Tunisia on invitation to perform at the Carthage Festival where he had the opportunity to bring together Abdelwaheb Berbech, the Erkose brothers, Francois Jeanneau, Jean-Paul Celea, Francois Couturier and others in a project named Liqua 85. The success of this project
earned him Tunisia's Grand National Prize for Music.
In 1987, Mr. Brahem was appointed director of the Musical Ensemble of the City of Tunis. Instead of keeping together the large existing orchestra usually found in tra?ditional Western music, he broke the group up into a traditional Arabic formation of small size called a takht, where each instru?mentalist plays as both a soloist and as an improviser, sometimes improvising to the point of musical ecstasy for performer and audience alike. During this time, Mr. Brahem performed with Bechir Selmi and Taoufik Zghonda, with whom he undertook in-depth research on ancient manuscripts, creating pieces ranging from traditional Arabic music to performances of song in collaboration with the poet Ali Louati.
In 1990, he decided to leave the Musical Ensemble and embarked on a tour to North America, where he performed in New York, New Orleans, Atlanta, Chicago and Toronto. He established a close and very fruitful rela?tionship with ECM Records resulting in sev?eral albums with numerous world-renowned Arab, jazz and classical masters. His 1999 album, Thimar, was a collabora?tion with bassist Dave Holland, who appears in February 2003 in his own UMS debut. Anouar Brahem's most recent release, Le pas du chat noir, is a musical exploration with pianist Francois Couturier and accordionist Jean-Louis Matinier.
This afternoon's performance marks Anouar Brahem and the Anouar Brahem Trio's UMS debuts.
UMS
presents
Cullberg Ballet
Margareta Lidstrom, Co-Artistic Director Lena Wennergren-Juras, Co-Artistic Director
Tuesday Evening, October 8 at 8:00 Power Center, Ann Arbor, Michigan
Swan Lake
(1987)
Choreography Mats Ek
Music Pyotr I. Tchaikovsky
Set Design and Costumes
Lighting Design Rehearsal Director Rehearsal Assistants
(The Grand Symphony Orchestra
of Moscow Radio and TV;
Gennadi Rozhdestvensky, Conductor)
Marie-Louise Ekman
Goran Westrup
Lena Wennergren-Juras
Margareta Lidstrom, Veli-Pekka Peltokallio, Pompea Santoro
This evening's performance is in four acts with one intermission.
Fifth Performance of the 124th Season
12th Annual Dance Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from National Endowment for the Arts and Doris Duke Charitable Foundation. Additional funding provided by The Andrew W. Mellon Foundation, and Philip Morris Companies, Inc.
Additional support provided by media sponsor Metro Times.
The Cullberg Ballet's tour of Swan Lake is supported by The Swedish Institute and the American-Scandinavian Foundation.
Large print programs are available upon request.
Act I At the castle, the Prince's birthday party
The Prince Christopher Akrill
The Queen Carolin Geiger
A birthday present Johanna Lindh
Two Knights Mats Jansson, George Elkin
Three Jesters Charlotte Broom, Eva Dewaele, Rafi Sadi
Guests Evtan Sivak, Boaz Cohen, Dinesh Navar
Josef Tran, Gunilla Hammar, Alexandra Campbell Lisa Drake, Sawako Iseki
Act II Night at Swan Lake
Rothbart, an Old Man Luiz Fernando Martins
The Swan Queen, Odette Yamit Kalef
Other Swans Alexandra Campbel, Lisa Drake, Johanna Lindh
Boaz Cohen, Gunilla Hammar, Eytan Sivak Dinesh Nayar
Three Ducks Charlotte Broom, Eva Dewaele, Rafi Sadi
INTERMISSION
Act III Abroad
Jester Charlotte Broom
Russia Young Man Josef Tran
Five Peasant Women Lisa Drake, Alexandra Cam Johanna Lindh, Julie Guibe
Israel (Music: Jewish folk music)
Two Jewish Men Boaz Cohen, Eytan Sivak
Spain Four Matadors George Elkin, Mats Jansson
Carl Inger Dinesh Nayar
A Senorita Gunilla Hammar
Old Red Bertha Luiz Fernando Martins
Odile Yamit Kalef
Act IV Back to Swan Lake
Old People, Swans Sawako Iseki, Lisa Drake, Johanna Lindh
Gunilla Hammar, Boaz Cohen, Mats Jansson Eytan Sivak, Josef Tran
A contemporary Swedish swan bears no resemblance to a romantic Russian swan. In its classic version, Swan Lake is one of the world's most loved and most danced ballets. It was created in Moscow in 1875, when the composer Pyotr I. Tchaikovsky was commissioned to write the music for a ballet about a princess who was transformed into a swan. Tchaikovsky was a serious young man, while ballet and ballet music had, by that time, become a fairly superficial art form. Romantic French ballet had, by the mid-19th century, degen?erated into cheap entertainment with beau?tiful girls and handsome young men show?ing off their best leaps and pirouettes against the background of a banal and heartrending story. Ballet music was commissioned by the minute, with the special features desired by the leading dancers who, together with the choreographer, made additions to and cuts in the music if they found it unsuitable. Several decades later, the same tendency was now spreading to Tsarist Russia.
Tchaikovsky embarked on the work in great earnest. At 35, he had already com?posed three operas, three symphonies and some string quartets. Now, he aimed to introduce the symphonic approach that of expressing moods and furthering the plot into ballet as well. However, the choreogra?pher was incapable of coping with this material, which was at that time unique; the cut version with a mediocre ballerina was a fiasco in 1877.
After several attempts by other choreo?graphers, the French Marius Petipa and his pupil Lev Ivanov succeeded, seven years later, in creating a success. In the more than hundred years that have since elapsed, there have been innumerable interpretations of and changes in Swan Lake.
Original Story
Prince Siegfried is having a birthday party with his friends. His mother, the Queen, enters and tells him it is time for him to think about getting married. She has invited to the great ball on the following day some suitable young girls for the Prince to choose from. Downcast, he starts to daydream. In the first version, his friends take him on a nocturnal hunt.
In Act II, he arrives on the shore of a lake. There, he sees a group of swans rising from the water and, before his eyes, turning into damsels. He is astounded, and falls in love with one of them, the Swan Queen. She tells him that a spell has been cast upon her and her companions by a wizard, and that only the faithful love of a man can release them from the spell. Siegfried immediately vows to save them.
In Act III, it is time for the ball at the castle. The Prince is absent-minded and uninterested in the girls presented to him. Suddenly, an unknown guest arrives with his beautiful daughter. The man is the wiz?ard in disguise and the daughter is a replica of the Swan Queen, though dressed in black. The Prince falls for her, and at that moment the wizard and his daughter reveal them?selves and Siegfried realizes that he has bro?ken his vow of fidelity to the Swan Queen.
In the last act, he is back at Swan Lake, trying to remedy his mistake. There are many widely differing versions of the denouement. In the original version, the Swan Queen wants to throw herself into the lake and leave this life since she cannot suc?ceed in combating the wicked wizard. The Prince then dives down into the lake with her in order, finally, to be reunited with her in death; the other swans are thereby released from the spell. In another version, the wizard causes a storm that drowns the lovers.
When Swan Lake was incorporated in the repertory of the post-Revolution Soviet
Bolshoi Theatre, the ending was considered too fateful and depraved. Accordingly, a happy ending with more fighting spirit was commissioned. This led to a series of imagi?native versions. Most of them include a struggle between the Prince and the wizard between good and evil which the Prince, of course, wins. In the modern Soviet ver?sion now being performed at the Stockholm Opera House, the Prince and his swan walks, at the end, against the red sunrise, surrounded by the freed swan damsels, as in the social realism of a truly authentic Soviet poster.
Cullberg Ballet version
For the Cullberg Ballet, Mats Ek has for his part created a highly contemporary story loosely based on the traditional one. In it, Prince Siegfried lives a fairly isolated life. His is a one-parent family, and his relation?ship with his mother is close. He is restless, extremely jealous of his mother's lover and uninterested in the girl the queen presents to him, a pale copy of herself. Seeking refuge in his dreams, he meets his ideal swan. However, she has very little in common with the conventional romantic swan. The robust bird of today is no ethereal creature to be placed on a pedestal and worshipped, but rather a temperamental individual with a very strong personality. She is closely related to the healthy, down-to-earth Swedish lass of today. Rather than being merely a help?less object, a victim of the malevolent wiz?ard awaiting her liberator, she is an ener?getic swan, though the Prince tickles her curiosity and desire.
She also has strong bonds with nature -though not nature in the Central European romantic style, as backdrop or decoration, but nature that is highly tangible, fragrant and sensual, and that brings out the animal aspects of the Prince as well.
When the Prince awakens from his dream, he sets out on a journey, away from
his dominant mother, to seek love and his own identity. The absence of his father, the King, from his home may, perhaps, reinforce his quest for a male identity. He meets macho toreadors who lay women low instead of bulls; tough men who keep their women under control as if they were live?stock; and the wizard, who perhaps com?pensates for his inability to love by means of his power over women. The young Prince also meets the black swan, who is sullen, bad-tempered and challenging, but who nevertheless attracts him in a strange way.
Eventually, he finds the white swan of his dreams, only to discover that the black swan is another side of the same bird. He realizes, perhaps, that life consists of con?trasts and that no one, not even a swan, is black or white through and through. In any case, he leaves the stage not with a blissful grin on his face, but with an astonished and clear-sighted smile.
Mats Ek's Swan Lake is a detached, comic tale and a loving dig at the high ten?sion of romanticism. But, above all, it is a playful contemporary drama of personal development.
Cullberg Ballet has now entered its fourth decade as a leading compa?ny on the front line of modern dance. The ensemble has per?formed in 40 countries and is an important cultural ambassador for Sweden. The Cullberg Ballet's extensive international tours give foreign audiences a taste of Swedish culture at its best. Over the past 10 years the Cullberg Ballet has performed as many times abroad as in Sweden, scoring popular successes in Europe, Asia, Australia and the Americas. In Sweden, the company's widespread performances bring the best of Swedish dance to the national audiences. The Cullberg Ballet's dancers are the com?pany's greatest assets. The composition of the company's dancers has been interna-
tional from the start and many nationalities are represented in today's Cullberg Ballet. Since 1967, the dancers' technical proficien?cy and strong stage personalities have been the Cullberg Ballet's main characteristics.
Since 1950, when her Miss Julie had its premiere, Birgit Cullberg has exerted strong influence over contemporary Swedish and foreign ballet. In 1967 she founded the pre?sent Cullberg Ballet under the organization Riksteatern, with eight handpicked interna?tional dancers, three of which were Swedes.
In the 1970s, Mats Ek created powerful and socially committed works such as Soweto and Bernarda for the Cullberg Ballet. In the following decade, he concentrated on pioneering new versions of the old classics Giselle and Swan Lake. During the 1990s, Mats Ek's creations have included the Emmy-awarded Carmen for the Cullberg Ballet.
Over the years, many leading choreog?raphers have been invited to the Cullberg Ballet, including Alvin Ailey, Merce Cunningham, Nacho Duato, Jiri Kylian, Christopher Bruce, Billy Forsythe, Jean-Pierre Perreault, Ohad Naharin and Rui Horta. The Company's artistic direction continues its valuable partnership with choreographer Mats Ek. His highly acclaimed liberal versions of the classical ballets Swan Lake and Sleeping Beauty have been an enormous success both in Sweden and abroad.
The artistic directors also initiate devel?opment of young, up-and-coming talents. In the past few years Cullberg Ballet has worked with new, young choreographers such as Orjan Andersson, Jens Ostberg, Johan Inger, Philippe Blanchard and Stijn Celis who have choreographed works specif?ically for the ensemble.
Tonight's performance marks the Cullberg Ballet's UMS debut.
Margareta Lidstrom (Co-Artistic Director) received her ballet training at the Royal Opera in Stockholm. She also studied in London, Copen?hagen, Monte Carlo and Cannes. In 1973 she was engaged at the Royal Swedish Ballet, and in 1978 she became a soloist. She was appointed premiere dancer in 1987.
Margareta Lidstrom has danced leading roles in classical ballets by Petipa, Balanchine, Cranko, Ashton and Bournonville. She has also danced in modern ballets by Birgit Cullberg and Mats Ek as well as in works by Jiri Kylian, John Neumeier, Jerome Robbins, Glen Tetley and Niels Christie.
Margareta joined the Cullberg Ballet in 1992 as rehearsal assistant. She has assisted Carolyn Carlson, Mats Ek, Ohad Naharin and Jens Ostberg. In July 1995, Margareta Lidstrom became Artistic Director of the Cullberg Ballet together with Lena Wennergren-Juras.
Lena Wennergren-Juras (Co-Artistic Director) has been a part of the Cullberg Ballet since its foundation in 1967. Between 1964-1966 Lena attended the Academy of Ballet in Stockholm, where she studied classical ballet and jazz as well as modern dance. She spent 1966-1967 in the US, train?ing at Martha Graham's school.
Lena Wennergren-Juras has closely col?laborated with Birgit Cullberg, who created the leading roles in her ballets Eurydice is Dead, Romeo and Juliet and Revolt specifically for her. She has also danced in many of Mats Ek's ballets, including Bernarda, Rite of Spring and Giselle.
When Lena retired as a dancer, her col?laboration with Mats Ek deepened, and she came to work full time as his rehearsal assis?tant.
Lena Wennergren-Juras and Margareta Lidstrom became Artistic Directors of the Cullberg Ballet in July 1995.
Cullberg Ballet
Artistic Directors Margareta Lidstrom Lena Wennergren-Juras
Dancers
Christopher Akrill Charlotte Broom Alexandra Campbell Boaz Cohen Eva Dewaele Lisa Drake George Elkin Carolin Geiger Julie Guibert Gunilla Hammar Carl Inger Sawako Iseki Mats Jansson Yamit Kalef
Johanna Lindh
Luir Fernando Martins
Dinesh Nayar
Raft Sadi
Eytan Sivak
Josef Tran
Managing Director and Producer Anne-Sofie Eriksson
Assistant Producer Margareta Wall
Touring Manager Cecilia I iiulcn
US Tour Manager Linda Reznik
MarketingPress Contact Alexandra Giertz
Guest Teacher Stephen Sheriff
Pianist Goran Ahlfeldt
Technical Coordinator Joseph Josephsson
Stage Manager Anders Amr?n
Assistant Stage Manager Dan Forslund
Sound Engineer Goran Stegborn
Lighting Director Peter Lundin
Assistant Lighting Director Jens Johansson
Wardrobe Technicians Eva Erdman Karin Fahlberg
Wig Maker Kaisa Myllari
Tonight's performance is the first of two interpretations oSwan Lake presented by UMS this season. The Bolshoi Ballet performs the traditional version between November 20-24, 2002 at the Detroit Opera House.
