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UMS Concert Program, Friday Oct. 11 To 20: University Musical Society: Fall 2002 - Friday Oct. 11 To 20 --

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University Musical Society
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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
1 UMSannals
Letters from the Presidents
Letter from the Chair
Corporate LeadersFoundations '
UMS Board of Directors
UMS Senate
Advisory Committee
UMS Staff
UMS Teacher Advisory Committee
General Information
Group Tickets '
Discounted Student Tickets :
Gift Certificates
The UMS Card
UMS History ---------------
UMS Choral Union VenuesBurton Memorial Tower
The 0203 UMS Season Stf
Education & Audience Development
Restaurant & Lodging Packages
UMS Preferred Restaurant Program
UMS Delicious Experiences
Advisory Committee
Sponsorship & Advertising
Internships & College Work-Study
UMS Advertisers
nnl Cw Cleveland Orchestra, Gnip Carp (Ise Luis Pederneiras), Caeun Vr]M {Anthony Barmvu), Cantifas 4e Santa Mai
he 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 2__ 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.
Mary Sue Coleman
President, University of Michigan
hank 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
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 Handier 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 or call me at 734.647.1174.
Very best wishes,
Kenneth C. Fischer UMS President
U MS leadership
t 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. r9Hi???i:ligSill
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.
Beverley Geltner
Chair, UMS Board of Directors
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." jfrajuajtt)?gg
David Canter
Senior Vice President, Pfizer, Inc. !f?S??:: "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 ?. .u
'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."
Roberta. Malek t
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."
Peter Laki
Program Note Annotator
I eter 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.
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 j
Arts Midwest
Gelman Educational Foundation
Heartland Arts Fund
The Lebensfeld Foundation
Mid-America Arts Alliance
Montague Foundation
(of R. and P. Heydon) Sams Ann Arbor Fund Rosalie EdwardsVibrant Ann Arbor Fund
$100 999 Erb Foundation
UNIVERSITY MUSICAL SOCIETY of the University of Michigan
Beverley B. Geltner,
Chair Alice Davis Irani, "
Vice-Chair Prudence L Rosenthal,
Secretary Erik H. Serr, Treasurer
Janice Stevens
Barbara Everitt Bryant Kathleen G. Charla Mary Sue Coleman Jill A. Corr Hal Davis Sally Stegeman
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
(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 c 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. Surovcll James L. Telfer Susan B. Ullrich Eileen Lappin Weiser Gilbert Whitaker B. Joseph White Marina v.N. Whitman Iva M. Wilson
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 igliJISs
Elly Rose Cooper
Nita Cox
Mary Ann Daane
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 Morrinc Silvcrman Maria Simontc Loretta Skewes Cynny Spencer Wendy Woods
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
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 I 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,
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,
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
Shirley Bartov Vineeta Bhandari Carla Dirlikov Jennifer Gates Milena Grubor Lindsay Mueller Sameer Patel
President Emeritus Gail W. Rector
Fran Ampey Kitty Angus Alana Barter Joseph Batts Linda Batts Kathleen Baxter Elaine Bennett Lynda Berg Yvette Blackburn Barbara Boyce Letitia Byrd
Doug Cooper Nancy Cooper Gail Davis Barnes Ann Deckert Gail Dybdahl Keisha Ferguson Doreen Fryling Yulonda Gill-Morgan Brenda Gluth Louise Gruppen Vickey Holley Foster
Linda Jones Deborah Katz Deb Kirkland Rosalie Koenig Sue Kohfeldt David Leach Rebecca Logic 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
U MS services
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 m 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
Refreshments ---------------------T
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.
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 WWW.UIT1S.0rg
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.
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.
he group sales program has grown incred?ibly in recent years, and our success is a direct result of the wonderful leaders who organize their friends, families, congrega?tions, students, and co-workers and bring them to one of our events.
Last season over 10,000 people came to UMS events as part of a group, and they saved over $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 ticketsJ
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
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.
ooking for that perfect meaningful gift ?that speaks volumes about your taste Tired of giving flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than eighty events throughout our season, wrapped and delivered with your personal message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a _-
housewarming present when new friends move to town.
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
MS and the following businesses thank . you for your generous support by pro?viding you with discounted products and services through the UMS Card, a privilege for subscribers and donors of $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
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
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
oin the thousands of savvy people who log onto each month!
Why should you log onto
Tickets Forget about waiting in long ticket lines--order your tickets to UMS performances online! And now you'll know your specific seat location before you buy online.
CyberSavers 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.
hrough 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. .iHSm
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
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 SB-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 or call 734.763.8997.
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
. .uditorium
-e 18-month, $3,
vation to Hill Auditorium began on May 1.3, 2002 under the direction of Albert Kahn Lssociates, Inc., and historic preservation chitects Quinn EvansArchitects. Hill was uSt opened to Michigan audiences in 1913 nd this current renovation project will update (1 of its infrastructure systems and restore uuch of the interior decor to its original ilendor.
i Exterior renovations will rebuild brick aving and stone retaining walls, restore the :outh entrance plaza, rework the west barrier-:ee ramp and loading dock, and improve the indscaping which surrounds the building. . Interior renovations will create additional estrooms, improve audience circulation by roviding elevators, replace main-floor seating o increase patron comfort, introduce barrier-ree seating and stage access, replace audio-risual systems, and completely replace all nechanical and electrical infrastructure sys-ems for heating, ventilation, and air condi-ioning.
Upon reopening in January 2004, Hill Auditorium will decrease in seating capacity rom 4,169 to 3,710.
Crisler Arena
risler 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. g
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
" otwithstanding 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
?he historic Michigan Theater opened
January 5, 1928 at the peak of the vaude?villemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ. At its opening the theater was acclaimed as the best of its kind in the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation. ;.-
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
ixty 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
n 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-
Pease Auditorium
uilt 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
'he Detroit Opera House opened in April of 1996 following an extensive renovation by Michigan Opera Theatre. Boasting a 75,000-square-foot stage house (the largest stage between New York and Chicago), an orchestra pit large enough to accommodate 100 musicians and an acoustical virtue to rival the world's great opera houses, the 2,735-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
rchestra 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. i
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
"" een trom 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, October 11 through Sunday, October 20, 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.
White 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.
Tamango's Urban Tap
Friday, October 11, 8:00 pm '
Saturday, October 12,2:00 pm (family performance)' Saturday, October 12, 8:00 pm Power Center Ann Arbor
Venice Baroque Orchestra
Sunday, October 13, 7:30 pm
St. Francis of Assisi Catholic Church Ann Arbor
Abbey Theatre of Ireland
Thursday, October 17, 8:00 pm Friday, October 18, 8:00 pm Saturday, October 19, 2:00 pm Saturday, October 19, 8:00 pm Sunday, October 20,2:00 pm Power Center Ann Arbor
Takacs Quartet and Garrick Ohlsson
Sunday, October 20,7:00 pm
Rackham Auditorium Ann Arbor . .
Welcome to this UMS presentation. You are now part of the UMS family and one of the people who make this organization a success. Whether this is your first UMS performance or you have been attending for many years, I hope this is a special experience.
As an audience member, you may not know how many are involved in making this performance a reality. You see the ushers, you can imagine the production crew, you know someone had to make decisions about the program and negotiate contracts, and you know someone had to pay the stagehands. You or your child may have been the fortunate participant in one of our education programs. You purchased your ticket through the box office. Or perhaps UMS President, Ken Fischer, told you this is an artist not to miss.
You may not be aware of the many friends, donors, partners, corpo?rations, and foundations who, along with the State of Michigan and the University of Michigan, contribute to our success. Volunteers make up
our stellar board, led by Bev Geltner, and our budget and
finance committee members spend extraordinary effort conducting both shortand long-term financial planning to insure we are always on firm financial footing. The members of our advisory committee raise funds through the Ford Honors Program, the recent "treasures" sale, and the Bravo! cookbook, and usher at youth performances. The heads of corporations support programs because UMS makes it easier to recruit new employees to Ann Arbor. Individuals support a program because they
appreciate a particular artist or performance style, or they love the Takacs Quartet and Garrick Ohlsson. A foundation wants Detroit students to have access to the best in music, theater and dance.
We hope you continue to be part of the UMS family. The first step was purchasing your ticket, which supports 54 of the cost of presenting our season. The margin of excellence comes from your willingness to vol?unteer your time and contribute financially to UMS. Please join us in our commitment to continue the 124-year legacy.
For information regarding opportunities to be involved, I hope you will turn to page 45 in this program book.
Warm regards,
Susan McClanahan
UMS Director of Development

UMS Educational
UMS Educational Events through Thursday, October 22,2002
All UMS educational activities are free and open to the public unless otherwise noted ($). Please visit for complete details and updates.
Tamango's Urban Tap
Rhythm Jam Session
UMS is recreating Tamango's New York late-night jam session. Improv-tappers and rhythm-mak?ers will be invited to participate andor observe.
Thursday, October 10, 9 pm, Gallery 212, 207 W. Liberty, Ann Arbor
Urban Tap Family Performance
A one-hour family performance featuring Tamango and Urban Tap. For tickets, call 734.764.2538 or visit Saturday, October 12, 2 pm, Power Center for the Performing Arts
Abbey Theater of Ireland Euripides' Medea Immersion
In the current season, UMS will focus on the theatrical production of Euripides' Medea by presenting the celebrated production by the Abbey Theatre of Ireland featuring Fiona Shaw as Medea and directed by Deborah Warner. UMS Education is hosting the following array of educational events to fur?ther the audience's appreciation of Medea in performance. All events are free and held in Ann Arbor.
Lecture: "Of Women and Sons and Lovers"
Ralph Williams, UM Professor of English Language and Literature will explore representations and inter?pretations of Medea, a figure of enduring power in the Western traditions.
Thursday, October 3, 7 pm, Rackham Auditorium, 915 E. Washington ?