UMS
and
Forest Health Services
present
The Cleveland Orchestra
Franz Welser-Most, Musk Director Heinz Karl Gruber, SpeakerChansonnier
Program
Wednesday Evening, October 9 at 8:00 Orchestra Hall, Detroit, Michigan
Ludwig van Beethoven Symphony No. 6 in F Major, Op. 68
Awakening of serene impressions on arriving in the country:
Allegro ma non troppo
Scene by the brookside: Andante molto mosso Jolly gathering of country-folk: Allegro -Thunderstorm, Tempest: Allegro -Shepherd's Song: Gladstone and thankful feelings after
the storm: Allegretto
HK Gruber
Franz von Suppe
INTERMISSION
Frankenstein!!
A pan-demonium for chansonnier and orchestra after children's rhymes by H.C. Artmann
Fanfare, Prologue
Dedication Miss Dracula
Goldfinger and Bond John Wayne Monster
A Mi Ma Monsterlet
Fanfare, Intermezzo
Frankenstein
Rat Song and Crusoe Song
Mr. Superman
Finale
The green-haired man Batman and Robin Monsters in
the Dark Litany Hello, Hello, Herr Frankenstein -
Grete Miiller's Adieu Fanfare, Epilogue
Mr. Gruber
Overture to Poet and Peasant
Sixth Performance of the 124th Season
124th Annual Choral Union Series
The photographing or sound recording of this concert or pos?session of any device for such photographing or sound record?ing is prohibited.
This performance is sponsored by Forest Health Services.
The 124th Annual Choral Union Series is sponsored by Forest Health Services.
Special thanks to Randall and Mary Pittman for their continued and generous support of the University Musical Society, both personally and through Forest Health Services.
Additional support provided by media sponsor WGTE.
Large print programs are available upon request.
Symphony No. 6 in F Major, Op. 68
Ludwig van Beethoven
Born December 15 or 16, 1770 in Bonn,
Germany Died March 26, 1827 in Vienna
Tonight marks the 11th UMS performance of Ludwig van Beethoven's Symphony No. 6. The Boston Festival Orchestra gave the UMS premiere in May 1900.
Any musicians and writers on music in the 18th century were preoccupied with music's expressive and representative powers. Time and again, composers attempted to demon?strate that music was able, even without the help of words, to depict specific feelings and emotions, and even to narrate a sequence of events. Examples abound, from Johann Kuhnau's Biblical Sonatas (1700) to Vivaldi's Four Seasons (1725) to Dittersdorf's sym?phonies based on Ovid's Metamorphoses (1785). It seems that Beethoven was often inspired by extra-musical images in his compositions. Occasionally, he responded to literary works such as the tomb scene from Romeo and Juliet in the second movement of his String Quartet in F Major (Op. 18, No. 1), or The Tempest in the Piano Sonata in d minor (Op. 31, No. 2) -though it is not always clear how the connection is to be understood. With Symphony No. 6, the evi?dence is more concrete than in the other cases, since we have Beethoven's own titles for the individual movements. On the other hand, we also have his partial disclaimer about those titles, intended, as he insisted, "more [as] an expression of feeling than painting." On one of the sketch pages for the symphony, Beethoven noted: "All paint?ing in instrumental music fails if it is pushed too far"; and indeed, for every bird call or thunderclap there are long stretches of evocative if not exactly descriptive music throughout the symphony.
Beethoven's attitude towards nature was different from other composers writing "characteristic" symphonies (as program?matic works were often called) in the early 19th century. Beethoven not only loved nature but, as many of his friends attested, worshipped it. Haydn and Mozart were not known for roaming the Austrian country?side; Beethoven, for his part, spent long happy hours in the woods. He often retreat?ed from Vienna to outlying areas such as Heiligenstadt, Dobling, or Gneixendorf, where he admired Nature (with a capital 'N') as a true spiritual child of Jean-Jacques Rousseau and the German Sturm und Drang (storm and stress) movement. "His response to Nature was too deep and intense to be called anything less than mystical," English author Basil Lam wrote, "though one would not have dared to use the expression in his presence."
Beethoven became fascinated with the musical sounds of nature years before the composition of the "Pastoral" symphony: as early as 1803, he notated in one of his sketchbooks a musical rendition of the sound of water in a stream. Even earlier, he made a musical reference to nature in the "Heiligenstadt Testament," the tragic docu?ment in which Beethoven first wrote about his encroaching deafness in 1802 (the Testament was addressed to Beethoven's two brothers but never sent). "What a humilia?tion for me when someone standing next to me heard a flute in the distance and I heard nothing, or someone heard a shepherd singing and again I heard nothing." It is dif?ficult not to think of this mention of the shepherd when listening to the "Shepherd's Song" in the finale of Symphony No. 6. The love for the sounds of nature became insep?arable from the pain of not being able to hear them.
Nature, then, acquired a transcendent meaning for Beethoven. More than a place replete with forests, brooks, birds, and shep-
herds, Nature is a stage where an entire human drama unfolds: it is Beethoven's per?sonal drama that receives universal signifi?cance through the musical treatment. In this sense, the happiness, the storm, and the rec?onciliation of the elements must be under?stood on a symbolic level as well as in a lit?eral sense. Symphony No. 6, composed almost simultaneously with Symphony No. 5, then, has more in common with that work than one might think. In its own way, the "Pastoral" also represents a triumph over Fate, but the same conflicts are played out in a different arena. One similarity between the two works is the linkage of the last movements. Just as Symphony No. 5's gloomy c-minor "Allegro" is connected to the finale without a pause, the last three movements of the "Pastoral," the country dance, the storm, and the thanksgiving song, form an uninterrupted sequence.
Of course, the differences between the two symphonies are no less important than the similarities. The most striking of these is, perhaps, the reduced role of musical con?trast in the "Pastoral" -nowhere else does Beethoven spend so much time on one melody, a single harmonic turn, or rhyth?mic figure. While Symnphony No. 5 is char?acterized by an unrelenting impulse to move forward and a constant modification of its motifs, the "Pastoral" favors identical repetitions and extensive pedals (long-held bass notes), in order to emphasize the basic subject matter, which is the peaceful con?templation of nature and people in it.
There is no doubt that Beethoven was inspired by sounds he had heard (when he could still hear) during his long walks in the countryside. The calls of the nightingale, quail, and cuckoo at the end of the second movement are the most obvious examples, but there are others. Beethoven's secretary, the often-unreliable Anton Schindler, reported the following anecdote, which he could hardly have invented himself:
Beethoven asked me if I had not observed how village musicians often played in their sleep, occasionally letting their instruments fall and remaining entirely quiet, then awakening with a start, throwing in a few vigorous blows or strokes at a venture, but generally in the right key, and then falling asleep again; he had tried to copy these poor people in his "Pastoral" symphony.
Schindler then proceeded to point out those measures in the symphony's third move?ment in which "the sleep-drunken second bassoon [repeats] a few tones, while contra?bass, violoncello, and viola keep quiet...[later] we see the viola wake up and apparently awaken the violoncello -and the second horn also sounds three notes, but at once sinks into silence again."
More often than not, however, the sym?phony expresses feelings, rather than depict?ing scenes or objects, as Beethoven himself had said. It expresses them with an amazing directness, apparent in the simplicity and warmth of the melodic ideas and the obvi?ous pleasure taken in orchestral color. We have seen that in the "Pastoral" Beethoven dwelt on individual melodies and chords for much longer than he did in other works; by contrast, he varied the orchestration by con?stantly shifting the same melodies and melodic fragments from instrument to instrument, from one register into another. Rarely does one section of the orchestra retain prominence for more than a few measures at a time; from the point of view of orchestration, this is definitely one of Beethoven's most innovative scores. Another unprecedented idea is the introduction of two solo cellos with mutes, playing their own individual parts throughout the second movement. In the storm music of the fourth movement, there is a slight discrepancy between the cello and the double bass parts: the former have rapid scale passages that span five notes, while the latter play similar passages with only four notes. The beat being divided into five parts by the cellos
and into four parts by the basses, the notes don't exactly coincide, resulting in a contin?uous rumble that undoubtedly resembles the sound of the thunder. It is at this point that the trumpets and timpani are first heard in the symphony. Their sonorities add power to the storm music; the climax is marked by the first entrance of the trom?bones, which have also been silent until now. The trumpets and trombones are retained in the finale, enhancing the solemn mood of the "thanksgiving song." But the timpani drops out and, as a result, the "Allegretto" sounds much more intimate and serene.
The "Pastoral" symphony has often been cited as the starting point of 19th-cen?tury program music. There is an important difference, however. In the works of Berlioz, Liszt, and other Romantic composers, it is often the literary program that dictates musical structure. In Beethoven's Symphony No. 6, the extra-musical ideas begin to impinge upon musical form, yet the Classical symphonic structure remains basi?cally intact. Despite the extra movement between the scherzo and the finale and despite several idiosyncrasies due to the program, classical sonata form, with its own purely musical dramaturgy, still holds sway. Beethoven may have been responsive to extra-musical inspirations, yet he was first and foremost a musician. And he was never a more "absolute" musician than he was in his programmatic Symphony No. 6.
Program note by Peter Laki.
Frankenstein!!
A pan-demonium for chansonnier and orchestra after children's rhymes by H.C. Artmann
Heinz Karl Gruber
Born January 3, 1943 in Vienna, Austria
Tonight's performance marks the UMS pre?miere ofHK Gruber's Frankenstein!!.
Forget that you are at a symphony concert. You are at a cafe-theater, where a great actor-singer celebrates Halloween year-round with funny songs about monsters, vampires, and their friends. But here is the catch (the first of many): what makes the experience really funny is that you are at a symphony concert! You're not sitting at a table, sipping your drink and cheering a company of comedians. Instead, you are in a concert auditorium, watching the musicians of The Cleveland Orchestra put down their expensive instruments they have been prac?ticing all their lives, and pick up hosepipes, kazoos, whistles, and other children's toys, to create what the composer called for in the subtitle of his work -a pandemonium.
The second catch is that for all the pan?demonium, HK Gruber is a serious compos?er of orchestral and theatrical music. What this means is that his work has to be viewed in the context of the Austrian classical tradi?tion even as he rebels against it. Actually, what Gruber rebels against is the latest stage of the tradition: the post-Webernian serial-ism of Friedrich Cerha and the ensemble Die Reihe (The Tone Row), the principal forum of new music in Vienna that for many years was the only one. Yet rebelling against the revolutionaries can never mean a return to pre-revolutionary conditions. Moreover, Gruber played contrabass in Die Reihe for a long time and absorbed the modernist repertoire and the modernist aes?thetics at an early age. But his own ensem-
ble, which he started in 1968 with his col?leagues Kurt Schwertsik and Otto M. Zykan, followed a different orientation. It was called "MOB art & tone ART," and embraced popular idioms, including the cabaret style out of which grew Frankenstein!! from the very start. The songs of Bertolt Brecht and Kurt Weill were important models, but Gruber is quintes-sentially Viennese. His musical instincts, his earliest influences, his special brand of humor are all Austrian, and his monsters are dancing around to the tune of Austrian nursery rhymes.
Gruber found the ideal collaborator in H.C. Artmann (1921-2000), who was famous among other things for his poet?ry written in the Viennese dialect. Artmann's original children's rhymes in Frankenstein!! were in literary German, but full of Viennese colloquialisms. Superman, Batman, and Robin get along very well with the native Viennese vampire Grete Miiller.
The composer-performer matched the poet's verbal virtuosity with some fireworks of his own. His performance as a chanson-nier, which he has repeated all over the world, has created a new genre of symphon?ic cabaret. The "cabaret" part is rather self-explanatory; but the symphonic dimension, perhaps, needs a little commentary. The melodicas, whistles, and popped paper bags are completely integrated into the orchestral texture, treated as equals in their combina?tions with more academically respected effects such as string harmonics and flutter-tongues in the woodwinds. The simple rhythms of the children's rhymes can become quite complex through rhythmic displacements, syncopations, and poly-meters of different kinds. In addition, some of the instrumental parts are a lot harder than they seem. Even the toy-instrument parts are sometimes tricky to keep together, but the writing for the "real" instruments can be outright virtuosic, adding another
dimension to that apparent simplicity. All in all, Frankenstein!! has many layers. For all its earthy humor and Gruber's unique charis?ma as a chansonnier, the work could never have had this kind of success if it didn't have a "serious" musical core. Gruber has said: "To me, composing means creating new connections [among the tones]." And that is something we can always feel in Frankenstein!!, in spite of all the pandemo?nium.
Program note by Peter Laki O2002.
Overture to Poet and Peasant
Franz von Supp6
Born April 18, 1819 in Spalato,
Dalmatia Died May 21, 1895 in Vienna, Austria
Tonight's performance marks the second UMS performance of Franz von Suppe's Overture to Poet and Peasant.
The story of Poet and Peasant, one of the earliest Viennese operettas, has long since fallen into oblivion, but the portraits of the two title characters stand before us, with their features clearly defined, in the ever-popular overture to the piece. After a short introductory fanfare, der Dichter spricht (the Poet speaks), to borrow the title of the last movement of Schumann's piano cycle Scenes from Childhood, Op. 15 written only eight years before Poet and Peasant. The solo cello is the Poet's voice, accompanied by the harp, that most poetic of instruments. Yet the Poet is soon awakened from his Romantic reverie by the lively dance of the village peo?ple, and he is soon swept up in the festivi?ties, with a glass of wine in his hand.
Franz von Suppe's first language was Italian (he was a distant relative of Donizetti), but he moved to Vienna at the age of 16 and soon became connected with
the Theater an der Josefstadt and later with the Theater an der Wien. These were places where a special, and typically Viennese, form of popular theater was developing, and Suppe used his talents to increase the role of music in these productions. But the line between high-brow and low-brow had not yet been drawn; Suppers more than 200 stage works include grand operas as well as Viennese farces and operettas after the French models of Offenbach.
Romantic poetry and rustic entertain?ment seem to co-exist happily in Poet and Peasantjust as they do in Beethoven's Symphony No. 6, where the dreamy "Scene by the Brook" is immediately followed by the "Merry Gathering of the Countryfolk."
Program note by Peter Laki.
Austrian conductor Franz Welser-Most is in his first season as Music Director of The Cleveland Orchestra. He first conducted The Cleveland Orchestra in 1993 and has maintained a close relationship with the Orchestra since that time. Mr. Welser-Most's appointment as Music Director was announced in June 1999.
Franz Welser-Most opened The Cleveland Orchestra's 20022003 subscrip?tion season with Haydn's The Creation. In addition to the current Midwest tour, Mr. Welser-Most leads the Orchestra on an East Coast tour that includes a Carnegie Hall res?idency in February. He closes the 200203 Severance Hall season with concert perfor?mances of Verdi's Don Carlo.
Franz Welser-Most made his debut with The Cleveland Orchestra in February 1993 and returned to Severance Hall in April 1995. In each subsequent season, he has conducted the Orchestra for twoand three-week engagements. As guest conductor, Mr. Welser-Most has led the Orchestra in over 70 concerts, in programs comprising a
wide-ranging repertoire.