Medea Study Club Linda Gregerson, UM Professor of English Language and Literature delves into the history of the play, the myth of Medea, and aspects of this production in performance his?tory. To register, please contact UMS Education, 734.647.6712 or; limited capacity. Monday, October 7, 7 pm, Michigan Union Anderson Room, 1st Floor, 530 S. State
Medea Film Series These films were chosen to high?light the close and fascinating con?nection between ancient and mod?ern Greek culture. Each film shows an internationally-known Greek actress grappling with a classical role with which they had previously identified on the stage. Sunday, October 13, torch Hall, 611 Tappan
Pier Paolo Pasolini's Medea (1970)
(4 pm)
An adaptation of Euripides' Medea
with Maria Callas in the title role in
her only non-operatic performance
(100 minutes).
Cast: Maria Callas, Guiseppi
Gentile, Laurent Terzieff, Massimo
Jules Dassin's A Dream of Passion (1978) (8 pm)
A famous Greek actress returns to her homeland to prepare for the role of Medea. Seeking inspiration for her performance, she turns to an American woman imprisoned
in Athens for the murder of her own children (106 minutes). Cast: Melina Mercouri, Ellen Burstyn, Despo Diamantidou, Andreas Voutsinas
Love and Death: An Interdisciplinary Discussion about Medea in Performance Yopie Prins, UM Professor of Comparative Literature, will mod?erate interdisciplinary discussion with scholars, critics, actors, and directors about the dramatic (after)life of Medea, on the page and on the stage. Guest artists Deborah Warner and Fiona Shaw join in dialogue with UM profes?sors Benjamin Acosta-Hughes (Classics), Linda Gregerson (English), Kate Mendeloff(Drama, Residential College), and Ruth Scodel (Classics). Friday, October 18, 12 noon, Michigan League Koessler Room, 3rd Floor, 911 N. University
These events are a UMS collaboration with the UM Department of English Language and Literature, UM Modern Greek Program, UM Faculty Consortium on Contexts in Classics, UM Hellenic Student Association, UM Department of Theater, and UM Residential College.
Simply committed to the best in dance for Michigan.
Elastizell Corporation of America
Office of the Senior Vice Provost for Academic Affairs
Tamango's Urban Tap
TAMANGO, Artistic Director and Performer
Naj, Visual Design and VJ Michael Mazzola, Lighting Design
Bonga (Gaston Jean-Baptiste), Haitian Percussion
Cabello, Capoeira Dancer, Berimbau, Caxixi, and Pandeiro Pjj
Rufus Cappadocio, Cello, Bass
Ivan "The Urban Action Figure" Manriquez, B-Boy Free Style Dance.
Daniel Moreno, Percussion, Toys ;iSffi
Fabio Morgera, Trumpet
Friday Evening, October 11 at 8:00
Saturday Afternoon, October 12 at 2:00 (family performance)
Saturday Evening, October 12 at 8:00
Power Center Ann Arbor
Full Cycle
Seventh, Eighth and Ninth Performances 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.
The Friday evening performance is sponsored by Elastizell Corporation of America.
The Saturday evening performance is co-presented with the Office of the Senior Vice Provost for Academic Affairs.
Presented with support from the Wallace-Reader's Digest Funds.
The residency activities associated with this performance are presented with support from the University of Michigan as part of a special UMUMS part?nership that furthers a mutual commitment to education, creation and pre?sentation in the performing arts.
Additional support provided by media sponsors WEMU and Metro Times.
Special thanks to Gallery 212 and the UM Department of Dance for their involvement in this residency. g
Tamango's Urban Tap appears by arrangement with MultiArts Projects & Productions.
Touring of Full Cycle is supported in part by an award from the National Endowment for the Arts. ;j_-, : ? --_ l-:..--
Urban Tap receives support from Philip Morris Companies, Inc Pre-recorded images by Naj, Carlos Motta and Tamango.
Large print programs are available upon request.
Tamango's Urban Tap Production Team
Artistic Director
Visual Design and VJ
Michael Mazzola
Lighting Design
Susan Hamburger
Production Supervisor, Associate Lighting Designer
Carlos Motta
Live Camera
Carmine Cove Hi
Sound Design
Eva Hannisdahl
Stage and Company Manager
The Art of the Now
"Urban Tap, a gathering of improvisational artists united by the universal language of rhythm, offers a natural ground for the medium of live video mixing. This intricate technological tool can become a musical instrument in its own right. The video montage, born live, creates a spontaneous composition of images, with its own melodic line and rhythm. It weaves mul?tiple layers of context, multi-dimensional perceptions
of the moment. It is 'visual music' and an integral part of the live experience.
Respect to the Urban Tap masters, from whom I learn more and more each day about the 'art of the now!'"
amango (Artistic Director, Didjeridoo, Drums, Spoken Word) is a dancer, musician and painter whose revolutionary approach to tap transforms his dance into music with a sharpened sense of style and awe-inspiring fluidity. Born in Cayenne, French Guiana, Tamango moved to Paris at age eight and began a formal education in art. He started tap dancing in his early 20s at the American Center in Paris and the Beaux Arts de Paris, which he left to join the university of the streets before moving to New York City. Tamango created Urban Tap in 1993, forming a group of like-minded, free-style performers who share a unique vision and deep passion for improvisation and rhythm at the heart of dance and music. Urban Tap has performed in clubs throughout New York City and made its theatrical debut at The Kitchen in 1999. The show captivated critics and the public and earned Tamango a New York Dance and Performance (Bessie) Award. In February 2001, Urban Tap made its off-Broadway debut with a three-week, sold-out run at the New Victory Theater. During the 0102 season, Urban Tap performed extensively throughout the US with engagements in 16 US cities that consistently attracted sold-out houses. The 0203 season introduces the work in Mexico, Australia, New Zealand and in Europe. In addition to his work with Urban Tap, Tamango has shared the stage with dance legends Jimmy Slyde, Gregory Hines, Chuck Green, Buster Brown and Lon
Chaney, and has collaborated with Japanese performance artist Min Tanaka, French choreographer Philippe Decoufle, jazz bassist Christian McBride, jazz pianist Barry Harris, Brazilian percussionist Cyro Baptista and jazz drummers Grady Tate, Roy Haynes and Billy Higgins. As a visual artist, he creat?ed a significant body of work and, in May 1999, premiered his artwork at 17 Creations in New York City.
These performances mark Tamango and " Urban Tap's UMS debut.
Naj, Jean de Boysson, (Visual Design.VJ) came to New York City from France in 1983 with a grant from the French Ministry of Foreign Affairs as a dancer. Since 1986, he has made a variety of video works as a direc?tor, cameraman and editor: dance videos such as Teile dich Nacht, a collaboration with Korean choreographer Hyon Ok Kim which received the Grand Prize Award at the 1992 International Film Festival of Teruel, Spain and the Gold Award at the 1991 Dance on Camera Festival in New York City, and La Promenade, commissioned by the Dia Center for the Arts; documentaries such as New All The Time, a film by Dick Fontaine about jazz legend Betty Carter or Amalia, Uma Estraqa Forma de Vida about legendary fado singer Amalia Rodrigues; as well as music videos with jazz greats Graham Haynes and Roy Ayers. His work has been exhibited internationally at festivals, muse?ums, art galleries, theaters and clubs such as the Berlin Film Festival, the American Film Institute, the World Wide Video Festival in the Netherlands, the Australian International Video Festival, the Reina Sofia Museum of Art in Madrid, the Folkwang Museum of ' Essen, Germany, the Knitting Factory, Anthology Film Archives, Dance Theater Workshop in New York City and has been broadcast on television in China, Korea,
Germany, the Netherlands, Spain, Portugal, France and the US. Since 1998, Naj has been collaborating with Tamango on Urban Tap projects.
Daniel Moreno (Percussion, Toys) lives and works in New York City. He is a well-traveled musician with extensive touring and studio experience. Artists with whom he has worked include: Lonnie Smith, George Benson, Pharoah Sanders, Marc Cary, Armando Marcal, Ravi Coltrane, Hank Jones, Elvin Jones, Ralph Peterson, Ron Blake, Bill Saxton, Tomani Diabate, Vernon Reid, Don Cherry, Dewey Redman, Badal Roy, Bill Laswell and Victor Lewis. ?? In addition to working with Tamango inb--Urban Tap, Mr. Moreno also tours with Cool Heat Urban Beat. He is currently collaborat?ing with the Terrel Stafford Quintet, the Marc Cary Group and the Cheick Tidiane Seek Quintet.
Fabio Morgera (Trumpet) was born in Napoli, Italy. At age three he lost his left hand in an accident. He was first introduced to music in public school, and at age 12 he i invented a device that enabled him to play guitar and electric bass in a left-handed fashion. Three years later, encouraged by his friend, bassist Raf Palumbo, and driven by his love for Louis Armstrong and traditional jazz, he switched to trumpet and subse?quently joined the Scuola di Musica di Fiesole. Later, he played with Eurojazz (aka the European Community Youth Jazz Orchestra) and Giorgio Gaslini's Octet. In 1982 Mr. Morgera led his own quintet to win second prize at the First Leverkusen Competition for Newcomers. He moved to New York City in 1990, where he played ; with his own band at Birdland and Visiones.-He also began to take part in NYC's Acid Jazz movement and was a founding member of Groove Collective. Mr. Morgera made his first record, Take 1 (featuring George :
Garzone), in 1998 and has since released several other albums, including five that he self-produced, including Slick, New Hopes and the most recent, Colors. He studied with Vince Penzerella, Donald Byrd and Valery 1 Ponomarev; toured and recorded with Alvin Queen, Goodfellas and the R&B star Maxwell. In addition to his work with Urban Tap, Mr. Morgera performs with his own futuristic band Junglejazz, the Mingus Big Band and Brooklyn's Quintet X. fl
"Bonga" Gaston Jean-Baptiste (Haitian Percussion) is a spirited virtuoso who has been performing and studying traditional Haitian drum, dance and song since the age of seven. Today, Bonga is one of the few expert craftsmen outside of Haiti who con-jj tinues to build drums using centuries-old techniques. Bonga is a ceremonial drum?mer with a vast repertoire of pan-African rhythms. He is also a studio musician, accompanist and educator. He has been in the forefront of Racine (roots) music since its beginnings in the late 1970s, recording and performing with such groups as Boukman Eksperyans, Foula and Boukan Guinen. He has appeared at music venues throughout the world, tours regularly with Grace Jones and is featured on recordings by Salif Keita and Wyclef Jean.
Rufus Cappadocia (Cello, Bass) plays a self-designed five-string electric cello. He has performed at major jazz and world music festivals throughout Europe and North J America. Mr. Cappadocia has created a j unique musical voice that incorporates '-:. Near-Eastern music with groove and jazz sensibilities. Cappadocia can be heard on CD with The Paradox Trio (Knitting Factory Works) and on the Libra label with Ross Daly. -
Cabello (Capoeira Free Style Dance, Berim-bau, Caxixi, and Pandeiro) was born in Piracicaba, Sao Paulo, Brazil. He has been performing and teaching in the US since 1990. Cabello is a professional capoeirista, a senior practitioner with 20 years of experi?ence. He is proud to be a student of the world-famous Mestre Joao Grande, a master of the traditional Capoeira Angola. Aside from being an original member of Urban Tap, Cabello performs and teaches extensively both in America and abroad. He continues to explore Afro-Brazilian rhythms, dance and culture through studies with master drummer Jorge AJabe. Currently, he is working with Brazilian percussionist Cyro Baptista in the percussion extravaganza Beat the Donkey and is one of the main percussionists for Batoto Yetu African Dance Company. In addition to his dance and drumming skills, Cabello is also a master instrument maker.
Ivan "The Urban Action Figure" Manriquez.;
(B-Boy Free Style Dance) has a strong inter?national reputation, and is known not only for his artistic expression but also for his personal expression and ability to vibe and interact with other cultures. He has competed in over 500 B-boy battles. In the First Annual Hip-hop Dance Awards he won Most Out?standing B-boy 2000. He is a member of the UNIVERSOUL B-BOYZ, which is a move?ment inclusive of all Urban Arts.
Since the mid 1980s, Michael Mazzola's
(Lighting Designer) critically lauded light?ing has been seen in venues all over the US and Europe, ranging from opera houses to circus tents to outdoor amphitheaters. Beyond his work as resident lighting design?er for Oregon Ballet Theatre, the two-time Bessie Award-winning lighting designer has created lighting for Bebe Miller Company, for whom he has designed since 1986; Yoshiko Chuma and the School of Hard
Knocks; Steve Paxton and Lisa Nelson; as well a number of regional ballet companies, including Milwaukee Ballet, Nashville Ballet, AspenSanta Fe Ballet Company and Southern Ballet Theatre. Recent projects have included designing lighting for the Core Ensemble and the Liz Lerman Dance Exchange's Hallelujah Project. Corporate and clients have included the Ammirati ?;" Puris Lintas advertising agency, the National Foundation for Jewish Culture and the Ford Model Agency. This past August, Mr. j Mazzola was the Production Designer for Stars of the New York City Ballet.
Carlos Motta (Live Camera) was born in 1978 in Colombia. He attended the School of Visual Arts in New York, where he received a BFA in photography, and present?ly attends Bard College's MFA program. His work has been included in various group exhibitions in Colombia, Italy and the US and has been featured in magazines, cata?logues and publications on contemporary art. In September 2000, Italian publishing house Deskubre published a book of his photographic work, entitled Close. In addi?tion, Mr. Motta has been designing "live" slide and video projections for music con?certs and dance performances. He has designed video projections and performed with Urban Tap for several years.
Susan Hamburger (Production Supervisor, Associate Lighting Designer) most recently designed the lights for Logic of the Birds at The Kitchen; Lowbrowse for The Bang Group in Zagreb, Croatia; Chemical Wedding of Christian Rosencreutz for Troika Ranch; Downstream at the Santa Monica Playhouse; A Child's Christmas in Wales for the National Theater of The Deaf; On The Verge at the John Houseman Theater; Little Shop Of Horrors at the Baker Theater; Yield Burning at the Ontological Theater; Enough About Me at the Chelsea Playhouse; West
Side Story at the Empire Theater and The Cryptogram at Yale Repertory Theatre. Ms. Hamburger is a graduate of the Yale School of Drama.
Carmine Covelli (Sound Designer) is a film?maker, performer, musician and technician in New York City. His film and video work has been screened at Galapagos Art Space (NYC), Anthology Film Archives (NYC), Santa Monica MOMA, Irving Plaza (NYC), the US Super 8 Film Festival and MTV2. This past year he had the honor of perform?ing with David Neumann and Stacy Dawson in Pearl River, Adrienne Truscott in A Short Night of Short Dance and at the Philadelphia Fringe Festival in Smart Set. He is producing and directing a 16mm short film in , December 2002. ..
Eva Hannisdahl (StageCompany Manager) currently lives between New York and Norway and does freelance work as an arts manager. She previously worked in the Middle East on a joint project for the Middle East Center for Culture and Development (MECCAD) and the Ford Foundation where she helped organize the international cultural market Souk Ukaz in Jordan and traveled throughout the region as the market's Development Officer. Prior to living in New York, Hannisdahl had a 10-year engagement with the Center for African Culture Promotion (CAK) in Oslo where she assisted in documentary filming and cultural promotion through music and dance productions. Eva Hannisdahl received her MA in Arts Administration from Columbia University and has a Bachelor's degree in Social Anthropology and Art History from the University of Oslo.
MultiArts Projects & Productions (MAPP) provides production and management for Urban Tap. MAPP is a NYC-based arts orga?nization dedicated to producing and sus?taining performing artists as they develop multidisciplinary projects that raise ques?tions about the complexities of our time. MAPP works in close collaboration with artists, arts organizations and other arts professionals to provide a holistic set of pro?duction services tailored to the specific nature and needs of each project. MAPP was founded in 1994 by Executive Director Ann Rosenthal, and since 1998 has been co-directed by Ms. Rosenthal and Cathy Zimmerman. Over the past seven years, MAPP has managed and produced music, dance and theater projects by more than 40 artists from eight countries. In June 2000, MAPP introduced a new initiative, MAPP on Tour, to tour the projects pro?duced by MAPP and its artists.
For more information on Tamango's Urban Tap please contact
Beverley and Gerson Geltner
Michael Allemang
Venice Baroque Orchestra
ANDREA MAROON, Music Director and Conductor GlULIANO CARMIGNOLA, Violin
Sunday Evening, October 13 at 7:30
St. Francis of Assisi Catholic Church Ann Arbor
Works ofJLntonio Vivaldi
Sinfom'a in C Major, from the opera Giustino, RV 717
Concerto in g minor for Strings and Continuo, RV 157
Violin Concerto in E-flat Major, RV 257
Andante molto e quasi Allegro
Violin Concerto in F Major, RV 286, Per la Solennita di San Lorenzo
Largo molto e spiccato-Andante molto
Allegro non molto
Le quattro stagioni (The Four Seasons): Four Violin Concertos, Op. 8, Nos. 1-4
Concerto in E Major, RV 269, La primavera (Spring)
. Allegro Largo Allegro
Concerto in g minor, RV 315, L'estate (Summer)
Allegro non molto-Allegro Adagio alternating with Presto Presto
Concerto in F Major, RV 293, L'autunno (Autumn)
Allegro-piano e larghetto-Allegro assai
Adagio molto
Concerto in f minor, RV 297, L'inverno (Winter)
Allegro non molto !
Allegro-Lento '
10th Performance of the 124th Season
Eighth Annual Divine Expressions Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is presented with the generous support of Michael Allemang and Beverley and Gerson Geltner.
The Venice Baroque Orchestra appears by arrangement with Columbia Artists Management, Inc. .. ,. . . ..., .
Large print programs are available upon reques
What Exactly Is Baroque Music ""'
. by Bernard Jacobson
. We all know what that familiar label, "baroque music," means. Or do we In the well-known progression, medieval-renaissance-baroque-classical-romantic-modern, the music of the baroque period (roughly from 1600 to 1750) is com?monly regarded as an apotheosis of regular?ity and emotional "cool." For people who grew up in the mid-20th century, the image that came first to mind was of a sort of musical sewing machine, with recurrent rhythmic patterns that dominated entire movements, and with clearly defined dynamics of comparable uniformity.
Yet if you turn to a dictionary for a def?inition of "baroque" you find something utterly different from this paradigm of unobtrusive good behavior. The French term "baroque" and its Italian equivalent
1 comes from the Portuguese word barroco, which denoted an irregular or bulbous pearl. "Irregularly shaped; whimsical, grotesque, odd," says one recent edition of the Oxford English Dictionary in defining the adjective "baroque," and it goes on to ascribe the sense of "grotesque or whimsical ornamentation" to the noun.
Which of these two vastly disparate
;views is correct It's true that baroque com?posers were writing before the development of the key system had brought a new explo?sive dramatic intensity to the forms we asso?ciate with the classical and romantic styles. To that extent, the "cool" view has its validi?ty. This is why contrast between inherently
uniform elements, rather than evolution from one shifting plane to another, charac-
call it "the music of being" as distinct from ?the classical and romantic "music of becom-
immobility, like Pachelbel's Canon, have come to constitute one popular image of the
musical baroque.
Yet there are more ways than one of being explosive. Those theorists-and even performers-who try to eradicate emotional expression, eccentric individualism, drama, and the other symptoms of humanity from baroque music seem to forget one basic fact: baroque music, like the styles that preceded and followed it, was composed and per?formed by emotive musicians of often sur?passing individualism and intensity of feel?ing. Take, as just one example, an eyewitness account of baroque "performance practice" found in a letter written in 1709:
I have never met any man that allowed his passions to carry him away so much while he was playing the violin as the famous Arcangelo Corelli, whose eyes will sometimes turn as red as fire, his countenance will be distorted, his eyeballs roll as if in agony, and he gives in so much to what he is doing that he does not look like the same man.