Since making his American debut with the Saint Louis Symphony Orchestra in 1989, Mr. Welser-Most has returned regular?ly to the US, appearing with the orchestras of Boston, Chicago, Cleveland, Los Angeles, New York, Philadelphia and Saint Louis. In addition to his three weeks of subscription concerts with The Cleveland Orchestra dur?ing the 20012002 season, he conducted return engagements with the Chicago Symphony Orchestra and the Los Angeles Philharmonic.
Franz Welser-Most served as Music Director of the Zurich Opera from 1995 to 2002, having made his debut there in 1992 with Der Rosenkavalier. During his tenure, he conducted 27 new productions and, each season, led numerous revivals, including operas from the French, German, Italian and Slavic repertoires. Highlights of his tenure as Music Director in Zurich include
Wagner's complete Ring Cycle during the 0102 season with an additional performance of the cycle at the 2002 Zurich Festival. With the 0203 season, Mr. Welser-Most becomes Principal Conductor of the Zurich Opera. He also has conducted at
the Vienna State Opera, the Deutsche Oper Berlin, and at the Glyndebourne Festival in Great Britain.
Mr. Welser-Most's rise to international fame as a conductor began in 1986 when he made his debut with the London Philharm?onic, commencing a relationship that devel?oped over the next four years and resulted in his being appointed music director in 1990, a position he held for six years. In addition to a continuous relationship with the Bavarian Radio Symphony Orchestra, he has conducted the La Scala Orchestra and the
Oslo Philharmonic. He also has conducted the Gustav Mahler Youth Orchestra. Mr. Welser-Most made his debut with the Vienna Philharmonic in 1998, conducting the orchestra at the Mozart Festival Week in Salzburg and at Vienna's Musikverein. He made his Berlin Philharmonic debut with concerts in January 2002.
Mr. Welser-Most has made numerous recordings with the London Philharmonic under an exclusive recording contract with EMI, including music of Mozart, Bruckner and Schumann, and 20th-century works by Schmidt, Stravinsky, Orff, Kancheli, and Part. His recording of Franz Schmidt's Symphony No. 4 won the 1996 Gramophone Award for "best orchestral recording." His recording of Bruckner's Mass No. 3 and Te Deum was nominated for a Grammy Award, as was his first recording with the Philadel?phia Orchestra, of music by Korngold. His most recent releases are HK Gruber's Frankenstein!!, Schmidt's The Book of the Seven Seals (which received a Grammy nomination), Schubert's "Death and the Maiden" string quartet (as orchestrated by Mahler) coupled with Schreker's Chamber Symphony, and the world-premiere record?ing of Johann Strauss Jr.'s Simplicius with the Zurich Opera Orchestra, which won the Deutsche Schallplattenpreis.
In October 1995, Mr. Welser-Most received an "Outstanding Achievement Award" from the Western Law Center for Disability Rights in Los Angeles in recogni?tion of his personal support and advocacy on behalf of people with disabilities, and in particular for his support of the Hartheim Institute, a home for the disabled in Linz, Austria. Mr. Welser-Most was born in Linz and studied in that city with composer Balduin Sulzer.
Tonight's performance marks Mr. Welser-Most's UMS debut.
Composer, conductor, chansonnier and double bass player HK Gruber is one of the most well-known and well-loved figures in the Austrian contemporary music scene, and yet he remains something of an enigma. Composing in his own highly individual style, he has been labelled 'new-Romantic,' 'neo-tonal,' 'neo-expressionistic' and 'neo-Viennese,' but his music remains refreshing?ly non-doctrinaire -a deceptively simple and darkly ironic idiom which often includes a heavy dose of black humor. Berg, Stravinsky, cabaret and popular music are all influences, but whatever stylistic ingredi?ents he uses in his works, he remains inim?itably himself: one of the major talents of post-war music.
Born in Vienna in 1943, Gruber sang with the Vienna Boys Choir as a child and then studied at the Vienna Hochschule fur Musik -double bass with Ludwig Streicher, theory with Hanns Jelinek, and composition with Erwin Ratz and Gottfried von Einem. In 1961 he began playing double bass with the ensemble Die Reihe (and is currently their Artistic Director) and from 1969 to 1998 he played in the Radio Symphony Orchestra-Vienna.
Gruber's most popular and beloved composition, the neo-gothic 'pandemonium' Frankenstein!!, was premiered in 1978 by Simon Rattle and the Royal Liverpool
Philharmonic Orchestra. Since then it has traveled across several continents in several languages and in different guises: in concert, in staged per?formances, on televi?sion, and on film. In 1997 the work was released on CD by
EMI Classics with the Camerata Academica Salzburg and Franz Welser-Most, featuring
the composer as chansonnier. Among Gruber's other compositions are two violin concertos written for Ernst Kovacic, a cello concerto written for Yo-Yo Ma (world pre?miere at Tanglewood in 1989), the percus?sion concerto Rough Music, a trumpet con?certo Aerial written for Hakan Hardenberger (commissioned by the BBC Proms) and, most recently, Zeitfluren, a 25-minute work for chamber orchestra (com?missioned jointly by the London Sinfonietta, Europaische Musikmonat Basel, Swedish Chamber Orchestra and Los Angeles Philharmonic New Music Group). His dramatic works include the apocalyptic opera Gomorra, staged at the Vienna Volksoper in 1993, and Gloria, staged at the 1994 Huddersfield Contemporary Music Festival and the Munich Volkstheater.
As a conductor, Gruber works regularly with groups such as Ensemble Modern, London Sinfonietta, and the Swedish Chamber Orchestra. Conducting highlights of 20012002 include the Orchestre Philharmonique de Radio France, Rotterdam Philharmonic, Leipzig MDR Orchestra, London Sinfonietta, Swedish Chamber Orchestra, a concert performance of Weill's Mahagonny at the Brucknerhaus Linz, and a composer's portrait concert at New York's Carnegie Hall.
He first began performing as a singer actor with the "MOB art & tone ART" ensemble, a group he co-founded in 1968 with fellow Viennese composers Kurt Schwertsik and Otto Zykan. Since then he has appeared extensively in this role, most notably in his own work Frankenstein!!, and also in Schoenberg's Pierrot Lunaire and Maxwell Davies's Eight Songs for a Mad King. Highlights of the 20012002 season include appearances at the Bremen Musikfest, Aspen Music Festival, with the Seattle Symphony and performances of Frankenstein!! in Philadelphia and at Carnegie Hall in New York with the
Philadelphia Orchestra conducted by Sir Simon Rattle.
Passionate about the music of Kurt Weill and Hanns Eisler, he is a frequent interpreter of their works and has recorded Roaring Eisler and Die Dreigroschenoper for BMG, as well as Weill's Berlin im Licht (Largo), all with Ensemble Modern. He also recorded a disc for BMG of Weill songs arranged for dance band with the Palast Orchester and Max Raabe, which received a Deutschen Schallplattenkritik award in 2001.
As part of the bicentenary tribute to Mozart, Gruber devised, scored and acted in Barrie Gavin's television film Bring me the head of Amadeus. His performance of Frankenstein!! at London's Almeida Festival was televised by the BBC and he is also fea?tured in documentary films about Eisler (the award-winning Solidarity Song: The Hanns Eisler Story) and von Einem {lch habe immer Gluckgehabt). In 1993, Gruber and Schwertsik were the focus of the South Bank Centre's Alternative Vienna Festival, which showcased composers who have changed the face of Viennese music over the past two decades.
The works of HK Gruber are published by Boosey & Hawkes.
Tonight's performance marks HK Gruber's UMS debut.
Long considered one of America's great orchestras, The Cleveland Orchestra stands today among the world's most-revered symphonic ensembles. In concerts at home in Severance Hall, at Blossom and on tour, in radio and television broadcasts, and in its critically-admired discography, The Cleveland Orchestra continues to set stan?dards of performing excellence and imagi?native programming that serve as models for audiences and performers alike.
In September 2002, Austrian conductor Franz Welser-Most began his tenure as Music Director of The Cleveland Orchestra. He first conducted the Orchestra in 1993, and has since returned to Severance Hall as a guest conductor on a regular basis, leading the ensemble in more than 70 concerts.
The Cleveland Orchestra was founded in 1918 under the direction of Russian-American conductor Nikolai Sokoloff, who initiated an extensive domestic touring schedule, educational concerts, commercial recordings, and radio broadcasts. Concerts were given at Grays Armory during the Orchestra's first season, after which they moved to Cleveland's Masonic Auditorium. In 1931, the Orchestra moved to its new permanent home, Severance Hall, in Cleveland's University Circle area. This magnificent facility was primarily the gift of John L. Severance (Musical Arts Association president from 1921 to 1936) as a memorial to his wife, who had died prematurely dur?ing its construction. Severance Hall was among the first concert halls in America designed and built with radio broadcasting capability.
Artur Rodzinski served as Music Director from 1933 to 1943. Highlights of his decade in Cleveland included the pre?sentation of 15 fully-staged operas at Severance Hall as well as renewed recording and radio broadcasts. Erich Leinsdorf served as Music Director from 1943 to 1946, although much of his directorship was in absentia while serving in the US Armed Forces during World War II.
Under George Szell, named Music Director in 1946, The Cleveland Orchestra entered a new period of dramatic and sus?tained growth. Both the number of Orchestra members and the length of the season were increased, international tours were inaugurated, and the Cleveland Orchestra Chorus was established (Robert Shaw was engaged to direct the group). The
expansion to a year-round season was made possible in 1968 with the opening of Blossom Music Center on an 800-acre site south of Cleveland, Ohio.
Pierre Boulez began his association with The Cleveland Orchestra in 1965; after Szell's death in 1970, Boulez served as Musical Advisor until 1972. Lorin Maazel began a decade as Music Director with the 197273 season. He continued the Orchestra's international touring and recording schedule, while broadening the ensemble's repertoire with more 20th-centu?ry compositions.
Christoph von Dohnanyi's tenure as the Orchestra's sixth Music Director (1984 to 2002) included a distinguished series of concerts at home in Cleveland each year. In addition, the Orchestra and Mr. Dohnanyi made frequent domestic and international concert tours, including regular return engagements at Austria's prestigious Salzburg Festival.
Adding to the Cleveland discographies of earlier music directors, Mr. Dohnanyi created an extensive discography of digital recordings with The Cleveland Orchestra, including the complete symphonies of Beethoven, Brahms, and Schumann; sym?phonies by Berlioz, Bruckner, Dvorak, Mahler, Mozart, Schubert, Shostakovich, and Tchaikovsky; music of Bartok, Luto-slawski, Ives, Smetana, Webern, and Varese; and the first two operas in Wagner's Ring of the Nibelung cycle. A series of discs with The Cleveland Orchestra has been recorded in recent years under the direction of Pierre Boulez (Deutsche Grammophon and Philips), Vladimir Ashkenazy (Decca), and Oliver Knussen (Argo and Deutsche Gram?mophon).
Christoph von Dohnanyi oversaw Severance Hall's $36-million renovation and restoration project, which included the con?struction of a new concert stage, the refur?bishment and re-installation of the building's
original Norton Memorial Organ, expanded backstage support facilities, and enhanced technical capabilities. Mr. Dohnanyi became Music Director Laureate of The Cleveland Orchestra in September 2002, following the end of his tenure as Music Director.
Franz Welser-Most's appointment as Music Director was announced in June 1999, providing for a seamless transition in the artistic leadership of The Cleveland Orchestra with the 0203 season. At home in Severance Hall, the Orchestra begins a new era under Mr. Welser-Most's guidance, while main?taining a steadfast commitment to its long-held traditions of artistic excellence, educa?tional outreach, and community service.
Tonight's performance in Detroit's Orchestra Hall marks The Cleveland Orchestra's 30th appearance under UMS auspices. The Orchestra made their UMS debut on March 28, 1935 in Hill Auditorium under the baton of Maestro Artur Rodzinski. Over the past 67 years, the Cleveland Orchestra has appeared under UMS auspices under esteemed conduc?tors Erich Leinsdorf, George Szell, Pierre Boulez, Lorin Maazel and Christoph von Dohndnyi.
experience
THE 0203 UMS 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 activities are also posted on the UMS website at www.ums.org.
'Forest Health Services presents the 124th Annual Choral Union series.
Hubbard Street Dance Chicago
lim Vincent, artistic director
Friday, September 20, 8 p.m.
Saturday, September 21,8 p.m.
Sunday, September 22, 2 p.m.
Power Center
The Friday performance is sponsored
by DTE Energy Foundation.
The Sunday performance is sponsored
by Pfizer.
Media Sponsors WDET 101.9 FM and
Metro Times.
Anouar Brahem Trio
Fann Wa Tarab: An Evening
of Arabic Music
Anouar Brahem, oud Barbaras Erkose, clarinet Lassad Hosni, bendir & darbouka Sunday, September 22, 4 p.m. Lydia Mendelssohn Theatre Presented in partnership with the Arab Community Center for Economic and
Social Services, with special support from the University of Michigan. Media Sponsor WEMU 89.1 FM.
CulLberg Ballet Mats Ek's Swan Lake
Tuesday, October 8, 8 p.m.
Power Center
Funded in part by the National Dance
Project of the New England
Foundation for the Arts.
Media Sponsor Metro Times.
Cleveland Orchestra
Franz Welser-Most, music director Heinz Karl Gruber, baritone
chansonnier
Wednesday, October 9, 8 p.m. Orchestra Hall, Detroit Sponsored by Forest Health Services. Media Sponsor WGTE 91.3 FM.
Tamango and Urban Tap
Friday, October 11,8 p.m.
Saturday, October 12, 2 p.m.
(one-hour family performance)
Saturday, October 12, 8 p.m.
Power Center
The Friday performance is sponsored
by Elastizell.
The Saturday evening performance is
co-presented with the Office of the
Senior Vice Provost for Academic
Affairs.
Presented with support form the
Wallace-Reader's Digest Funds.
Media Sponsors WEMU 89.1 FM and
Metro Times.
Venice Baroque Orchestra
Andrea Marcon, conductor and
harpsichord Giuliano Carmignola, baroque
violin
Sunday, October 13, 7:30 p.m. St. Francis of Assisi Catholic Church Presented with the generous support of Michael Allemang and Beverley and Gerson Geltner
Abbey Theatre of Ireland Euripides' Medea
Featuring Fiona Shaw Deborah Warner, director Thursday, October 17, 8 p.m. Friday, October 18, 8 p.m. Saturday, October 19, 2 p.m.
& 8 p.m.
Sunday, October 20, 2 p.m. Power Center
Presented with support from the Wallace-Reader's Digest Funds and the National Endowment for the Arts. Media Sponsors Michigan Radio and Metro Times.