. This helps to explain why so many baroque instrumental works take the shape either of suites from theater pieces or of concertos-for the concerto is essentially drama both in nature and in form. It grew out of the canzone and other forms of early polyphony, it has close structural links with vocal music (particularly the aria), and its central concern is to explore the affectingly human interplay of the one and the many. The classical concerto, as it was developed by Mozart, and after him by Beethoven and Brahms, takes much of its power from the dynamic impulse of key contrast. But already in the work of the early Italian mas-ters-Corelli himself, Albinoni, Bonporti, Geminiani-the principle of opposing forces is the foundation of the form. And it is absolutely consistent with the dramatic nature of the concerto genre that it found room for the highly evocative extravagances of sets like Vivaldi's Four Seasons, designed to illustrate, in full musical technicolor, the
images of the changing year contained in four Italian sonnets. As Andrea Marcon has observed, "to be a true performer of The Four Sefl50is-indeed, of all Vivaldi-you must be like an actor interpreting the text."
Sinfonia in C Major, from the opera Giustino, RV 717
Concerto in g minor for Strings and Continuo, RV 157
Violin Concerto in E-flat Major, RV 257
Violin Concerto in F Major, RV 286, L Per la Solennita di San Lorenzo I
Antonio Vivaldi_________
Born March 4, 1678 in Venice ?.??-.
Died July 28,1741 in Vienna ?,
? ti
Antonio Vivaldi, widely known as il prete rosso, or "the red-haired priest," as he was called by his contemporaries on account of the color of his hair, spent most of his life in-the service of the Venetian Ospedale della .: Pieta and its famous orchestra of orphan girls. He taught the violin in this charitable institution beginning in 1703, and became "master of the concerts" there in 1716. It was for the gifted students of the Ospedale that he composed the concertos-more than 200 of them for solo violin with strings and continuo, and a still larger number for vari?ous other solos and groups-that bulk largest in his copious output. And aside from a substantial quantity of sacred works, includ-' ing a brilliant and popular Gloria, and of sonatas, the other principal element of his i work consisted of more than 50 operas and j serenatas. I
I It is with the Sinfonia (or overture) to i one of his operas that this evening's pro?gram begins. Premiered in Rome during the gJ724 Carnival season, Vivaldi's Giustino was'
the latest in a series of operas based (this time in an adaptation by Pietro Pariati) on a libretto by Nicolo Beregan whose original setting by Giovanni Legrenzi had been the sensation of the Venice Carnival season 41 years earlier. Handel too, in 1737, made use of the sensational story, set in sixth-century Roman times, and featuring the customary imbroglio of military, political, and amatory plots and sub-plots.
The operatic sinfonia, traditionally laid out into three movements, was to develop throughout the course of the 18th century into the symphony of the classical period, in which a fourth, dance-style movement was usually interpolated into the familiar fast-slow-fast sequence. (Even Haydn's great "London" symphonies of the 1790s were originally advertised and reviewed as "over tures.")
i$ The Concerto in g minor, RV 157, that stands aside from the solo-instrument works of the traditional form, is scored, like a number of Vivaldi's other concertos, simL ply for strings and continuo. Its first move?ment is cast in the form of a chaconne, or set of variations of a constantly repeated bass 1 theme (in this instance, two measures-and-a-half in length), whose descending chro?matic shape also subtly influences the W course of the vigorously dashing finale. The intervening "Largo" preserves the dark col. oration of the work's g-minor tonality. II
Of the two little-known but splendid works with solo violin that conclude the first half of the program, the Concerto in E-flat Major, RV 257, follows a first movement in relatively moderate tempo with an "Adagio" of rare charm in mostly dotted 1 rhythm and a finale in swinging triple 1 meter. The better-known Concerto in F M Major, RV 286, For the Feast of Saint W Lorenzo, prefaces a main first movement '? again in moderate tempo with a slow and stately introduction. This, along with the prevalence throughout the work of regularly
repeated patterns of one measure or more, seems to accord with the purpose suggested by the subtitle, for it gives the music a char?acter rather less dramatic and more proces?sional than is usual in Vivaldi's concertos.
Program note by Bernard Jacobson.
Le quattro stagioni (The Four Seasons): Four Violin Concertos, Op. 8, Nos. 1-4
Born in Venice in 1678, Vivaldi was ordained as a priest in 1703, but never actu?ally served in any ecclesiastical capacity. He had studied the violin with his father, who played at St. Mark's, and in 1703 became maestro di violino at the Ospedale della Pieta that was devoted to the musical education of orphaned girls. Many of the girls played at an extremely high level, and Vivaldi was soon able to present performances at the . Pieta that drew large audiences from the ranks of Venetian nobility and visitors from out of town. Many of Vivaldi's instrumental works were written for the Pieta, but they started circulating much more widely after he started publishing them in 1705. In 1711, Etienne Roger, a publisher in Amsterdam, brought out twelve of Vivaldi's concertos under the title L'estro armonico (Harmonic Inspiration). From this time on, Vivaldi was famous all over Europe. In Germany, J.S. Bach transcribed several Vivaldi concertos for keyboard and Bach's original concertos often show the Italian composer's influence.
Vivaldi did more than any other com?poser to develop and to codify the Baroque concerto. He established many of the con?certo's standard features such as its three-movement (fast-slow-fast) structure, its orchestral ritornellos (which punctuate that structure), lyrical (usually short) slow
movements, and spirited finales often using dance rhythms. These rules, however, left a lot of room for variety, and in fact, Vivaldi's ingenuity in handling musical form and his melodic invention seem endless.
Vivaldi's most popular concertos are, without a doubt, the four for violin known as The Four Seasons. They were published in 1725 as part of a collection entitled cimen-to dell'armonia e dell'inventione (The Test of Harmony and Invention). If The Four Seasons are not the earliest example of pro?gram music, they are definitely among the boldest musical experiments of the 18th century. Vivaldi, displaying no mean poetic gifts, composed a sonnet about each season, and inscribed the poems into the score, indicating precisely when the events men?tioned took place in the music (see page 18). At the same time, despite all the storms, singing birds, barking dogs, and stumbling drunkards, Vivaldi managed to hold the concertos together musically and preserve the basic n'forneo-episode alternation char?acteristic of the genre.
Program note by Peter Laki.
Vivaldi's Original Poetry which accompanies The Four Seasons
Spring has come and joyfully the birds greet it with happy song, while the streams flow along with gentle murmur as the zephyrs blow. There come, shrouding the air with a black cloak, lightning and thunder chosen to herald [the storm]; then, when these are silent, the little birds return to their melodi?ous incantations.
And now, in the pleasant, flowery meadow, to the soft murmur of leaves and plants, the goatherd sleeps with his faithful dog at his side.
To the festive sound of a pastoral bagpipe, nymphs and shepherds dance under their beloved roof, greeting the glittering arrival of the spring.
In the harsh season scorched by the sun, man and flock languish, and the pine is on fire; the cuckoo begins to call and soon after, the turtledove and the goldfinch are heard singing. Zephyr gently blows, but Boreas suddenly enters into a contest with his neighbor, and the little shepherd weeps for he fears the awesome threatening storm and his fate.
To his tired limbs rest is denied by the fear of lightning, awesome thunder, and the furi?ous swarms of flies and hornets!
Alas, his fears are justified. The sky is filled with thunder and lightning and hail cuts down the proud grain.
The peasant celebrates the pleasure of th happy harvest with dances and songs and inflamed by the liquor of Bacchus, many ? end their rejoicing with sleep. !
The mild pleasant air makes all abandon : dance and song; this is the season that ' invites all to the sweet delights of peacefu sleep.
The hunters, at the break of dawn, set fort,, with horns, guns, and hounds. The animal flees, and they follow its tracks. Already frightened and tired by the great noise of guns and hounds, the wounded animal makes a weak attempt at fleeing, but it is overcome and dies.
Trembling with cold amidst the freezing snow, while a frightful wind harshly blows, running and stamping one's feet every minute, and feeling one's teeth chatter from the extreme cold;
Spending quiet contented days by the fire while the rain outside drenches people by the hundreds. ?-,
Walking on ice, and moving cautiously, with slow steps, for fear of falling, spinning around, slipping, falling down, again walk?ing on ice and running fast until the ice cracks and splits; hearing Sirocco, Boreas and all the winds at war burst forth from the bolted doors--this is winter, but it also brings joy!
, onductor, organist, harpsichordist, and scholar Andrea Marcon is rec?ognized as one of the foremost specialists and performers of early music. He is a professor of harpsi?chord, organ and interpretation at the Schola Cantorum Basiliensis and has also been a visiting professor at the Sweelinck Conservatorium in Amsterdam.
In 1997, Mr. Marcon founded the Venice Baroque Orchestra with some of Italy's finest instrumentalists. Together, they have performed throughout Europe and m Japan, and gave their New York debut at ?-?., Lincoln Center in August 2001. In May 2003, Mr. Marcon will conduct a program featuring Angelika Kirchschlager performing Bach arias in Munich, Cologne, London, Paris and Vienna. Most recently, Mr. Marcon led the orchestra in highly acclaimed debut performances in the Concertgebouw and at Aldeburgh and the Proms. BBC TV1 broad?cast the London concert.
Mr. Marcon's dedication to the redis?covery of Baroque masterpieces has led to the first fully-staged performances in mod?ern times of Francesco Cavalli's opera L'Orione in 1998, and Handel's Siroe in 2000. In December 2001, he conducted the contemporary revival of Cimarosa's L'Olimpiade in Venice's Teatro Malibran. Plans for the 0304 season include perfor?mances of Siroe in Paris and New York, Ariodante at the Frankfurt Opera and the Monteverdi Vespers in Berlin, and in 2005 Hasse's Cleofide in Dresden and a 17th-cen?tury Venetian opera in Berlin's Statsoper. Mr. Marcon has also collaborated in prepar?ing the scores of many Baroque operas, including seminal modern revivals of Gluck's Paride e Elena, Monteverdi's Orfeo and Ritomo di Ulisse in Patria, and Cavalli's Calisto.