Takacs Quartet and Garrick Ohlsson, piano
Sunday, October 20, 7 p.m.
Rackhan) Auditorium
Sponsored by Edward Surovell
Realtors.
Media Sponsor WGTE 91.3 FM.
Lorraine Hunt Lieberson, mezzo-soprano
Robert Tweten, piano Wednesday, October 23, 8 p.m. Lydia Mendelssohn Theatre Sponsored by National City.
Orquestra de Sao Paulo
John Neschling, conductor Sergio and Odair Assad, guitar Wednesday, October 30, 8 p.m. Michigan Theater Media Sponsor WGTE 91.3 FM.
Banda Mantiqueira Brazilian
Big Band
with Orquestra de Sao Paulo
Thursday, October 31,8 p.m.
Michigan Theater
Sponsored by Bank of Ann Arbor.
Additional support provided by
JazzNet.
Media Sponsor WEMU 89.1 FM.
Grupo Corpo Brazilian Dance Theater
Rodrigo Pederneiras,
artistic director Friday, November 1, 8 p.m. Saturday, November 2, 2 p.m. (one-hour family performance) Saturday, November 2, 8 p.m. Power Center
The Saturday evening performance is co-presented with the Office of the Senior Vice Provost for Academic Affairs.
Media Sponsors WEMU 89.1 FM and Metro Times.
Michigan Chamber Players
Sunday, November 3, 4 p.m. Rackham Auditorium Complimentary Admission
Herbie Hancock Quartet
Herbie Hancock, piano
Gary Thomas, saxophones
Scott Colley, bass
Terri Lyne Carrington, drums
Wednesday, November 6, 8 p.m.
Michigan Theater
Sponsored by McKinley Associates, Inc.
Additional support provided by
JazzNet.
Media Sponsors WEMU 89.1 FM and
WDET 101.9 FM.
Cantigas de Santa Maria with The Boston Camerata, Camerata Mediterranea and L'Orchestre Abdelkrim Rais of Fez, Morocco Thursday, November 7, 8 p.m. St. Francis of Assisi Catholic Church Co-presented with the Office of the Senior Vice Provost for Academic Affairs.
Caetano Veloso
Friday, November 15, 8 p.m.
Michigan Theater
Sponsored by Borders.
Additional support provided by JazzNet.
Media Sponsors WEMU 89.1 FM and
WDET 101.9 FM.
Gidon Kremer, violin Sabine Meyer, clarinet Oleg Maisenberg, piano
Sunday, November 17, 4 p.m. Rackham Auditorium Media Sponsor WGTE 91.3 FM.
Orchestre Philharmonique de Radio France
Myung-Whun Chung, conductor Roger Muraro, piano Valerie Hartmann-Claverie,
ondes Martenot Tuesday, November 19, 8 p.m. Orchestra Hall Media Sponsor WGTE 91.3 FM.
Bolshoi Ballet Swan Lake
Choreography by Yuri
Grigorovich after
Marius Petipa and Lev Ivanov Wednesday, November 20,7:30 p.m. Thursday, November 21,8 p.m. Friday, November 22, 8 p.m. Saturday, November 23, 2 p.m.
& 8 p.m.
Sunday, November 24, 2 p.m. Detroit Opera House The Bolshoi Ballet is co-presented with the Detroit Opera House and presented
with leadership support from the
University of Michigan.
The Friday performance is sponsored
by McDonald Investments.
The Saturday afternoon performance
is sponsored by the Thomas B.
McMullen Co.
The Saturday evening performance is
sponsored by Bank One.
Handel's Messiah
(Mozart edition)
UMS Choral Union
Ann Arbor Symphony Orchestra
Thomas Sheets, conductor
Friday, December 6, 8 p.m.
Saturday, December 7, 8 p.m.
Michigan Theater
Presented with the generous support ol
Carl and Isabelle Brauer.
Boston Pops Esplanade Orchestra Holiday Concert!
Keith Lockhart conductor
Sunday, December 8, 6 p.m.
Crisler Arena
Sponsored by Pfizer.
Media Sponsor WGTE 91.3 FM.
Emerson String Quartet
Friday, December 13, 8 p.m. Rackham Auditorium Presented with the generous support of Ann and Clayton Wilhite. Media Sponsor WGTE 91.3 FM.
Altan
A Traditional Gaelic Seasonal
Celebration
with special guests
Laoise Kelly, harp
Seamus Begley, accordian and vocals
Jim Murray, guitar
Step dancers from Kerry
Saturday, December 14, 8 p.m.
Michigan Theater
Media Sponsor WDET 101.9 FM.
Sweet Honey in the Rock with Toshi Reagon and Big Lovely
Friday, January 10, 8 p.m.
Michigan Theater
Sponsored by Pfizer.
Media Sponsors WEMU 89.1 FM and
WDET 101.9 FM.
Bill T. JonesArnie Zane
Dance Company
with the
Chamber Music Society
of Lincoln Center
featuring the Orion String
Quartet
Saturday, January 11,8 p.m. Sunday, January 12, 4 p.m. Power Center
The Saturday performance is spon?sored by Borders.
The Sunday performance is presented with the generous support of Maurice and Linda Binkow.
Funded in part by the National Dance Project of the New England Foundation for the Arts. Media Sponsors WGTE 91.3 FM, WDET 101.9 FM and Metro Times.
blessing the boats
A solo performance written and
conceived by Sekou Sundiata
Friday, January 17, 8 p.m.
Saturday, January 18, 8 p.m.
Sunday, January 19, 2 p.m.
Trueblood Theatre
This is a Heartland Arts Fund program.
Media Sponsor Michigan Radio.
An Evening with Audra McDonald
Audra McDonald and Trio Ted Sperling, music director
and piano
Peter Donovan, bass Dave Ratajczak, drums Sunday, January 19, 7 p.m. Michigan Theater Presented with the generous support of Robert and Pearson Macek. Additional support provided by JazzNet. Media Sponsor WEMU 89.1 FM.
Sekou Sundiata and Band
Monday, January 20, 8 p.m. Michigan Theater Co-presented with the UM Office of Academic Multicultural Initiatives. This is a Heartland Arts Fund program. Media Sponsors WEMU 89.1 FM and Metro Times.
Voices of Brazil featuring Ivan Lins, Ed Motta, Joao Bosco, Leila Pinheiro and Zelia Duncan
Friday, January 31, 8 p.m.
Michigan Theater
Sponsored by Keybank and McDonald
Investments, Inc.
Media Sponsor WEMU 89.1 FM.
Egberto Gismonti Saturday, February 1, 8 p.m. Michigan Theater Presented with support from JazzNet. Media Sponsor WEMU 89.1 FM.
Michigan Chamber Players
Sunday, February 2,4 p.m. Rackham Auditorium Complimentary Admission
Martha Clarke
Vienna: Lusthaus (revisited)
Martha Clarke, director and
choreographer Richard Peaslee, music Charles L. Mee, text Friday, February 7, 8 p.m. Saturday, February 8, 8 p.m. Power Center
Funded in part by the National Dance Project of the New England Foundation for the Arts. Media Sponsors Michigan Radio and Metro Times.
Ying Quartet
Sunday, February 9, 4 p.m. Rackham Auditorium Sponsored by Miller, Canfield, Paddock and Stone, P.L.C. Media Sponsor WGTE 91.3 FM.
Dave Holland Quintet and New York Big Band
Dave Holland, bass Robin Eubanks, trombone Chris Potter, saxophones Steve Nelson, vibraphone &
marimba
Billy Kilson, drums Saturday, February 15, 8 p.m. Michigan Theater Presented with support from the Wallace-Reader's Digest Funds. Additional support is provided by JazzNet.
Media Sponsors WEMU 89.1 FM, WDET 101.9 FM and Metro Times. Presented in conjunction with the 2003 UM Jazz Festival.
Eos Orchestra
The Celluloid Copland:
Copland's Music for the Movies
(performed with original films) Jonathan Sheffer, conductor Sunday, February 16,4 p.m. Michigan Theater Sponsored by the CFI Group. Media Sponsor WGTE 91.3 FM.
Vienna Philharmonic
Nikolaus Harnoncourt, conductor
Thursday, February 27, 8 p.m.
Detroit Opera House
This performance is co-presented with
the University of Michigan.
Media Sponsor WGTE 91.3 FM.
Royal Shakespeare Company Shakespeare's The Merry Wives of Windsor
Rachel Kavanaugh, director Saturday, March 1, 7:30 p.m. Wednesday, March 5, 7:30 p.m. Thursday, March 6, 1:30 p.m. Saturday, March 8, 7:30 p.m. Sunday, March 9, 1:30 p.m. Power Center
The Royal Shakespeare Company resi?dency is presented in association with the University Musical Society and the University of Michigan. Sponsored in part by Pfizer. Additional support is provided by The Power Foundation. Media Sponsor Michigan Radio.
Royal Shakespeare Company Shakespeare's Con'olanus
Pavid Farr, director Sunday, March 2, 1:30 p.m. Tuesday, March 4, 7:30 p.m. (hursday, March 6, 7:30 p.m.
riday, March 7, 7:30 p.m.
aturday, March 8, 1:30 p.m. ower Center
The Royal Shakespeare Company resi?dency is presented in association with he University Musical Society and the Jniversity of Michigan, iponsored in part by Pfizer. dditional support is provided by The Power Foundation. Media Sponsor Michigan Radio.
Royal Shakespeare Company Salman Rushdie's Midnight's Children
A new dramatization by Salman Rushdie, Simon Reade and
Tim Supple
Wednesday, March 12, 7:30 p.m. Thursday, March 13, 7:30 p.m. Friday, March 14, 7:30 p.m. Saturday, March 15, 1:30 p.m.
& 7:30 p.m.
Sunday, March 16, 1:30 p.m. Power Center
The Royal Shakespeare Company resi?dency is presented in association with the University Musical Society and the University of Michigan. Sponsored in part by Pfizer. Additional support is provided by
he Power Foundation.
ledia Sponsor Michigan Radio.
Iban Berg Quartet
Monday, March 3, 8 p.m. !'ackham Auditorium
ponsored by Bank of Ann Arbor.
ledia Sponsor WGTE 91.3 FM.
Stuttgart Chamber Orchestra
Dennis Russell Davies, conductor Catherine Malfitano, soprano Alexander Neander and Wolfram von Bodecker, mimes Thursday, March 6, 8 p.m. Michigan Theater Sponsored by DaimlerChrysler Corporation Fund.
This performance is co-presented with the University of Michigan. Media Sponsor WGTE 91.3 FM.
UMS Choral Union
Wind Ensemble of the Greater Lansing Symphony Orchestra Thomas Sheets, conductor Janice Beck, organ Saturday, March 22, 8 p.m. Pease Auditorium
Kodo
Monday, March 24, 8 p.m. Tuesday, March 25, 8 p.m. Wednesday, March 26, 8 p.m. Michigan Theater Media Sponsor WDET 101.9 FM and Metro Times.
Susan Graham, mezzo-soprano
Malcolm Martineau, piano Friday, March 28, 8 p.m. Lydia Mendelssohn Theatre
Takacs Quartet and Muzsikas
Saturday, March 29, 8 p.m. Rackham Auditorium Sponsored by Learning Express-Michigan. Media Sponsor WGTE 91.3 FM.
Muzsikas
Featuring Marta Sebestyen Sunday, March 30,4 p.m. Rackham Auditorium Co-presented with the Office of the Senior Vice Provost for Academic Affairs. Media Sponsor WDET 101.9 FM.
Evening at the Apollo
Friday, April 4, 8 p.m.
Michigan Theater
Saturday, April 5, 8 p.m.
Detroit Opera House
The Friday performance is sponsored
by Bank One.
The Saturday performance is
sponsored by Borders.
These performances are co-presented
with the University of Michigan and
presented in partnership with The Arts
League of Michigan.
Media Sponsors WEMU 89.1 FM and
Metro Times.
Bach Collegium Japan Bach's St. Matthew Passion
Masaaki Suzuki, conductor Wednesday, April 9, 7:30 p.m. St. Francis of Assisi Catholic Church
Matthias Goerne, baritone
Eric Schneider, piano Thursday, April 10, 8 p.m. Lydia Mendelssohn Theatre Sponsored by National City.
Afro-Brazilian Dance Party
Saturday, April 12, 9 p.m. EMU Convocation Center Co-sponsored by Sesi. Media Sponsors WEMU 89.1 FM and Metro Times.
Gabrieli Consort and
Players
Bach's St. John Passion
Paul McCreesh, music director Saturday, April 19, 8 p.m. Michigan Theater Media Sponsor WGTE 91.3 FM.
The Hilliard Ensemble Morimur
Christoph Poppen, violin Thursday, May 1, 8 p.m. St. Francis of Assisi Catholic Church
The Ford Honors Program
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 subse-
quent honorees being Jessye Norman, Garrick Ohlsson, The Canadian Brass, Isaac Stern, Marcel Marceau, and Marilyn Home.
Ford Honors Program Honorees
1996
Van Cliburn
1997
Jessye Norman
1998
Garrick Ohlsson
1999
The
Canadian Brass
2000
Isaac Stern
2001
Marcel Marceau
2002
Marilyn Home
EDUCATION & AUDIENCE DEVELOPMENT
Considered one of the top performing arts educational programs in the country, 1 'MS strives to illuminate the performing :rts through education and community engagement, offering audiences a multitude (if opportunities to make connections and leepen their understanding of the arts.
UMS Community Education Program
The following activities enlighten and inform audiences about the artists, art forms, ideas, and cultures presented by UMS. Details about specific 0203 educational activities will be announced closer to each event. For more information about adult education or community events, please visit the website at www.ums.org, email umsed@umich.edu, or call 734.647.6712.
Artist Interviews
These interviews engage the leading art-makers of our time in conversations about their body of work, their upcoming performance, and the process of creating work for the world stage.
Master Classes
Master classes are unique opportunities to see, hear, and feel the creation of an art form. Through participation andor observation, individuals gain insight into the process of art making and training.
Study Clubs
Led by local experts and educators, UMS Study Clubs offer audiences the opportunity to gain deeper understanding of a particular text, artist, or art form. The study clubs are designed to give a greater appreciation of a specific subject matter within the context of the performance.
Essential Primers
This series is designed for seasoned concert-goers as well as new audiences. Each "primer" is designed to build and deepen basic under?standing about a particular art form.
PREPs and Lectures
Pre-performance talks (PREPs) and lectures prepare audiences for upcoming performances.
Meet the Artists
Immediately following many performances, UMS engages the artist and audience in conversation about the themes and meanings within the performance, as well as the creative process.
Immersions
A series of events focused on a theme, culture, art form, or artist that may include master classes, films, panels and community engage?ment events. 20022003 Immersions include Abbey Theatre of Ireland: Euripides' Medea and Brazilian Dance and Music.
Artists-in-Residence
Many artists remain in Michigan beyond their performances for short periods of time to deepen the connection to communities throughout the region. Artists teach, create, and meet with community groups, university units, and schools while in residence. For the 0203 season, major residencies include the Bolshoi Ballet, Sekou Sundiata, and the Royal Shakespeare Company.
UMS YOUTH, TEEN, AND FAMILY EDUCATION PROGRAMS
I
UMS has a special commitment to educat?ing the next generation. A number of programs are offered for K-12 students, educators, and families to further develop understanding and exposure to the arts. For information about the Youth, Teen, and Family Education Program, visit the website at www.ums.org, email umsyouth@umich.edu, or call 734.615.0122.
Youth Performance Series
Designed to enhance the K-12 curriculum, UMS Youth Performances cover the full spec?trum of world-class dance, music, and theater. Schools attending youth performances receive UMS's nationally recognized study materials that connect the performance to the classroom curriculum. The 20022003 Youth Performance Series features:
Tamango and Urban Tap
Herbie Hancock Quartet
Sweet Honey in the Rock
Voices of Brazil
Sphinx Competition -free!
Kodo
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
Teacher Workshop Series
As part of UMS's ongoing effort to incorporate the arts into the classroom, local and national arts educators lead in-depth teacher workshops designed to increase educators' facility to teach through and about the arts. UMS is in partner?ship with the Ann Arbor Public Schools as part of the Kennedy Center's Partners in Education Program. This year's Kennedy Center work?shops are:
Harlem with Kimberli Boyd
Living Pictures: A Theatrical Technique for
Learning Across the Curriculum with Sean
Layne
Workshops focusing on UMS Youth Performances are:
The Steps and Rhythms of Urban Tap with Susan Filipiak
Brazilian Music in the Classroom: An Introduction to Voices of Brazil with Mary Catherine Smith Kodo: An Introduction to Japanese Percussion with Michael Gould
For information or to register for a workshop, please call 734.615.0122 or email umsyouth@ umich.edu.
First Acts Program
The First Acts Program provides opportunities for students in grades 4-12 to attend select evening and weekend performances with $6 tickets and reimbursed transportation costs. This year's First Acts roster includes Abbey Theatre of Ireland: Euripides' Medea, Orquestra de Sao Paulo, Gidon Kremer and Friends, Bolshoi Ballet: Swan Lake, Orchestre Philharmonique de Radio France, Boston Pops Esplanade Orchestra Holiday Concert, Ying Quartet, Stuttgart Chamber Orchestra, Muzsikas, and Bach Collegium Japan per?forming Bach's St. Matthew Passion.
For more information, please call 734.615.0122 or email umsyouth@umich.edu.
Special Discounts for Teachers and Students to Public Performances
'...'MS offers group discounts to schools i ttending evening and weekend performances lot offered through the First Acts Program, 'lease call the Group Sales Coordinator at 34.763.3100 for more information.
The Kennedy Center Partnership
UMS and the Ann Arbor Public Schools are nembers of the Kennedy Center Partners in ducation Program. Selected because of its demonstrated commitment to the improve?ment of education in and through the arts, the partnership team participates in collabo?rative efforts to make the arts integral to edu?cation and creates professional development opportunities for educators.
Family Programming
These one-hour or full-length performances and activities are designed especially for chil?dren and families. UMS provides child-friendly, informational materials prior to family performances.
RESTAURANT & LODGING PACKAGES
Celebrate in style with dinner and a show! 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 ven?tures with the following local establishments:
The Artful Lodger Bed & Breakfast
1547 Washtenaw Avenue Call 734.769.0653 for reservations Join Ann Arbor's most theatrical host and hostess, Fred & Edith Leavis Bookstein, for a weekend in their massive stone house built in the mid-1800s for UM President Henry Simmons Frieze. This historic house, located just minutes from the performance halls, has been comfortably restored and furnished with contemporary art and performance memorabilia. The Bed & Breakfast for Music and Theater Lovers!
Gratzi Restaurant
326 South Main Street Call 888.456.DINE for reservations Dinner package includes guaranteed reserva?tions for a preor post-performance dinner (any selection from the special package menu plus a non-alcoholic beverage) and reserved "A" seats on the main floor at the performance. Packages are available for select performances.
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 expansive stone chalet
home. Catering to "scholars, artists and the
world-weary," this historic complex features
SOLUNTEERS NEEDED
he 60-member UMS Advisory Committee rovides important volunteer assistance nd financial support for these exceptional educational programs. Please call 734.936.6837 for information about volunteering for UMS Education and Audience Development events.
old English style decor, 10 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 iffers group discount rates and can accom-nodate conferences, musical and performing arts events, weddings and family celebrations. Call to inquire about special package prices.
@@@@UMS PREFERRED RESTAURANT PROGRAM
Visit and enjoy these fine area restaurants. Join us in thanking them for their generous support of UMS.
Arbor Brewing Co.
114 East Washington 734.213.1393 Award-winning brewpub featuring a full bar and menu. Casual downtown dining. Smokeless restaurant and bar. Private parties for 25-150.
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.
www.bellaciao.com.
Blue Nile
221 East Washington Street 734.998.4746 Join us for an authentic dining adventure to be shared and long remembered. Specializing in poultry, beef, lamb and vegetarian specialties. Outstanding wine and beer list. http:annarbor.org.pages.bluenile.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! A sunny, casual, smoke-free atmosphere. Take out available.
The Chop House
.522 South Main Street 888.456.DINE Ann Arbor's newest taste temptation. An elite merican Chop House featuring U.S.D.A. irime beef, the finest in Midwestern grain-fed neat, and exceptional premium wines in a fined, elegant setting. Open nightly, call for .'servations.www.thechophouserestaurant.com
J'Amato's Neighborhood Restaurant
102 South First Street 734.623.7400 )'Amato's Italian Restaurant (corner First St. 8c Huron) is casual dining at its best. Classic and contemporary 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.
Just downstairs is Goodnite Grace Jazz & Martini bar featuring talented local jazz groups and the best martinis in town. Never a cover or minimum, always great entertain?ment.
Daniel's on Liberty
326 West Liberty Street 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. Private meeting space available. www.danielsonliberty.com
The Earle
121 West Washington 734.994.0211 French and Italian dining, offering fresh fish, pastas, duck and beef tenderloin accompa?nied by our house-made desserts. Wine Spectator's "Best of Award of Excellence" 1991-2002.
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 dinner. Reservations accepted. www.gratzirestaurant.com
The Kerrytown Bistro
At the corner of 4th Avenue and Kingsley Street in Kerrytown 734.994.6424 The Kerrytown Bistro specializes in fine French Provincial inspired cuisine, excellent wines and gracious service in a relaxed, inti?mate atmosphere. Hours vary, reservations accepted.
La Dolce Vita
322 South Main Street 734.669.9977 Offering the finest in after-dinner pleasures. Indulge in the delightful sophistication of gourmet desserts, fancy pastries, cheeses, fine wines, ports, sherries, martinis, rare scotches, hand-rolled cigars and much more. Open nightly, www.msventures.com
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, www.paliorestaurant.com
'veal Seafood Company
141 South Main Street 888.456.DINE s close to the world's oceans as your taste ;an travel. Serving delightfully fresh seafood
nd much more. Open for lunch and dinner. Reservations accepted.
ww.realseafoodcorestaurant.com
ed Hawk Bar & Grill
316 South State Street 734.994.4004 Neighborhood bar & grill in campus historic listrict, specializing in creative treatments of traditional favorites. Full bar, with a dozen beers on tap. Lunch and dinner daily. Weekly specials. Smoke-free. No reservations.
Seva
314 East Liberty Street 734.662.1111 Seva has provided 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 Avenue 734.665.3636 Weber's casual-to-elegant atmosphere and fine American cuisine features their famous prime ribs of beef, live lobster, aged steaks and jet-fresh seafood.
Zanzibar
216 South State Street 734.994.7777 Contemporary American food with Mediterranean & Asian influences. Full bar featuring classic and neo-classic cocktails, thoughtfully chosen wines and an excellent selection of draft beer. Spectacular desserts. Lunch, dinner, Sunday brunch and outside dining. Space for private and semi-private gatherings up to 120. 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.
JMSsupport
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 48-member UMS Advisory Committee serves an important role within 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's 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 Advertising
When you advertise in the UMS program book you gain season-long visibility among ticket-buyers while enabling an important tradition of providing audiences with the detailed pro?gram notes, artist biographies, and program descriptions that are so important to perform?ance experience. 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 & COLLEGE WORK-STU DY
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's departments. For more information, please call 734.615.1444.
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 734.615.1444.
USHERS
Without the dedicated service of UMS's 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 400 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 or winter. Ushers are responsible for working at every UMS performance in a specific venue for the entire concert season.
If you would like information about becoming a UMS volunteer usher, call the UMS usher hotline at 734.913.9696.
SUPPORT FOR THE UNIVERSITY MUSICAL SOCIETY
This performance--and all of UMS's nationally recognized artistic and educational pro?grams--would not be possible without the generous support of the community. UMS gratefully acknowledges the following individuals, businesses, foundations and government agencies--and those who wish to remain anonymous--and extends its deepest gratitude for their support. This list includes current donors as of August 7,2002. Every effort has been made to ensure its accuracy. Please call 734.647.1178 with any errors or omissions.
SOLOISTS $25,000 or more
Randall and Mary Pittman Philip and Kathleen Power
MAESTROS $10,000-524,999
Carl and Isabelle Brauer
Dr. Kathleen G. Charla
Peter and Jill Corr
Ronnie and Sheila Cresswell
Hal and Ann Davis
Beverley and Gerson Geltner
Jim and Millie Irwin
Robert and Pearson Macek
Charlotte McGeoch
Tom and Debby McMullen
Ann Meredith
Mr. and Mrs. Irving Rose
VIRTUOSI $7,500-$9,999
Maurice and Linda Binkow Leo and Kathy Legatski Prudence and Amnon Rosenthal Edward and Natalie Surovell
CONCERTMASTERS $5,000-$7,499
Michael Allemang
Herb and Carol Amster
Douglas D. Crary
Dennis Dahlmann
David and Phyllis Herzig
Doug and Gay Lane
Paul and Ruth McCracken
Loretta M. Skewes
Lois A. Theis
Marina and Robert Whitman
Ann and Clayton Wilhite
PRODUCERS $3,500-34,999
Kathy Benton and Robert Brown David and Pat Clyde Katharine and Jon Cosovich Mr. and Mrs. Thomas C. Evans Michael and Sara Frank Debbie and Norman Herbert Dr. Toni Hoover
Shirley Y. and Thomas E. Kauper Don and Judy Dow Rumelhart Herbert Sloan Lois and John Stegeman Marion T. Wirick and James N. Morgan
LEADERS $2,500-$3,499
Bob and Martha Ause Emily W. Bandera, M.D. Bradford and Lydia Bates Raymond and Janet Bernreuter Barbara Everitt Bryant
Edward and Mary Cady
Maurice and Margo Cohen
Mr. Michael J. and Dr. Joan S. Crawforc
Jack and Alice Dobson
Jim and Patsy Donahey
Ken and Penny Fischer
John and Esther Floyd
Ilene H. Forsyth
Betty-Ann and Daniel Gilliland
Sue and Carl Gingles
Jeffrey B. Green
Linda and Richard Greene
Carl and Charlene Herstein
Janet Woods Hoobler
John and Patricia Huntington
Keki and Alice Irani
Dorian R. Kim
Paula and Henry Lederman
Marc and Jill Lippman
Judy and Roger Maugh
Charles H. Nave
Mrs. Charles Overberger (Betty)
Jim and Bonnie Reece
John and Dot Reed
Barbara A. Anderson and
John H. Romani Maya Savarino Don and Carol Van Curler Mrs. Francis V.Viola III Don and Toni Walker B. Joseph and Mary White
PRINCIPALS $l,000-$2,499
Dr. and Mrs. Gerald Abrams
Mrs. Gardner Ackley
Jim and Barbara Adams
Bernard and Raquel Agranoff
Jonathan W. T. Ayers
Lesli and Christopher Ballard
Dr. and Mrs. Robert Bartlett
Astrid B. Beck and David Noel Freedman (alph P. Beebe 'atrick and Maureen Beldcn i larry and Betty Benford Uith Ann and Stuart J. Bergstein . S. Berlin