Mr. Marcon's numerous recordings as conductor, organist and harpsichordist have , received extraordinary praise and many J_
have won awards, including the Diapason D'Or, the Vivaldi Award of the Cini Foundation, Germany's Echo Award and, four times, the Deutschen Schallplatten Kritik prize. He is an exclusive recording artist of Sony Classical for whom he has already recorded seven discs in the past three years--five as conductor of the VBO in collaborations with Giuliano Carmignola and Angelika Kirchschlager, and two as harpsichordist with Giuliano Carmignola and Anner Bylsma.
Continuing to perform in organ and harpsichord recitals, Mr. Marcon has also given seminars and classes at the conserva?tories of Amsterdam, Toulouse, Hamburg, Helsinki, Malmo, Karlsruhe, Copenhagen, at the Royal College of Organists in London and at the Universities of Goteborg and Birmingham, UK. From 1983 to 1997, Mr. Marcon was harpsichordist and organist of the Treviso-based early music ensemble Sonatori de la Gioiosa Marca. He was also founder and artistic director of the Inter?national Organ Festival "Citta di Treviso," playing a prominent role in the restoration of the city's historic organs. In 1986 he won first prize in the organ competition in Innsbruck, and on harpsichord he won first prize in Bologna in 1991.
Mr. Marcon was born in Treviso and received a diploma in Early Music from Basel's Schola Cantorum Basiliensis for his organ and harpsichord studies with Jean-Claude Zehnder. Other influential teachers included Luigi Ferdinando Tagliavini, Hans van Nieuwkoop, Jesper Christensen, Harald Vogel and Ton Koopman.
Tonight's performance marks Mr. Marcon s UMS debut.
' qually adept on both modern and Baroque violin, Giuliano Carmignola's career began with awards in the "Premio Citta di i Vittorio Veneto" in 1971 and in the Paganini Competition in Genoa in 1973. Subsequently he appeared as soloist with numerous European orchestras and conduc?tors, including Claudio Abbado, Gianandrea Gavazzeni, Eliahu Inbal, Peter Maag and Giuseppe Sinopoli. Mr. Carmignola also i toured extensively as soloist with I Virtuosi di Roma with performances in Royal Albert , Hall, La Scala, Musikverein, the Berlin .!
Philharmoniker, and Moscow's Tchaikovsky Hall. He gave the Italian premiere of the Dutilleux violin concerto and is highly regarded for his broad range of repertoire encompassing the works not only of the classical and romantic periods, but also of the Baroque and 20th century.
Mr. Carmignola is an exclusive artist with Sony Classical. His first album, recorded with the Venice Baroque Orchestra, features three previously unrecorded Vivaldi concertos and The Four Seasons and won the Diapason D'Or in France and the Echo Award in Germany. Carmignola's second album with the VBO includes six extraordinary Vivaldi concertos never before recorded, and in March 2002, he released a recording featur?ing the Bach sonatas with harpsichordist Andrea Marcon. i
In the 0102 season, Mr. Carmignola appeared in recital with pianist Yasuyo Yano in Venice, as soloist in Zurich, Bern and
Lucerne with the Basel Chamber Orchestra, and in New York, Tokyo, Florence, Milan, Munich, Paris, Berlin, Frankfurt, Geneva, Amsterdam, Copenhagen and London with the Venice Baroque Orchestra. During the current season, Mr. Carmignola joins the VBO for their first tour of North America, and will also appear with the orchestra in cities including Rotterdam, Brussels, Lisbon, Barcelona and Tokyo. He will conduct and solo with the Lille Orchestra, perform the Beethoven concerto with the Chamber Orchestra of Mantova and give recitals including works by Bach, Vivaldi and Mozart.
A native of Treviso, Mr. Carmignola began his studies with his father and gradu?ated from the Conservatorio Benedetto Marcello in Venice where he studied with Luigi Ferro. He attended master classes with Nathan Milstein and Franco Gulli at the Academia Musicale Chigiana in Siena and with Henryk Szeryng at the Geneva Con?servatory. A professor of violin at the Venice Conservatory for ten years, Mr. Carmignola also served as concertmaster of the orchestra of Teatro La Fenice from 1978-1985. In 1999, he was appointed Professor of Violin at the Lucerne Hochschule and is currently a pro?fessor of music at Siena's Academia Musicale Chigiana. He regularly participates in Baroque music festivals throughout Europe, notably in Bruges, Lucerne, Vienna, Brussels, Salzburg and Barcelona. Mr. Carmignola is an acclaimed recitalist and chamber musician, frequently collaborating with pianists 1 Yasuyo Yano, Bruno Canino and Andrea Lucchesini, cellist Mario Brunello, and vio-lists Bruno Giuranna and Danilo Rossi.
In the performance of Baroque music, Mr. Carmignola plays a 17th-century Italian violin that has never been modernized. For music subsequent to the Baroque era, he plays a 1733 Pietro Guarneri.
Tonight's performance marks Mr. Carmignola's UMS debut. ?,??, ? .-. .-f,. ???-..
' ounded in 1997 by some of the finest musicians in Italy, the Venice Baroque Orchestra (VBO) is rec?ognized as one of Europe's leading ensembles devoted to period instrument performance. Led by the Baroque scholar and performer Andrea Marcon, the orchestra has received wide critical acclaim not only for its concerts throughout Europe and Japan, but also for their staged performances of operas. Their concerts have been filmed by the BBC and NHK, and their performances are often broadcast by RadioFrance, ORF, Raidue, BBC3, and RadioTre.
Since signing an exclusive contract with Sony Classical in 1999, the orchestra has recorded five discs, including three all-Vivaldi albums with violinist Giuliano Carmignola. The first, featuring the record?ed premieres of three Vivaldi violin concer?tos and The Four Seasons, won the Diapason D'Or in France and the Echo Award in Germany. The second album is devoted exclusively to unrecorded Vivaldi violin con?certos and followed the first Sony release with a second Diapason D'Or. Upcoming releases include a third Vivaldi recording of previously unrecorded concertos, an album comprised of Locatelli violin concertos and a Bach album with Angelika Kirchschlager that will include arias from cantatas as well as from the B minor mass and the Christmas Oratorio.
Committed to the rediscovery of first-rate works of the baroque period, Andrea Marcon has led the VBO in the modern day premieres of Francesco Cavalli's L'Orione, and Benedetto Marcello's La Morte D'Adonc and trionfo delta poesia e della musica. In 2000, the VBO launched a partnership with Teatro La Fenice in Venice with four sold-out staged performances of Handel's Siroe. The second opera in the series, Cimarosa's L'Olimpiade, was mounted in December 2001 to great acclaim. Staged by Jorge
Lavelli, Siroe will be performed by the VBO in Paris and New York in 2004.
In the 0102 season, the orchestra per?formed in over 35 cities, including New York, Tokyo, Florence, Milan, Munich, Paris, Berlin, Frankfurt, Geneva, Montpellier, Amsterdam, Copenhagen, Aldeburgh and London. In the 0203 season, the orchestra, with violinist Giuliano Carmignola, will appear in cities including Rotterdam, Brussels, Cologne, Lisbon, Vienna, Barcelona, Venice and Tokyo in addition to tonight's performace as part of the ensemble's current 20-concert debut tour of North America.
Tonight's performance marks the Venice Baroque Orchestra's UMS debut.
Venice Baroque Orchestra
ANDREA MARCON, Music Director and Conductor
Luca Mares, Concertmaster
Giuseppe Cabrio, Principal Second Violin
Giorgio Baldan
Daniela Beltraminelli
Giulia Panzeri
Vania Pedronetto
Margherita Zane
Alessandra Di Vincenzo
Meri Skejic
Francesco Galligioni Daniele Cernuto
Double Bass Alessandro Sbrogib
Ivano Zanenghi
Abbey Theatre of Ireland
Produced in association with
Max Weitzenhoffer, Roger Berlind, Old Vic Productions,
Nica Burns for Really Useful Theatres and Jedediah Wheeler.
Tom Pye, Set Design
Peter Mumford, Lighting Design !?fjft$$$
Mike Gunning, Associate Lighting Design '
Mel Mercier, Soundscape
Jacqueline Durran, Costume Design
David Meschter, Sound Design
Thursday Evening, October 17, 2002 at 8:00 Friday Evening, October 18, 2002 at 8:00 Saturday Afternoon, October 19 at 2:00 Saturday Evening, October 19, 2002 at 8:00 Sunday Afternoon, October 20, 2002 at 2:00 Power Center Ann Arbor ? . -
-5-. ?. '
Fiona Shaw in"
by Euripides
Translated by Kenneth McLeish and Frederic Raphael
Kirsten Campbell, Joyce Henderson, Derek Hutchinson, ' Rachel Isaac, Robin Laing, Pauline Lynch, Siobhan McCarthy, Joseph Mydell, Struan Rodger, Susan Salmon
with Jonathan Cake as lason
Line ProducerLondon: Really Useful TheatresDonna Munday General Management: Luna GroupJill Dombrowski Tour ManagementJedediah Wheeler: Extremetaste, Ltd.
Abbey Theatre, Ben Barnes, Artistic Director
11th, 12th, 13th, 14th and 15th Performances of the 124th Season
Third Annual International Theater Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
The Abbey Theatre's performances of Medea are sponsored by TIAA-CREF Individual and Institutional Services, Inc. .jii
Presented with support from the Wallace-Reader's Digest Funds and from ?? the National Endowment for the Arts.
The residency activities associated with this performance are presented with support from the University of Michigan as part of a special UMUMS partnership that furthers a mutual commitment to education, creation and presentation in the performing arts.
Additional support provided by media sponsors Metro Times and Michigan Radio.
Special thanks to Vassilios Lambropoulos, UM Modern Greek Program; UM Hellenic Student Association; Yopie Prins, Benjamin Acosta-Hughes, Linda Gregerson, Kate Mendeloff, Ruth Scodel, UM Department of English Language and Literature; UM Faculty Consortium on Contexts in Classics; UM Department of Theater; and UM Residential College for their involve?ment in this residency.
The Abbey Theatre appears by arrangement with Extremetaste, Ltd.
Large print programs are available upon request.
Csst (in order of appearance) Nurse Siobhan McCarthy
Aegeus Messenger
Robin Laing
Kirsten Campbell Joyce Henderson Rachel Isaac Pauline Lynch Susan Salmon
Fiona Shaw Struan Rodger Jonathan Cake Joseph Mydell Derek Hutchinson
uripides, born in Attica in 484 BC, was one of the figures-with Aeschylus and Sophocles--who made fifth-century Athens preeminent in the history of world drama. He was a prolific writer whose plays were performed at the Great Dionysia, the Athenians' major drama festival. Described by Aristotle as "the most tragic of poets," Euripides is probably best known for his tragedies. His continuing popularity and influence is attested to by the survival of 17 of his plays, among them Medea, The Trojan Women, Hippolytus, Iphigenia in Tauris, Orestes, The Bacchae, and Electra. In his lifetime, however, Euripides aroused great opposi?tion and controversy with his unorthodox portraits of women and his focus on the individual, rather than the community, in an age which venerated the ideal of civic duty and public office. His unpopularity among his contemporary writers is clear from the attacks made on him in the comedies of Aristophanes. In 408 BC, he left Athens and went into voluntary exile at the court of Archelaus in Macedonia where he died in 406 BC. Sophocles, who outlived him by only a few months, was said to have dressed his next chorus in mourning as a mark of respect.
he Abbey Theatre of Ireleand was
founded by W.B. Yeats and Lady Augusta Gregory. With the help of their patron, Annie Horniman, the theater opened its doors to the pub?lic for the first time on December 27,1904. The Abbey Theatre became the first theater in the world to receive state subsidy and has been a central part of Irish cultural life for almost a century.
On average the company puts on 600 performances a year in its two theaters and on tour, with the core work supported by committed outreach, education and literary programs which serve to broaden audience engagement and foster an atmosphere of social and intellectual inclusiveness.
The repertoire of the Abbey Theatre i extends back to the early 20th century and includes the drama of Synge, Yeats and ; O'Casey. More contemporary work is repre?sented by, among others, Brian Friel, Tom Murphy, John B. Keane, Hugh Leonard, Tom Kilroy, Bernard Farrell, Frank Me Guinness, Sebastian Barry and Marina Carr.
The Abbey is renowned as a writers' theater but the greatest Irish actors of this and previous generations have graced its boards. The role call includes F.J. McCormick, Sara Allgood, Harry Brogan, Ray McAnally, Donal McCann, Cyril Cusack, Siobhan Mc-Kenna, Ray McAnally, Donal McCann, Brenda Fricker, Liam Neeson, Gabriel Byrne, Sinead Cusack, Fiona Shaw and John Kavanagh. ._
Under the artistic direction of Ben Barnes, the Abbey is forging new links inter?nationally, throughout Europe, and in North America. The theater is engaged in a series of international production and personnel exchanges and new cross-cultural writing commissions.
The Abbey Theatre has entered an ex?citing stage of its development at home. The Irish Government has committed itself to developing a new theater for the Abbey at its historic site on the corner of Abbey and Marlborough Street. :
The Abbey Theatre celebrates its cerite-' nary in 2004. Plans include a major tour of the US, a festival of classic Abbey plays, and a gala performance on December 27 to mark the 100th anniversary of the first opening night.
The Abbey is appreciative of the patron?age of the many thousands of American vis?itors it receives every year at its home base in Dublin and is pleased to present this pro?duction of Medea at UMS and throughout the US. 1
These performances of the Abbey Theatre of Ireland mark the company's debut under UMS auspices.
Kenneth McLeish (Translation) was born in 1940 and educated at Bradford Grammar School and Worcester College, Oxford. Hell began his career as a schoolmaster at Watford Grammar School (1963-67) and also taught at Bedales (1969-73) before becoming a full-time writer in 1975. He died in 1997. Mr. ? McLeish was an author, translator and play-" wright. His published works (over 80) include The Good Reading Guide, Shakespeare's People, The Theatre of Aristophanes, Companion to the Arts in the Twentieth Century, Myth, The Listener's Guide to Classical Music and Crucial Classics (both with Valerie McLeish), and The Bloomsbury Guide to Human Thought (General Editor). His translations have been published and widely performed. They in?clude almost the whole of Ancient Greek " drama (47 plays), a dozen farces by Feydeau and Labiche, half a dozen plays by Ibsen and works by Horvath, Jarry, Holberg, Moliere and Strindberg. In the UK, the Royal National Theatre and many other companies have per?formed his translations. His original plays include Omma, Orpheus, Iliad, I Will ifYou Will, Just Do It, One for the Money and Vice at the Vicarage (written for Frankie Howerd).
Frederic Raphael (Translation) is an Ameri?can born, British educated writer and the author of 19 novels and four short story col?lections including Richard's Things, Glittering Prizes, Oxbridge Blues, and most recently Coast to Coast, as well as screenplays for John Schlesinger's Darling, for which he won an Academy Award, and Stanley Donen's Two for the Road. He has adapted for the screen the works of Thomas Hardy (Far from the Mad?ding Crowd), Iris Murdoch (A Severed Head), Henry James {Daisy Miller), and Arthur Schnitzler (Traumnovelle, which was filmed as Eyes Wide Shut). Mr. Raphael has also co-translated several works for the stage with Kenneth McLeish. He is married with two sons and divides his time between England and France.
Fiona Shaw (Medea) was born and educated ' in Ireland. After a degree in philosophy at the University College Cork, she went to RADA and was awarded the Bancroft Gold Medal Theatre. Credits include: The Royal National Theatre: Julia in The Rivals, Shen Te Shui in The Good Person of Sichuan (Olivier Award for Best Actress), the Woman in Machinal (Evening Standard and Laurence Olivier Awards for Best Actress), Millamant in The Way of the World and the title roles in the i controversial Richard II and The Prime of Miss Jean Brodie. For the Royal Shakespeare Company her work includes Philistines, As You Like It, Les Liasons Dangereuses, Mephisto, Beatrice in Much Ado About Nothing, Portia in The Merchant of Venice, Mistress Carol in Hyde Park, Katharine in The Taming of the Shrew, and Electra (Laurence Olivier and London Critics' Awards). Old Vic Theatre: Rosalind in As You Like It (Laurence Olivier Award for Best Actress). Greenwich Theatre: the title role in Mary Stewart. Garrick The?atre: Footfalls. Abbey Theatre, Dublin and Playhouse Theatre, London: Hedda Gabler (London Critics'Award). Lincoln Center,
New York: Robert Wilson's DD3. She has performed T.S. Eliot's The Waste Land in Europe, North America and Australia (New York Drama Desk Award for Best Actress). Films include: My Left Foot, Mountains of the Moon, Bob Rafelson; Three Men and a Little Lady, Disney; Undercover Blues, Herbert Ross; The Last September, Deborah Warner; and Harry Potter and the Sorcerer's Stone, Warner Brothers. Fiona has been awarded an honorary D. LITT Trinity College Dublin in 2001 and an honorary LLD National Uni?versity of Ireland in 1999. In 2002, Ms. Shaw was awarded L'Officier des Artes et des Lettres by the French Government and has been awarded a C.B.E. (Commander of the British Empire) in the New Year's honors list.
Jonathan Cake's (Jason) theater credits in?clude: Jason in Medea at the Queens Theatre in the West End and Baby Doll at the Royal National Theatre and in the West End (Best Actor Barclays Theatre Awards 2000). Other productions include Mill on the Floss (Shared Experience) directed by Nancy Meclder and Polly Teale and One Over the Eight (Scar?borough) directed by Alan Ayckbourn. For the Royal Shakespeare Company: Wallenstein, Tamburlaine, The Odyssey, As You Like It and The Beggar's Opera. TV: Leading roles include: Dr. Mengele in Gisella Perl for Showtime, Wellington in The American Embassy for Fox, Nero in Riverworld for Alliance Atlantis, The Swap, Mosley, Dance to the Music of Time, Noah's Ark, Rebecca, The Jump, The Tenant of Wildfell Hall, Dennis Potter's Cold Lazarus, and Eddie Izzard's Cows. Film: Soon to be released, Simon Cellan-Jones's The One & Only. Also, Dave Stewart's Honest, True Blue and First Knight.
Kirsten Campbell (Chorus) trained at the Royal Scottish Academy. Theater includes: The Odd Couple (Cottier Theatre). For Tron Theatre: In a Cold Place, Outsiders, Heartland. Film includes: Liv & Amy, Split Second, Katy's
Story, Struggle, Thicker Than Water, and Breath of Angels. Radio, for BBC Scotland, includes: The Eagle of the Ninth and Tarn O'Shanter.
Joyce Henderson (Chorus) trained with Jacques Lecoq. Theater includes: One Snowy Night (Chichester Festival Theatre), Medea (Queen's Theatre), Macbeth (BAC), The Prime of Miss Jean Brodie (RNT), Wallace and Gromit in a Grand Night Out (Sadler's Wells), Volpone (RNT), The Street of Croc?odiles (Theatre de CompliciteRNT), Paper Walls (Scarlet Theatre), The Servant of Two Masters (Belgrade, Coventry), The Resistable Rise ofArturo Ui (7:84), and Flight to Fin?land (The Right Size). Television and film includes: The Insiders, The Many Cinderellas, Peak Practice, Peter and the WW(Spitting Image), Glory Box (Fat Fish Films), Stella Does Tricks, and About a Boy. He did company movement for RNT (Jean Brodie), RNT Studio, Early Opera Company, UCL Opera, and Glyndebourne Festival Opera (Fidelio) and recently directed Untitled and Arigato Zaisho for the Circus Space and Tea for Two, One for Me with Kicking the Moon.