jzanne A. and Frederick . Beutler oan Akers Binkow lizabeth and Giles G. Bole loward and Margaret Bond itob and Sue Bonfield Laurence and Grace Boxer Dale and Nancy Briggs Virginia Sory Brown leannine and Robert Buchanan Lawrence and Valerie Bullen Mr. and Mrs. Richard ). Burstein Letitia J. Byrd Amy and Jim Byrne Betty Byrne
Barbara and Albert Cain Jean W. Campbell Michael and Patricia Campbell Thomas and Marilou Capo Edwin and Judith Carlson (can and Kenneth Casey Janet and Bill Cassebaum Anne Chase James S. Chen Janice A. Clark
Mr. and Mrs. John Alden Clark Leon and Heidi Cohan Mr. Ralph Conger Carolyn and L. Thomas Conlin Jim and Connie Cook lane Wilson Coon Anne and Howard Cooper Hugh and Elly Rose-Cooper Paul N. Courant and Marta A. Manildi Malcolm and Juanita Cox George and Connie Cress Kathleen Crispell and Thomas Porter Judy and Bill Crookes Peter and Susan Darrow Pauline and lay J. De Lay Lloyd and Genie Dethloff Lorenzo DiCarlo and
Sally Stegeman DiCarlo Macdonald and Carolin Dick Steve and Lori Director Molly and Bill Dobson Al Dodds
Elizabeth A. Doman Dr. and Mrs. Theodore E. Dushane Mr. and Mrs. John R. Edman Martin and Rosalie Edwards Leonard and Madeline Eron Bob and Chris Euritt Claudine Farrand and Daniel Moerman Eric Fearon and Kathy Cho David and Jo-Anna Featherman Yi-tsi M. and Albert Feuerwerker Mrs. Gerald J. Fischer (Beth B.) Kay and Patricia Fitzgerald
Otto and Lourdes E. Gago
Marilyn G. Gallatin
Bernard and Enid Galler
Marilyn Tsao and Steve Gao
Charles and Rita Gelman
James and Cathie Gibson
William and Ruth Gilkey
Drs. Sid Gilman and Carol Barbour
Richard and Cheryl Ginsburg
Paul and Anne Glendon
Alvia G. Golden and
Carroll Smith-Rosenberg Frances Greer lohn and Helen Griffith Leslie and Mary Ellen Guinn Julian and Diane Hoff Robert M. and Joan F. Howe Sun-Chien and Betty Hsiao Dr. H. David and Dolores Humes Ann D. Hungerman Susan and Martin Hurwitz Stuart and Maureen Isaac Wallie and Janet Jeffries Timothy and Jo Wiese Johnson Robert L. and Beatrice H. Kahn Herbert Katz
Richard and Sylvia Kaufman David and Sally Kennedy Robert and Gloria Kerry Connie and Tom Kinnear Diane Kirkpatrick Jim and Carolyn Knake Victoria F. Kohl and Thomas Tecco Samuel and Marilyn Krimm Bud and Justine Kulka Ko and Sumiko Kurachi Barbara and Michael Kusisto Jill M. Latta and David S. Bach Ted and Wendy Lawrence Laurie and Robert LaZebnik Peter Lee and Clara Hwang Carolyn and Paul Lichter Evie and Allen Lichter Lawrence and Rebecca Lohr Leslie and Susan Loomans John and Cheryl MacKrell Natalie Matovinovic Chandler and Mary Matthews Margaret W. Maurer Susan McClanahan and
Bill Zimmerman
Joseph McCune and Georgiana Sanders 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 Eulalie Nohrden Marylen and Harold Oberman
Gilbert Omenn and Martha Darling
Mrs. William B. Palmer
William C. Parkinson
Dory and John D. Paul
Margaret and Jack Petersen
Elaine and Bertram Pitt
Eleanor and Peter Pollack
Donald H. Regan and Elizabeth Axelson
Ray and Ginny Reilly
Maria and Rusty Restuccia
Kenneth J. Robinson
Mrs. Doris E. Rowan
Dr. Nathaniel H. Rowe
James and Adrienne Rudolph
Craig and Ian Ruff
Alan and Swanna Saltiel
Dick and Norman Sarns
Meeyung and Charles R. Schmitter
Mrs. Richard C. Schneider
Rosalie and David Schottenfeld
Sue Schroeder
Steven R. and Jennifer L. Schwartz
Janet and Michael Shatusky
Helen and George Siedel
Donald C. and Jean M. Smith
Susan M. Smith
Carol and Irving Smokier
Gus and Andrea Stager
Curt and Gus Stager
David and Ann Staiger
James and Nancy Stanley
Michael and Jeannette Bittar Stern
Victor and Marlene Stoeffler
Jan and Nub Turner
Susan B. Ullrich
Joyce A. Urba and David J. Kinsella
Michael L. Van Tassel
Elly Wagner
Florence S. Wagner
John Wagner
Willes and Kathleen Weber
Karl and Karen Weick
Robert O. and Darragh H. Weisman
Angela and Lyndon Welch
Marcy and Scott Westerman
Roy and JoAn Wetzel
Harry C. White and Esther R. Redmount
Max Wicha and Sheila Crowley
Phyllis B. Wright
Paul Yhouse
Ed and Signe Young
Gerald B. and Mary Kay Zelenock
BENEFACTORS $500-$999
Michael and Marilyn Agin
Robert Ainsworth
Dr. and Mrs. Robert G. Aldrich
Michael and Suan Alexander
Anastasios Alexiou
Dr. and Mrs. David G. Anderson
Dr. and Mrs. Rudi Ansbacher
Benefactors, continued
Elaine and Ralph Anlhony
Janet and Arnold Aronoff
Norman E. Barnett
Mason and Helen Barr
Lois and David Baru
I r. Wolfgang and Eva Bernhard
John Blankley and
Maureen Foley Jane Bloom, MD and
William L. Bloom Charles and Linda Borgsdorf David and Sharon Brooks Morton B. and Raya Brown Sue and Noel Buckner Trudy and Jonathan Bulkley Dr. Frances E. Bull H. D. Cameron
Douglas and Marilyn Campbell Bruce and Jean Carlson Jack and Wendy Carman Marshall and Janice Carr Carolyn M. Carty and
Thomas H. Haug Hubert and Ellen Cohen Susan and Arnold Coran Jean Cunningham and
Fawwaz Ulaby
Roderick and Mary Ann Daanc Delia DiPietro and
Jack Wagoner, M.D. Charles and Julia Eisendrath Patricia Enns Ms. Julie A. Erhardt Stefan S. and Ruth S. Fajans Dr. and Mrs. S.M. Farhat Dede and Oscar Feldman Dr. and Mrs. James Ferrara Sidney and Jean Fine Carol Finerman Clare M. Fingerle Guillermo Flores Mr. and Mrs. George W. Ford Phyllis W. Foster Betsy Foxman and
Michael Boehnkc Maxine and Stuart Frankel
Foundation Dr. Ronald Freedman Professor and
Mrs. David M. Gates Drs. Steve Geiringer and
Karen Bantel
Thomas and Barbara Gelehrter Charles and Rita Gelman Cozelte Grabb Elizabeth Needham Graham Dr. and Mrs. Lazar J. Greenfield David and Kay Gugala Carl and Julia Guldberg Don P. Haefncr and
Cynthia J. Stewart Mr. and Mrs. Elmer F. Hamel Robert and Jean Harris Paul Hysen and Jeanne Harrison Clifford and Alice Hart Jeannine and Gary Haydcn Henry R. and Lucia Heinold Mrs. W.A. Hiltner
)ohn II and
Maurita Peterson Holland Drs. Linda Samuelson and
Joel Howell
Mr. and Mrs. William Hufford Eileen and Saul Hymans John and Gretchen Jackson lean lacobson Jim and Dale Jerome John Kennedy Dick and Pat King Hermine R. Klingler Philip and Kalhryn Klintworth Joseph and Marilynn Kokoszka Lee and Teddi Landes Mr. John K. Lawrence Mr. and Mrs. Fernando S. Leon Jacqueline H. Lewis Daniel Little and
Bernadette Lintz E. Daniel and Kay Long Brigitlc and Paul Maassen Jeff Mason and Janet Netz Griff and Pat McDonald Deanna Relyea and
Piotr Michalowski Jeanette and Jack Miller Myrna and Newell Miller Brian and Jacqueline Morton Cyril Moscow Edward C. Nelson Dr. and Mrs. Frederick C. O'Dell Mr. and Mrs. James C. O'Neill Lorraine B. Phillips Roy and Winnifred Pierce Stephen and Bettina Pollock Richard H. and Mary B. Price Wallace and Barbara Prince Mrs. Gardner C. Quarton Mrs. Joseph S. Radom Dr. Jeanne Raislcr and Dr.
Jonathan Allen Cohn Rudolph and Sue Reichert Molly Resnik and John Martin H. Robert and Kristin Reynolds Jay and Machree Robinson Peter C. Schaberg and
Norma J. Amrhein Ann and Thomas J. Schribcr Erik and Carol Serr Juliannc and Michael Shea Thomas and Valerie Yova Sheets Howard and Aliza Shcvrin Pat Shure
Frances U. and Scott K. Simonds Irma J. Sklenar Alene and Stephanie Smith Lloyd and Ted St. Antoine James Steward and Jay Pekala Jim Stewart JeffStoller Prof. Louis J. and
Glennis M. Stout Dr. and Mrs. Stanley Strasius Charlotte B. Sundclson Bob and Betsy Teeter Elizabeth H. Thieme Christina and Thomas Thoburn William C. Tyler
Dr. Sheryl S. Ulin and Dr. Lynn T. Schachinger
Dr. and Mrs. Samuel C. Ursu
Charlotte Van Curler
Jack and Marilyn van der Velde
Mary Vanden Belt
Kate and Chris Vaughan
Joyce L. Watson and Martin Warshaw
Robin and Harvey Wax
Phil and Nancy Wedemeyer
Raoul Weisman and Ann Friedman
Dr. Steven W. Werns
Brymer Williams
Max and Mary Wisgerhof
Dean Karen Wolff
David and April Wright
ASSOCIATES $250-$499
Mr. and Mrs. Roy I. Albert
Helen and David Aminoff
David and Katie Andrea
Harlcne and Henry Appelman
Jeff and Deborah Ash
Mr. and Mrs. Arthur I. Ashe, III
Dwight T. Ashley
Dan and Monica Atkins
Eric M. and Nancy Aupperle
Robert L Baird
Laurence R. and
Barbara K. Baker Lisa and Jim Baker Barbara and Daniel Balbach Paulett Banks John R. Bareham David and Monika Barera Mrs. Icre M. Bauer Gary Beckman and Karla Taylor Professor and Mrs. Erling
Blondal Bengtsson Dr. and Mrs. Ronald M. Benson Joan and Rodney Bentz James A. Bergman and
Penelope Hommel Steven J. Bernstein Donald and Roberta Blitz Tom and Cathie Bloem David and Martha Bloom Dr. and Mrs. Bogdasarian Victoria C. Botck and William
M. Edwards
Dr. and Mrs. Ralph Bozell Paul and Anna Bradley June and Donald R. Brown Donald and Lela Bryant Robert and Victoria Buckler Margaret E. Bunge Susan and Oliver Cameron Margot Campos Jeannette and Robert Carr Dr. and Mrs. Joseph C. Cerny Thomas Champagne and
Stephen Savage
Or. Kyung and Young Cho Kwang and Soon Cho Robert J. Cicrznicwski Reginald and Beverly Ciokajlo Brian and Cheryl Clarkson Carolyn and L Thomas Conlin Nan and Bill Conlin Clifford and Laura Craig Merle and Mary Ann Crawford Peter C. and Lindy M. Cubba Richard I. Cunningham Marcia A. Dalbey Dr. and
Mrs. Charles W. Davenport Ed and Ellie Davidson Peter A. and Norma Davis 1'ihii and lean Dcbbink Elena and Nicholas Delbanco Richard and Sue Dempsey Elizabeth Dexter fack and Claudia Dixon ludy and Steve Dobson Heather and Stuart Dombcy Dr. Edward F. Domino Thomas and Esther Donahue John Dryden and Diana Raimi Rhelaugh Graves Dumas Swati Dutta
Martin and Rosalie Edwards Dr. Alan S. Eiser judge and Mrs. S. . Elden Ethel and Sheldon Ellis Mr. John W. Etsweiler, III Mark and Karen Falahec Elly and Harvey Falit Dr. John W. Farah Drs. Michael and
Bonnie Fauman Karl and Sara Fiegcnschuh Dr. James F. Filgas Susan FilipiakSwing City
Dance Studio Herschel Fink C. Peter and Bcv A. Fischer Gerald B. and
Catherine L. Fischer Howard and Margaret Fox Jason I. Fox Lynn A. Freeland Dr. Leon and Marcia Friedman Lcla J. Fucster
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld Chuck and Rita Gelman Deborah and Henry Gerst Elmer G. Gilbert and
Lois M. Verbrugge Matlhcw and Debra Gildea James and Janet Gilsdorf Maureen and David Ginsburg Albert and Almeda Girod Irwin Goldstein and
Martha Mayo Enid M. Gosling Charles and Janet Goss Jerry M. and Mary K. Gray Lila and Bob Green Victoria Green and
Matthew Toschlog
Sandra Grcgerman Hill and Louise Gregory Raymond and Daphne M. Grew Iark and Susan Griffin A'erner H. Grilk
)ick and Marion Gross
iob and Jane Grovcr
usan and )ohn Halloran
laribel Halslead
am Hammond
ourdes S. Bastos Hansen
lavid B. and Colleen M. Hanson lartin U. and Connie D. Harris Nina E. Hauser
Kenneth and leanne Heininger . Lawrence and Jacqueline
Stearns Henkel Dr. and Mrs. Keith S. Henley Kathy and Rudi Hentschel Louise Hodgson Mr. and Mrs. William B. Holmes lohn I. Hritz, r. lane H. Hughes Dr. and Mrs. Ralph M. Hulett Jewel F. Hunter Thomas and
Kathryn Huntzicker Robert B. Ingling Margaret and Eugene Ingram Kent and Mary lohnson Paul and Olga Johnson Dr. Marilyn S. (ones Stephen Josephson and
Sally Fink
Douglas and Mary Kahn Dr. and Mrs. Mark S. Kaminski George Kaplan and Mary Haan Arthur A. Kaselemas Professor Martin E. Katz Julie and Phil Kearney James A. Kelly and
Mariam C. Noland lohn B. and Joanne Kennard Frank and Patricia Kennedy Mr. Roland G. Kibler Donald F. and Mary A. Kiel Mrs. Rhea K. Kish
'.ml and Dana Kissner lames and lane Kistcr Dr. David E. and
Heidi Castleman Klein Steve and Shira Klein Laura Klem Anne Kloack Thomas and Ruth Knoll Dr. and Mrs. Melvyn Korobkin Amy Sheon and Marvin Krislov Bert and Geraldine Kruse David W. Kuehn and
Lisa A. Tcdesco Mrs. David A. Lanius Mr. and Mrs. Henry M. Lapeza Meal and Anne I .uir.iiwc Beth and George LaVoie Klaine and David Lebenbom
yril and Ruth Leder
uhn and Theresa Lee
rank Legacki and Alicia Torres
Jim and Cathy Leonard Carolyn Lepard Donald I. and
Carolyn Dana Lewis Ken and lane Lieberthal Leons and Vija Liepa Dr. and
Mrs. Richard H. Lineback Rod and Robin Little Vi-Cheng and Hsi-Yen Liu Ronald Longhofcr and
Norma McKenna Richard and Stephanie Lord Christopher and Carla Loving Charles and Judy Lucas Carl J. Lutkehaus Edward and Barbara Lynn Pamela I. MacKintosh Virginia Mahle Latika Mangrulkar Melvin and Jean Manis Ann W. Martin and Russ Larson James E. and Barbara Martin Sally and Bill Martin Vincent and Margot Massey Dr. and Mrs. Ben McCallister Margaret E. McCarthy Ernest and Adele McCarus Margaret and
Harris McClamroch James Mclnlosh Nancy A. and Robert E. Meader Gerlinda S. Melchiori Ph.D. Ingrid Merikoski Bernice and Herman Mcrte George R. and Brigitte Merz Henry D. Messer Carl A. House Ms Heidi Meyer Shirley and Bill Meyers Mr. and Mrs. Eugene Miller Sonya R. Miller Edward and Barbara Mills Thomas Mobley William G. and
Edith O. Mollcr, Jr. Jane and Kenneth Moriarty Thomas and Hedi Mulford Gerry and Joanne Navarre Frederick C. Neidhardt and
Germaine Chipault Alexander Nelson James G. Nelson and
Katherine M. Johnson Laura Nitzberg and
Thomas Carli Arthur and Lynn Nusbaum Dr. Nicole Obregon Robert and Elizabeth Oncal Constance and David Osier Marysia Ostafin and
George Smillie Drs. Sujit and Uma Pandit William and Hcdda Panzer Nancy K. Paul Wade and Carol Peacock Zoc and Joe Pearson Karen Tyler Perry C. Anthony and
Marie B. Phillips
Mr. and
Mrs. Frederick R. Pickard Wayne Pickvet and
Bruce Barret!