Derek Hutchinson (The Messenger) has been' involved in numerous productions directed ? by Deborah Warner: King Lear (Kent), Coriolanus (Cominius), Titus Andronicus (Lucius) at the Royal Shakespeare Company, along with Electra (Pylades) with Fiona Shaw, and King Lear (Edgar) at the Royal National Theatre. Other work at the RNT: Richard III, Arcadia, Under Milk Wood, and Napoli Milionaria. His work for the RSC includes: Measure for Measure, Julius Caesar, Taming : of the Shrew, The Churchill Play, The Family ' Reunion, A Warwickshire Testimony, and Prince ofHomberg. He recently played Lord -Robert Cecil in Elizabeth Rex at Birmingham Rep. and has made numerous appearances on television in the UK. His film credits ?._ include The Cormorant and Iris.
Rsichel Isaac {Chorus) trained at Manchester Metropolitan University School of Theatre, Theater includes: Happy Birthday Brecht 9 (University of California). For Manchester: Camille, Vassa, The Merchant of Venice, Innocent as Charged, The Beau Defeated, The Good Person of Szechuan, and A Midsummer Night's Dream. Film includes: The Low Down, Very Annie-Mary, and Mike's House Night. Television includes: The Office (BBC), Man and Boy (BBC), Saw You (Granada) Fun at, the Funeral Parlour (BBC Choice), The M_ Bench (BBC), Tales from Pleasure Beach, The ' Secret World of Michael Fry, and Dirty Work.
Robin Laing (The Tutor) began acting at the age of eight with the Angus Children's Theatre and the Carnoustie Theatre Club. Two individual years of study, undertaken at Dundee and Fife Colleges, coupled with a chance meeting in a pub, led to his first role as Mark Renton in the play Trainspotting mr (UK national tour and London West End). Other stage work: Kevin in The Mill Lavvies (Dundee Rep); Edward in David Hare's Sky?light (Perth Rep); Hal in Joe Orton's Loot, and Puck in A Midsummer Nights Dream (both Manchester Royal Exchange). TV work includes: Joey in The Lakes (I&II) for the BBC; Mark in Taggart--Out of Bounds (Scottish Television); Timothy in Heaven on Earth for Channel 4 (UK); Sulien in Cadfael--The Potter's Field for ITV (UK); Brian in Relative Strangers for RTE (Ireland); Arthur Conan Doyle in Dr. Bell and Mr. Doyle for the BBC; and Edward 'Babe' Heffron in HBO's minis-eries Band of Brothers. Mr. Laing has appeared on the big screen as Phil McCann in John Byrne's The Slab Boys; Peter Sheridan's Borstal Boy, Alisdair in Beautiful Creatures; and Ferg in the yet-to-be-released Two. __
Pauline Lynch (Chorus) was born in JL Glasgow, Scotland where she first became involved in acting with the Glasgow Schools Youth Theatre, taking part in many musicals.
She went on to study her craft at Langside College and then at the Rose Bruford College of Speech and Drama in London. She worked with Deborah Warner twice before, on the West End production of Medea and also The Powerbook with Fiona Shaw and Saffron Burrows, in conjunction with the Royal National Theatre. Other theater work includes: The Decameron (Gate, London), My Mother Said I Never Should (Oxford Stage Company), Sun is Shining (King's Head, London) and The Prime of Miss Jean Brodie and Finding the Sun (both Royal National Theatre). Television work includes: A Mug's Game and Rockface for the BBC; Grafters, for Granada; Soldier, Soldier for Carlton; and Galen in the USA Networks miniseries Attila, directed by Dick Lowrie. On film, Ms. Lynch can be seen in Beautiful Creatures and as Lizzy in the cult hit Trainspotting.
Siobhan McCarthy's (The Nurse) theater credits include: Queen's Theatre: Medea; Prince Edward Theatre: Mamma Mia, Evita, and Jeanne, Palace Theatre: Jesus Christ Super?star, On Your Toes, and Chess; Phoenix Thea?tre: Blood Brothers, Les Miserables; Theatre Royal Stratford: Dancing at Lughnasa; Liver?pool Playhouse: Zorro: The Musical and No Trams to Lime Street. Television includes: Bad Girls, Horse Opera, The Big Battalions, Lovejoy, All Or Nothing At All, and All In The Game.
Joseph Mydell (Aegeus) trained at the New York University School of the Arts. Theater includes: National Theatre: Angels in Amer?ica: Millennium Approaches and Perestroika (Olivier Award for Best Actor in a Support?ing Role); RNT: Alice's Adventures Under?ground, Lyrics of the Hearthside, and The Rape of the Lock, RSC: Twelfth Night, The Prisoner's Dilemma, They Shoot Horses Don't They, The Great White Hope, The Two Noble Kins?men, Flight, Worlds Apart, Macbeth, Everyman (title role), and The Mysteries; Hampstead: The Boys Next Door and After the Gods;
Tricycle: The Great White Hope, and Royal Court: The Treatment. In repertory: As You Like It, Tobaccoland, In the Talking Dark (Manchester Royal Exchange); The Govern?ment Inspector, The Seagull, As You Like It (Sheffield Crucible); The Life of Galileo, Master Harold and the Boys (Manchester Contact); The Price of Experience (Edinburgh Traverse); Jelly Roll Soul (Edinburgh Festival); and Lyrics of the Hearthside (Edinburgh Fringe, Fringe First Award for Best One-Man Show). Television: Dinotopia, The Bill, Space Precinct, Story Time, Chancer, TECM, The March on Europe, Miss Marple, The Care of Time, Bergerac, Boon, Defrosting the Fridge, A Shadow of the Sun, and Two Worlds.
Struan Rodger's (Kreon) theater credits include several productions at London's Royal Court Theatre, Within Two Shadows (Evening Standard Award), The Removalists, A Pagan Place and Lear, and a series of plat?form performances at the Royal National Theatre including: Ted Hughes's Gaudette, Various Works by Ben Johnson, and Samuel Beckett's Love Story. For the Royal National Theatre: Richard II directed by Deborah Warner (also Paris and Salzburg Festival); 'Tis A Pity She's A Whore directed by Alan Ayckbourn; Tales from the Vienna Woods; Tamburlaine the Great and Hamlet, both directed by Peter Hall; and Michael Blake-more's production of Engaged. Other theater includes: Waiting For Godot (Peter Hall Com?pany at The Piccadilly); The Moonstone and A Doll's House (Manchester Royal Exchange); Sienna Red (British Tour); The Crucible (Leicester Haymarket); The Deliberate Death of a Polish Priest (Almeida); Progress (Lyric HammersmithBush); The Shadow of a Gun?man (Nottingham Playhouse); Troilus and Cressida (Young Vic); The Bacchae (Prospect Tour); and The Speakers (Joint Stock Theatre, British and Dutch Tour). Extensive television credits include: The Waiting Time; The Vice; An Unsuitable Job For A Woman; Moll
Flanders; Highlander, Lovejoy, Faith; Prime Suspect III; Spender, Maigret, Christopher Columbus; Bergerac, Edge of Darkness; The Boys from the Blackstuff and The Mayor of Casterbridge. Film appearances include: The Innocent Sleep; The Madness of King George; Four Weddings and a Funeral; Reunion; Hitler--A Portrait of Evil; The Mannions of America; Chariots of Fire; and Les MiserablesJ
Susan Salmon (Chorus) trained at RADA and studied drama at Bristol University. Theater includes: Shoot to Win (Theatre Royal,; Stratford East), The Office (Soho Theatre), ' A Midsummer Night's Dream (RNT), Arms and The Man (Orange Tree, Richmond), The House ofBernarda Alba (The Brix), Party Girls (Stratford East), and Low Level Panic (Bristol). Television includes: Rockface 2, On the Edge, Grange Hill, and Cone Zone..
Deborah Warner (Director) trained at the Central School of Speech and Drama. Theater credits include: The Good Person ofSzechwan, Woyzeck, The Tempest, Measure for Measure, King Lear and Coriolanus (Kick Theatre Com?pany); Titus Andronicus (Laurence Olivier and Evening Standard Awards), King John and Electra (Royal Shakespeare Company); The Good Person of Sichuan, King Lear and Richard II (French Critics' Best Foreign Pro?duction--Royal National Theatre); Hedda Gabler (Laurence Olivier Awards for Best Direction and Production--Abbey Theatre, Dublin); Samuel Beckett's Footfalls (Garrick Theatre, London); Coriolan with Bruno Ganz (Salzburg Festival); Une Maison de Poupee (Odeon, Paris); three devised installation pieces: The St. Pancras Project, The Tower Project (LIFT) and The Angel Project (Perth International Arts Festival) and Jeanette Winterson's The Power Book for the Royal National Theatre. Her production of The Waste Land with Fiona Shaw visited Brussels, Dublin, Paris, Montreal, Toronto, Brighton,
Cork, Adelaide, Bergen, Perth, London and the Liberty Theatre, New York, where it won two Drama Desk Awards (Best Solo Perform?ance and Unique Theatrical Experience). Opera credits include: Wozzeck (Opera North); Don Giovanni (Glyndebourne); Jeanne a"Arc au Bucher (BBC Proms); The Turn of the Screw (Royal Opera House--Evening Stan?dard and South Bank Show Awards); The Diary of One Who Vanished (English National Opera at the Dublin Festival, Bobigny and Royal National Theatre); The St. John Passion (English National Opera); and Fidelio (Glyndebourne). Film credits include: The Waste Land (Un Certain Regard, Cannes Film Festival) and The Last September (Official . Selection Director's Fortnight, Cannes, J, . Toronto, and Edinburgh Film Festivals). Ms. Warner was awarded the Chevalier de l'Ordre des Arts et des Lettres by the French Government in 1992 and L'Offlcier des Arts et des Lettres in 2000.