Frank and Sharon Pignanclli Wayne and Suellen Pinch Richard and Meryl Place Donald and Evonne Plantinga Bill and Diana Pratt lerry and Lorna Prescott Larry and Ann Preuss J. Thomas and Kathleen Pustell Leland and
Elizabeth Quackenbush Patricia Randle and lames Eng Jim and leva Rasmussen Anthony L. Rcftells and
Elaine A. Bennett lack and Margaret Ricketts Constance O. Rinehart Kathleen Roelofs Roberts Mr. and Mrs. Stephen J. Rogers Robert and loan Roscnblum Mr. Haskell Rothstein Doug and Sharon Rothwell Sally Rutzky Arnold Sameroff and
Susan McDonough Ina and Terry Sandalow Miriam Sandweiss lohn and Reda Santinga Michael and Kimm Sarosi Gary and Arlcnc Saxonhouse Albert I. and Jane L. Sayed Frank I. Schauerte Richard Black and
Christine Schesky-Black David and Marcia Schmidt lean Scholl David E. and
Monica N. Schteingart Mrs. Harriet Selin Judith and Ivan Shcrick George and Gladys Shirley lean and Thomas Shope lohn and Arlcne Shy Carl Simon and Bobbi Low Robert and Elaine Sims Tim and Marie Slottow Carl and Jari Smith Mrs. Robert W. Smith Yoram and Eliana Sorokin Tom Sparks
Larry and Doris Sperling leffrey D. Spindler Burnctte Staebler Gary and Diane Stahle Frank D. Stella Rick and Lia Stevens Stephen and Gayle Stewart Ellen M. Strand and
Dennis C. Regan Donald and Barbara Sugerman Richard and Diane Sullivan Brian and Lee Talbot Margaret Talburtt and
lames Peggs Eva and Sam Taylor
tephan Taylor and
Elizabeth Stumbo ames L. and Ann S. Telfer 'aul and lane Thielking idwin J. Thomas lette M. Thompson )r. and Mrs. Robert F. Todd 'atricia and Tcrril Tompkins Jr. and Mrs. Merlin C. Townley imToy
iill and Icwell Tustian fanja and Rob Van der Voo .ourdes Velez, MD ,Vendy L. Wahl and
William R. Lee "harles R. and
Barbara H. Wallgren Robert D. and Liina M. Wallin Jeborah Webster and
George Miller -awrence A. Weis iusan and Peter Westerman ris and Fred Whitehouse -eslie Clare Whitfield Professor Steven Whiting Reverend Francis E. Williams Christine and Park Willis Fhomas and Iva Wilson Lois Wilson-Crabtree Beverly and Hadley Wine Beth and I. W. Winsten Charles Witkc and Aileen Gatten Charlotte A. Wolfe and Alma Wooll Don and Charlotte Wyche MaryGrace and Tom York Ann and Ralph Youngren Mrs. Alexandra Zapata Gail and David Zuk
ADVOCATES $100-$249
Tim and Leah Adams
Dr. Dorit Adler
Ronald Albucher and Kevin Pfau
Phyllis Allen
Richard and Bettyc Allen
Barbara and Dean Alseth
Forrest Alter
Richard Amdur
Dr. and
Mrs. Charles T. Anderson Joseph and Annette Anderson Mr. and Mrs. David Andrew Iill B. and
Thomas . Archambeau M.D. Bert and Pat Armstrong Thomas and Mary Armstrong Gaard and Ellen Arneson lack and Jill Arnold Dr. and Mrs. Allan Ash James and Doris August John and Rosemary Austgen Erik and Linda Lee Austin Ronald and Anna Marie Austin
Advocates, continued
Shirley and Donald Axon Virginia and Jerald Bachman Mr. Robert M Bachleal Mark Baerwolf Prof, and Mrs. J. Albert Bailey Joe and Helen Logelin Helena and Richard Balon Maria Kardas Barna Laurie and Jeff Barnett Robert and Carolyn Bartle Leslie and Anita Bassett Judith Batay-Csorba Francis J. Bateman Dorothy W. Bauer Charles Baxter
Deborah Bayer and Jon Tyman Kenneth C. Beachlcr James and Margaret Bean Frank and Gail Beaver James M. Beck and
Robert J. McGranaghan Robert Beckley and
Judy Dinesen Nancy Bender Walter and Antje Benenson Mr. and Mrs. Ib Bentzen-Bilkvist Dr. Rosemary R. Berardi Helen V. Berg Harvey Berman and
Rochelle Kovacs Berman Kent Berridge Gene and Kay Berrodin Mark Bertz
Ralph and Mary Beuhler Christopher Bigge Eric and Doris Billes Jack Billie and Sheryl Hirsch Sara Billmann and Jeffrey Kuras William and Ilene Birge Elizabeth S. Bishop Leslie and Roger Black Martin and Mary Black Mary Steffek Blaske and
Thomas Blaske Mark and Lisa Bomia Seth Bonder Harold W. and
Rebecca S. Bonnell Lynda Ayn Boone Morris and Reva Bornstein Jeanne and David Bostian Jim Botsford and Janice
Stevens Botsford Bob and Jan Bower William R. Brashear Mr. and Mrs. Gerald Bright I3aul A. Bringer Olin and Aleeta Browder Linda Brown and Joel Goldberg Edward and Jeanette Browning Molly and John Brueger John and Nancy Buck Elizabeth Buckner and
Patrick Herbert Marilyn Burhop Barbara H. Busch Joanne Cage
Brian and Margaret Callahan Louis and Janet Callaway
Barb and Skip Campbell Susan Y. Cares Evan and Maria Carew lames and Jennifer Carpenter Dennis B. and
Margaret W. Carroll John and Patricia Carver Margaret and William Caveney K. M. Chan
Samuel and Roberta Chappell Felix and Ann Chow Catherine Christen Edward and Rebecca ChudacofT Sallie R. Churchill Nancy Cilley
Donald and Astrid Cleveland Mr. Fred W. Cohrs Willis Colburn and Denise Park Michael and Marion T. Collier Ed and Cathy Colone Wayne and Melinda Colquitt M. C. Conroy
Jeff Cooper and Peggy Daub Brian T. and Lynne P. Coughlin Marjorie A. Cramer Richard and Penelope Crawford Mary C. Crichton Mr. and Mrs. James I. Crump Peggy Cudkowicz Townley and Joann Culbertson John and
Carolyn Rundell Culotta Marcio Da Fonseca Mr. and Mrs. John R. Dale Marylec Dalton Timothy and
Robin Damschroder Mr. and Mrs. Norman Dancy Stephen Danvall and
Rosemarie Hester DarLinda and Robert Dascola Ruth E. Datz Sally and Jack Dauer Mr. and
Mrs. Arthur W. Davidge Mark and Jane Davis State Rep. and
Mrs. Gene De Rossett Dr. and Mrs. Raymond F. Decker Joe and Nan Decker Peter and Deborah Deem Rossana and George DeGrood George and Margaret DeMuth Pamela DeTullio and Stephen
Wiseman
Don and Pam Devine Martha and Ron DiCecco Andrzej and Cynthia Dlugosz Ruth J. Doane Mrs. Ruth P. Dorr-Maffett Bill and Mary Doty Victor and Elizabeth Douvan Roland and Diane Drayson Mary P. Dubois Ronald and Patricia Due Connie R. Dunlap Richard F. Dunn Jean and Russell Dunnaback Anthony and Sarah Earley
Richard and Myrna Edgar Morgan H. and Sara O. Edwards Vernon 1and Johanna Ehlers Karen Eiscnbrey Chris and Betty Elkins Lawrence Ellenbogen Anthony and Paula Elliott Julie and Charles Ellis H. Michael and Judith L. Endrcs loan and Emil Engel Karen Epstein and
Dr. Alfred Franzblau Steve and Pamela Ernst Dorothy and Donald Eschman Mr. and Mrs. Robert B. Fair, r. Garry and Barbara Faja [nka and David Fdbeck David and Karen Feldman Phil and Phyllis Fellin Larry and Andra Ferguson Dennis and Claire Fernly Carol Fierke Lydia H. Fischer Dr. and Mrs. Richard L Fisher Beth and Joe Fitzsimmons George and Kathryn Foltz Susan Goldsmith and
Spencer Ford Burke and Carol Fossee Scott Fountain William and Beatrice Fox Dan and Jill Francis Hyman H. Frank Lora Frankel Lucia and Doug Frecth Richard and Joann Frcethy Sophia L. French Joanna and Richard Friedman Marilyn L. Friedman and
Seymour Koenigsberg Susan Froelich and
Richard Ingram Gail Fromes Jerry Frost Ms. Carolyn Frost Joseph E. Fugere and
Marianne C. Mussett Frances and Robert Gamble Karen Gardstrom Joann Gargaro
R. Dennis and Janet M. Garmer Jack J. and Helen Garris C. Louise Garrison Janet and Charles Garvin Tom Gasloli
Wood and Rosemary Geist Michael and
Ina Hanel-Gerdenich W. Scott Gcrstenberger and
Elizabeth A. Sweet Leo and Renate Gerulaitis Allan F. Gibbard Paul and Suzanne Gikas Zita and Wayne Gillis Joyce and Fred Ginsberg Mr. and Mrs. Robert Gold Ed and Mona Goldman Mrs. Eszter Gombosi Mitchell and Barbara Goodkin
Selma and Albert Gorlin William and lean Gosling Kristin A. Goss Michael I.. Gowing Steve and Carol Grafton Christopher and Elaine Graham Helen M. Graves Isaac and Pamela Green Deborah S. Greer Linda Gregerson and
Steven Mullaney G. Robinson and Ann Gregory Linda and Roger Grekin Lauretta and Jim Cribble Rita and Bob Grierson William L. and
Martha B. Grimes Laurie Gross
Robin and Stephen Gruber Arthur W. Gulick, M.D. Lorraine Gutierrez and
Robert Peyser
Caroline and Roger Hackett Barbara H. Hammitt Dora E. Hampel Don and Ian Hand Grace H. Hanninen Rachel Brett Harley Stephen G. and
Mary Anna Harper Ed Sarath and Joan Harris Laurelynne D. and
George Harris Susan R. Harris In lie llartman Anne M. Heacock Henry and Mary S. Healey lames and Esther Heitlcr William C. Heller Sivana Heller
Karl Henkel and Phyllis Mann Al and Jolene I lermalin Jeanne Hernandez Ken and Carrie Hcrr Roger and Dawn Hertz Ronald D. and Barbara ). Hertz Roger K Hewitt John and Martha Hicks Herb and Dee Hildebrandt Peter G. Hinman and
Elizabeth A. Young lames and Ann Marie Hitchcock Frances C. Hoffman Carol and Dieter Hohnke Gad Holland
Kenneth and Joyce Flolmes Mrs. Howard Holmes Dave and Susan Horvath Paul A. Hossler Dr. Nancy Houk James and Wendy Fisher House Jeffrey and Allison Housncr Gordon Housworth Kenneth and Carol Hovey Mrs. V. C. Hubbs Jude and Ray I luetteman Harry and Ruth Huff JoAnne W. Hulce Virginia H. I lunt
Edward C. Ingraham
"erry Irish
id and Harriet Israel
ilith G. Jackson
rof. and Mrs. lohn H. Jackson
)avid Jahn
liabcth l.ihn
,u him and Christra Janecke
;ick Janosi
ean and Leslie Jarrett
larilyn G. Jeffs
ranees and Jerome Jelinek tith D. and Kathryn H. Jensen Margaret Jensen Christopher P. and
Sharon Johnson Mark and Linda Johnson Constance L. Jones Paul R. and Mercdyth Jones Mary Kalmes and Larry
Friedman
Allyn and Sherri Kantor Paul Kantor and Virginia
Weckstrom Kantor Mr. and Mrs. Irving Kao Mr. and Mrs. Wilfred Kaplan Carol and H. Peter Kappus Alex and Phyllis Kato Allan S. Kaufman, M.I). Dennis and Linda Kayes Brian Kelley Richard Kennedy Linda D. and Thomas E. Kenney George L. Kenyon and
Lucy A. Waskell
David J. and JoAnn Z. Keosaian Nancy Keppelman and
Michael Smerza John Kiely
Paul and Leah Kileny Jeanne Kin Howard King and
Elizabeth Sayre-King lean and Arnold Klugc Dr. and Mrs. William L. Knapp Rosalie and Ron Kocnig Michael J. Kondziolka Charles and Linda Koopmann Alan and Sandra Kortesoja Dr. and
Mrs. Richard Krachenberg lean and Dick Kraft Barbara and Ronald Kramer Doris and Don Kraushaar Edward and Lois Kraynak William G. Kring Alan and Jean Krisch Mr. and Mrs. John Lahiff I'im and Kathy Laing Mr. and Mrs. Seymour Lampert Henry and Alice Landau David and Darlenc L.indsittcl
.irl F, and Ann L. LaRue I'red and Ethel Lee
liane Lehman and
leffrey Lehman
ffrcy Lehman
nn M. Lcidy
chard and Barbara Lcite
Derick and Diane tenters
Richard LeSueur
David E. Levine
Harry and Melissa LeVine
George and Linda Levy
David Lewis
Norman and Mira Lewis
Ralph and Gloria Lewis
Robert and Julie Lewis
Tom and Judy Lewis
Arthur and Karen Lindenberg
Mark Lindley and
Sandy Talbott Michael and Dcbra Lisull Margaret K. Liu and
Diarmaid M. O'Foighil Dr. and Mrs. F. A. Locke Dr. Lennart H. Lofstrom Julie M. Loftin Jane Lombard David Lootens Florence Lopatin Armando Lopez Rosas Barbara R. and Michael Lott Lynn Luckcnbach Marjory S. Luther Elizabeth L. Lutton William T. Lyons Walter Allen Maddox Pia Maly Sundgren Pearl Manning
Sheldon and Geraldinc Markel Erica and Harry Marsden Irwin and Fran Martin H.L. Mason Wendy Massard Debra Mattison Janet Max Glenn D. Maxwell Carole Mayer Olivia Maynard and
Olof Karlstrom LaRuth C. McAfee Patrick McConnell Neil and Suzanne McGinn Bob and Doris Melling Allen and Marilyn Menlo Lori and Jim Mercier Arthur and Elizabeth Messiler Helen Metzner Don and Lee Meyer Suzanne M. Meyer Leo and Sally Miedlcr William and Joan Mikkelscn Carmen and lack Miller Gerald A. and Carol Ann Miller Bob and Carol Milstein James and Kathleen Mitchiner Elaine Mogcrman Olga Ann Moir Mary Jane Molesky Mr. Erivan R. Morales and
Dr. Seigo Nakao Jean Marie Moran and
Stefan V. Chmiclewski Arnold and Gail Morawa Robert and Sophie Mordis Dr. and Mrs. George W. Morley A. A. Moroun
)ohn and Michelle Morris Rick Motschall James and Sally Mueller Bernhard and Donna Muller Marci and Katie Mulligan Gavin Eadie and
Barbara Murphy Lora G. Myers Arthur and Dorothy Nesse Shirley Neuman Sharon and Chuck Newman William and Ellen Newsom Mr. and Mrs. lames K. Newton lohn and Ann Nicklas Mrs. Marvin Niehuss Richard and Susan Nisbett Christer and Outi Nordman Richard and Caroline Norman folanta and Andrzej Nowak Patricia O'Connor Nels R. and Mary H. Olson Paul L. and Shirley M. Olson Kathleen I. Operhall Fred Ormand and
Julia Broxholm David Orr and
Gwynne Jennings Dr. Jon Oscherwitz Mr. and Mrs. James R. Packard Daniel and Laura Palomaki Anthea Papista Donna D. Park Bill and Katie Parker Donna Parmelee and
William Nolting Sarah Parsons Robert and Arlcne Paup Drs. R. Paul Drake and
Joyce E. Penner William and Susan Penner Steven and Janet Pepe Mr. Bradford Perkins Susan A. Perry Jeff Javowiaz and
Ann Marie Petach Douglas Phelps and
Gwendolyn Jessie-Phelps Nancy S. Pickus Robert and Mary Ann Pierce William and Betty Pierce Dr. and Mrs. James Pikulski Robert and Mary Pratt Tony and Dawn Procassini Lisa M. Profera Ernst Pulgram Jonathan Putnam Dr. G. Robina Quale-Leach Mr. and Mrs. Mitchell Raddiff Dr. and Mrs. Robert Rapp Maxwell and Marjorie Reade Richard and Patricia Redman Michael J. Redmond Russ and Nancy Reed Dr. and Mrs. James W. Reese Mr. and Mrs. Stanislav Rehak Mr. and Mrs. Bernard E. Reisman J. and S. Remen Anne and Fred Rcmlcy Duanc and Katie Renken
Alice Rhodes Lou and Sheila Rice Walton and Sandra Rice James and Helen Richards Carol P. Richardson Betty Richart Lita Ristine
Janet K. Robinson, Ph.D. Jim and Kathleen Robinson Rosemary Rochford Jonathan and Anala Rodgers Mary Ann and Willard Rodgers Michael J. and Yelena M. Romm Edith and Raymond Rose Elizabeth A. Rose Stephen Rosenblum and
Rosalyn Sarver Richard Z. and
Edie W. Rosenfeld Charles W. Ross Lisa Rozek Gladys Rudolph Dr. Glenn R. Ruihley Mitchell and Carole Rycus Joan Sachs Brian Salesin Stephanie Savarino Sarah Savarino Jeri Sawall Drs. Edward and
Virginia Sayles Helga and Jochen Schacht Mary A. Schieve Courtland and Inga Schmidt Elizabeth L. Schmitt Susan G. Schooner Dietrich and Mary Schulze Shirley Schumacher Peter and Kathleen Scullen Richard A. Seid Frank and Carol Seidl Suzanne Selig Janet Sell
Louis and Sherry Senunas Richard H. Shackson Terry Shade Matthew Shapiro and
Susan Garetz
David and Elvera Shappirio Larry Shear and
George Killoran Ingrid and Cliff Sheldon Bright Sheng Lorraine M. Sheppard Patrick and Carol Sherry Mary Alice Shulman Ian Onder
Douglas and Barbara Siders Dr. Bruce M. Sicgan Eldy and Enrique Signori Susan Silagi Morrine Silverman Costella Simmons-Winbush Mildred Simon Michael and Maria Simonte Alice A. Simsar Alan and Eleanor Singer Scott and loan Singer Donald and Susan Sinta
Advocates, continued
Bernard J. Sivak and
Lorella Polish Beverly N. Slater David E. Smith Don and Dorothy Smith Dr. and Mrs. Michael W. Smith Haldon and Tina Smith Mr. Webster Smith Paul and luli.i Smith Susan E. Smith Hugh and Anne Solomon lames A. Somers Dr. Sheldon and
Sydelle Sonkin Errol and Pat Soskolne Becki Spangler and
Peyton Bland Peter Sparling and
John Gutoskey Elizabeth Spencer and
Arthur Schwartz Steve and Cynny Spencer lim Spevak
Judy and Paul Spradlin Charles E. Sproger Constance D. Stankrauff Stephen S. Stanton Stephanie and Chad Stasik Mr. and
Mrs. William C. Stebbins Virginia and Eric Stein William and Georgine Steude lim and Gayle Stevens Sue A. Stickel John and Beryl Stimson lames L. Stoddard Mr. and
Mrs. James Bower Stokoe Bob and Shelly Stoler Benjamin and Mona Stolz Eric and Ines Storhok Mary Stubbins Thomas Stulberg Roger Stutesman Nancy Bielby Sudia Mike and Donna Swank Thomas and Anne Swantek Richard and June Swartz Michael W. Taft and
Catherine N. Herrington Jim and Sally Tamm Larry and Roberta Tankanow Gerald and Susan Tarpley Michael and Ellen Taylor Robert Teicher and
Sharon Gambin James B. Terrill
Denise Thai and David Scobey Carol and Jim Thiry Catherine Thoburn Norman and Elaine Thorpe Michael Thouless and Yi-Li Wu Anna Thuren Peggy Tieman
Bruce Tobis and Alice Hamele Ronald and lacqucline Tonks lohn and Geraldine Topliss Sarah Trinkaus Kenneth and Sandra Trosien
Roger and Barbara Trunsky Jeff and Lisa Tulin-Silver Michael Udow Mr. Thomas W. Ufer Alvan and Katharine Uhle Paul and Frcdda Unangst Bernicc G. and
Michael L. Updike Madeleine Vallier Carl and Sue Van Appledorn Rebecca Van Dyke Bram and Lia van Leer Fred and Carole van Reesema Virginia Vass Sy and Florence Veniar Katherine Verdery Ryan and Ann Verhcy-Henke Marie Vogt
Harue and Tsuguyasu Wada Virginia Wait David C. and
Elizabeth A. Walker Jo Ann Ward
Drs. Philip and Maria Warren Lorraine Nadelman and
Sidney Warschausky Arthur and Renata Wasserman Leo Wasserman Mr. and Mrs. Warren Watkins Carol Weber Joan D. Weber Richard and Madelon Weber Carolyn ). Weigle Donna G. Weisman John, Carol and Ian Wclsch John and Joanne Werner Michael and Edwenna Werner Helen Michael West Paul E. Duffy and
Marilyn L. Wheaton Mary Ann Whipple Gilbert and Ruth Whitaker James B. and Mary F. White Thomas F. Wieder William and Cristina Wilcox Sara S. Williams Shelly F. Williams Anne Marie and Robert Willis Donna Winkelman and
Tom Easthope Sarajane and Jan Winkelm.111 Mark and Kathryn Winlerhalter Ira and Amanda Wollner Richard E. and Muriel Wong J. D. and Joyce Woods Ronald and Wendy Woods Stan and Pris Woollams Israel and Fay WoronofT Alfred and Corinne Wu Robert and Betty Wurtz Fran and Ben Wylie John and Mary Jean Yablonky Richard Yarmain lames and Gladys Young Mayer and Joan Zald Sarah Zearfoss and
Stephen Hiyama Susan Zerweck Erik and Lineke Zuiderweg
CORPORATE FUND
$100,000 ami above
Ford Motor Company Fund Forest Health Services
Corporation University of Michigan Pfizer Global Research and
Development: Ann Arbor
Laboratories
$20,000-549,999
Borders Group, Inc. DaimlcrChrysler
Corporation Fund Office of the Senior Vice
Provost for Academic Affairs TIAA-CREF
$10,000-$19,999
Bank of Ann Arbor
Bank One
Brauer Investments
CFI Group
DTE Energy Foundation
KeyBank
McDonald Investments
McKinley Associates
Sesi Lincoln Mercury Volvo
Mazda Thomas B. McMullen Company
$5,000-$9,999
Ann Arbor Automotive Butzd Long Attorneys Comerica Incorporated Consumers Energy Dennis Dahlmann Inc. Edward Surovcll Realtors Elastizell Corporation of
America
Learning Express-Michigan MASCO Charitable Trust Miller, Canfield, Paddock and
Stone, P.L.C. National City Bank Pepper Hamilton LLP
$l,000-$4,999
Alf Studios Blue Nile Cafe Marie Chase Manhattan Comcast
Holcim (US) Inc. loscph Curtin Studios Lewis Jewelers ProQuest Company Republic Bank I'CF Bank Iexaco
$100-$999
Ayse's Courtyard Cafe
Ann Arbor Builders
Ann Arbor Commerce Hank
lied 8; Breakfast on Campus
BKR Dupuis & Rydcn, P.C.
Burns Park Consulting
Cemex Inc.
Clark Professional Pharmacy
Coffee Express
Dr. Diane Marie Agresta
Edward Brothers, Inc.
Fleishman Hillard Inc.
Galamp Corporation
Garris, Garris, Garris & Garris,
P.C.
Guardian Industries Malloy lithographing Michigan Critical Care
Consultants Quinn EvansArchitects Rosebud Solutions Seaway Financial
AgencyWayne Milewski SeloShevel Gallery Swedish Women's Educational
Association
Swing City Dance Studio Thalner Electronic
Laboratories Inc.
FOUNDATION AND
GOVERNMENT
SUPPORT
VMS 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 The Power Foundation Wallace-Reader's Digest Funds
$50,000-$99,999
Community Foundation for Southeastern Michigan
$W,000-$49,999
Association of Performing Arts
Presenters Arts Partners
Program National Endowment for
the Arts New England Foundation for the
Arts National Dance Project
$l,000-$9,999
rls Midwest iclman Educational
Foundation
,-.n il.iinf Arts Fund Iid-America Arts Alliance 'he Lcbensfcld Foundation .lontague Foundation
HE MOSAIC FOUNDATION
(of R. and P. Heydon) arns Ann Arbor Fund vibrant of Ann Arbor
$W0-$999 Erb Foundation
TRIBUTE GIFTS
Contributions have been received in honor andor memory of the following individuals:
Alice B. Crawford
Alice Kelsey Dunn
Michael Gowing
Dr. William Haeck
Carolyn Honston
Harold lacobson
loci Kahn
Elizabeth E. Kennedy
William McAdoo
Frederick N. McOmber
Robert Meredith
Gwen and Emerson Powrie
Professor Robert Putnam
Ruth Putnam
Steffi Reiss
Margaret Rothstcin
F.ric H. Rothstein
Ned Shure
Dora Maria Sonderhoff
A'olfgang F. Stolper
iana Stone Peters
saac Thomas
rancis V. Viola III Horace WarrtMi
:arl H. Wilmol !'eter Holderness Woods Elizabeth Yhouse
BURTON TOWER SOCIETY
The Burton Tower Society recog?nizes and honors those very spe?cial friends who have included UMS in their estate plans. UMS is grateful for this important support, which will continue the great traditions of artistic excel?lence, educational opportunities and community parttierships m future years.
Anonymous
Carol and Herb Amster
Dr. and Mrs. David G.
Anderson
Mr. Neil P. Anderson Catherine S. Arcure Mr. Hilbert Beyer Elizabeth Bishop Mr. and Mrs. Pal E. Borondy Barbara Everilt Bryant Pat and George Chatas Mr. and Mrs. John Alden Clark Douglas D. Crary H. Michael and ludith L.
Endres
Beverlcy and Gerson Geltner li'lm and Martha Hicks Mr. and Mrs. Richard Ives Marilyn lefFs Thomas C. and Constance M.
Kinnear
Charlotte McGeoch Michael G. McGuire Dr. Eva Mueller Len and Nancy Niehoff Dr. and Mrs. Frederick C.
O'Dell
Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Mr. and Mrs. lack W. Ricketts Mr. and Mrs. Willard L.
Rodgers Prudence and Amnon
Rosenthal Irma J. Skclnar 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's endowment. UMS extends its deepest appreciation to the many donors who have established andor contributed 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 Mary R. Romig-deYoung
Music Appreciation 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
Ann Arbor Women's City Club
Arbor Brewing Co.
Ashley Mews
The Back Alley Gourmet
Bella Ciao Trattoria
Kathy Benton and
Robert Brown Bivouac
The Blue Nile Restaurant Bodywise Therapeutic Massage Borders Book and Music Cafe Marie Bill and Nan Conlin Hugh and Elly Rose Cooper Cousins Heritage Inn Roderick and Mary Ann Daane D'Amato's Italian Restaurant Daniel's on Liberty David Smith Photography Peter and Norma Davis Robert Derkacz The Display Group
Dough Boys Bakery
The Earle
Kathcrinc and Damian Farrell
Ken and Penny Fischer
Food Art
The Gandy Dancer
Beverley and Gerson Geltner
Great Harvest Bread Company
Linda and Richard Greene
Nina Hauser
John's Pack & Ship
Steve and Mercy Kasle
Kerrytown Bistro
King's Keyboard House
Ray Lance
George and Beth Lavoie
LeDog
Leopold Bros, of Ann Arbor
Richard LeSueur
Mainstreet Ventures
Ernest and Jeanne Mcrlanti
John Metzger
Michigan Car Services, Inc.
and Airport Sedan, LTD Robert and Melinda Morris Nicola's Books, Little Professor
Book Co.
Paesano's Restaurant Pfizer Global Research and
Development: Ann Arbor
Laboratories
Randy Parrish Fine Framing Red Hawk Bar & Grill Regrets Only Rightside Cellar Ritz Camera One Hour Photo Don and Judy Dow Rumelhart Maya Savarino Penny and Paul Schreiber Seva
Shaman Drum Bookshop Dr. Elaine R. Soller Washington Street Gallery Weber's Restaurant Zanzibar
UMS ADVERTISERS
20 Alden B. Dow Home
& Studio
42 Ann Arbor Builders 44 Ann Arbor Symphony
Orchestra 38 Automated Resource
Management, Inc. 12 Bank of Ann Arbor 44 Bellanina Day Spa 42 Beresh Jewelers 22 Bodman, Longley and
Dahling, LLP 18 Butzel Long 24 Chelsea Musical
Celebrations
22 Comerica, Inc. 38 Dobson McOmber 12 Edward Surovell
Realtors
20 Forest Health Services 22 Fraleigh's Nursery 47 Glacier Hills 40 Howard Cooper
Import Center 38 Huron Valley Tennis
Club
38 IATSE Local 395 38 Journeys International 44 Key Bank 18 King's Keyboard
42 Land Architects 13 Lewis Jewelers 22 Littlefield & Sons
Furniture Service 40 Miller, Canfield,
Paddock & Stone 56 Mundus and Mundus 24 National City Bank--
Private Investment
Advisors 20 Q Ltd. 56 Red Hawk Bar and
GrillZanzibar 42 Rudolf Steiner School
of Ann Arbor
24 Sweetwaters Cafe 42 Ufer&Co. 38 UM Museum of Art 16 UM School of Music 32 University Commons Blue Hill Development 34 WDET 32 WEMU 24 WGTE 10 WKAR C WUOM

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