Tom Pye (Set Designer) has designed throughout the world in theater, opera, tele?vision and film. Work with Deborah Warner includes The Turn of the Screw (Royal Opera House); Medea (Queen's Theatre and West End); St. John Passion, The Diary of One Who Vanished (ENO, RNT); Jeanne a"Arc au Bucher (BBC Proms); and The Tower Project (LIFT) and The Angel Project at Perth Inter?national Arts Festival, Australia. Other credits include: In Flame (New Ambassadors); and Peter Brook's Don Giovanni (Aix Festival and tour). Television credits include: production design for the Emmy Award-winning opera Gloriana; Twelfth Night, directed by Tim Supple; and the recent Helen West series for ITV. He was Art Director on Just William Series Two and Deborah Warner's Richard II. Feature film credits include: Christie Malry's Own Double Entry (Kassander Films); and ---Maua: King and Emperor (Samba Films).
Peter Mumford's (Lighting Design) works as a lighting and set designer, and as a director in theater and televison. Theater and dance lighting work includes: Private Lives (West End and on Broadway); Hamlet and Othello ? (both RSC); Luther, Richard II and Summer-folk (RNT); Iphigenia at the Abbey Theatre, Dublin; Of Oil and Water for the Siobhan Davies Dance Company; Arthur for Birm?ingham Royal Ballet; The Crucible for The Royal Ballet; and productions for the Royal Court, Manchester Royal Exchange, Rambert Dance Company and Abbey and Gate Thea?tres, Dublin. Recent lighting designs for opera include: Siegfried for Scottish Opera at the Edinburgh Festival; Don Pasquale for Opera Zuid; The Coronation ofPoppea for English National Opera; Eugene Onegin and Madama Butterfly for Opera North; and Giulio Cesare for Opera de Bordeaux. He directed and designed John Luther Adams's Earth and the Great Weather for the Almeida Opera and designed sets and lighting for Un Ballo in Maschera in Vilnius. Film and television work includes directing 24 short films for the BBC series Forty-Eight Preludes and Fugues. He was the winner of the 1995 Laurence Olivier Award for Outstanding Achievement in Dance for The Glass Blew In for Siobhan Davies, and Fearful Symmetries for The Royal Ballet.
Mike Gunning's (Associate Lighting Designer) opera work includes: original fj lighting for Trovatore at ENO; Tamerlario ' for Jonathon MillerEnglish Concert; and Michael Nyman's Facing Goya. Lighting for television includes: the ENO production of Semele, and lighting designer for the ENO revivals of Rigoletto, Diary of one who Van?ished, St. Johns Passion and La Boheme. Theater work includes: The York Millenium Mystery Plays in Yorkminster; The Jew Of Malta and Aunt Dan and Lemon (the Alm?eida); Take the Fire (Lyric Hammersmith); Broken Journey (Toye productions); Measured for Measure (RSC at theYoung Vic); Scenes
From an Execution and Gertrude the Cry (Wrestling School); Rose Rage (Ed HallWater-mill); and Scaramouche Jones (RebbeckPenny).
Mel Merrier (Soundscape) is a lecturer in Music at University College Cork, Ireland. His areas of interest include Irish Traditional Music, Ethnomusicology, Javanese gamelan, Ewe drumming, and the Classical Musics of North and South India. Born in Dublin in 1959, Mel received his first bodhran and bones lessons from his father, Peadar Mercier, a member of the Chieftains through 1976. He has performed and recorded with many Irish traditional musicians and ensembles, includ?ing Liam O Flynn, Micheal 0 Suilleabhain, De Danann, Stockton's Wing, Nomos and Altan. He has also performed with Riverdance, John Cage and the Merce Cunningham Dance Company, Alan Stivell, and Evelyn Glennie. In addition to this production of Medea, he co-composed the music for the Abbey Out?reach production of Harold and Sophie and Cordadorca's production of A Midsummer Night's Dream (Cork). In April 2002 he com?posed the music for Jeanette Winterson's The Powerbook at the National Theatre, London, directed by Deborah Warner.
Jacqueline Durran (Costume Design) initial?ly studied philosophy, but went on to com?plete her post graduate studies in the History of Design at Royal College of Art. She has been working in film for the past ten years. This is her first costume design for the stage. Film design work includes: All or Nothing, directed by Mike Leigh; and Young Adam, directed by David Mackenzie. Film work as primary costume design assistant includes: Eyes Wide Shut, directed by Stanley Kubrick; Topsy Turvy, directed by Mike Leigh; 007: The World is Not Enough, 007: Die Another Day, Tomb Raider, Star Wars Episode 2; and The Man Who Cried, directed by Sally Potter.
. David Meschter (Sound Design), sound designer and composer, received a degree in Audio Technology from American University
i in Washington, DC. He was the sound con-
sultant and repertory musician with the
Merce Cunningham Dance Company from
: 1981 to 1988, and created sound designs for ' a variety of organizations and artists includ-s ing John Cage, LaMonte Young, Pandit Pran Nath, the Kronos Quartet, the American Ballet Theater, Lincoln Center and Houston Grand Opera. His recent sound designs i include The Peony Pavilion, the epic 18-hour opera revived and reconstructed by Chen Shi-I'Zheng and Lincoln Center, Kwaidan, Edda: I Viking Tales of Lust, Revenge and Family, and f' Obon: Tales of Rain & Moonlight, directed by k Ping Chong, as well as Atlas, The Politics ofi I Quiet, Magic Frequencies and mercy by Mere-j ? dith Monk. Mr. Meschter is also the sound j & supervisor for the Lincoln Center Festivals.
Max Weitzenhoffer has been involved in I numerous shows, such as Sleuth; Equus; The Elephant Man; Rose, Timbuktu; Mass Appeal; Passion and the Royal Shakespeare Company's ['production of Piaf. He co-produced Off . I Broadway Tickles By Tucholsky, The Good j I Parts; The Three Guys Naked from the Waist] I Down and Road to Mecca. On Broadway: the (international Tony Award-winning hit i Dracula; Going Up; Harold and Maude, Pump i Boys and Dinettes; Andrew Lloyd Webber's F Song and Dance, Blood Knot, Burn This; ? Largely New York and the Tony Award-win--jj ning musical The Will Rogers Follies; and in ] the West End: Feelgood (Best Comedy Play, '12001 Evening Standard Awards); and De?fending the Caveman, which won the 2000 Olivier Award for Best Entertainment. In. , January 2001, he became the owner of I 'London's Vaudeville Theatre. I
Roger Berlind has produced and co-pro?duced more than 35 plays and musicals on
Broadway. Since 1990 his Broadway produc?tions are City of Angels (Tony Award, Best Musical); Lettice and Lovage, Death and the Maiden; Guys and Dolls (Tony Award, Best Musical Revival); Indiscretions; Getting Away with Murder, Skylight, A Funny Thing Happened on the Way to the Forum; Steel Pier, The Life; The Judas Kiss; A View from the Bridge (Tony Award, Best Revival of a Play); The Blue Room; Amy's View, Closer, The Wild Party (NYSF); Kiss Me Kate (Tony Award, Best Musical Revival); Copenhagen (Tony Award, Best Play); and Proo(Tony Award, Best Play).
Old Vic Productions, PLC was launched in 1993 by Richard Attenborough and Sally Greene under the name Criterion Produc?tions to give theater-lovers from across the UK the opportunity to participate in theatri?cal production. The company has produced or participated in over 40 productions. Recent productions include: Cyrano de Bergerac with Antony Sher (Lyric Theatre), The Reduced jg Shakespeare Company (Criterion Theatre, in its seventh year and now the longest-running comedy in the West End), The Weir (Duke of York's Theatre), Dublin Carol (The Old Vic and Royal Court), Speed-the-Plow (New Ambassadors), and Antigone (The Old Vic). In July 2000, Stephen Daldry, Dame Judi Dench and Jeremy Irons joined the board and the company was re-launched as Old ? Vic Productions PLC, with Kevin Spacey as a consultant.
Nica Burns (Producer for Really Useful I Theatres) served as Artistic Director of ti Donmar Warehouse Theatre between 1983-1989. She has served as producer for a number of productions including Hedda Gabler dir?ected by Deborah Warner starring Fiona Shaw (Best Director, Best Acress Olivier Awards), and A Whistle in the Dark directed by Garry Hynes. In 1993 she became the first head of production for London's largest theater owner, Really Useful Theatres, responsible.
for programming, commissioning and developing productions for its 12 theaters. Productions as lead producer in 2001 include: Medea (Best Actress, Best Director, Evening Standard Awards); Feelgood (Best Comedy Play, Evening Standard Awards); Dangerous Corner, and Associate Producer for London's Kiss Me Kate.
Jedediah Wheeler has worked as a manager, producer, agent and presenter in the pre?senting industry since 1976. Past productions include Le Cirque Imaginaire by Victoria Chaplin and Jean Baptiste Thierree; the Knee Plays by Robert Wilson and David Byrne; 1000 Airplanes on the Roof by Philip Glass, David Henry Hwang and Jerome Sirlin; Serious Fun! at Lincoln Center (OBIE); and Einstein on the Beach. Current projects include the Lincoln Center Festival production of The Peony Pavilion (directed by Chen Shi Zheng); Sankai Juku (Ushio Amagatsu, choreographerdirectordesigner); CoisCeim Dance Theatre of Ireland (David Bolger, artistic director); The Abbey Theatre's Plough and the Stars directed by Ben Barnes; and Madison's Descent, from the story and paintings by Page Allen, directed by Conall Morrison. Mr. Wheeler is Vice Chair of the Association of Performing Arts Presenters.
Luna Group Production Staff
Christopher D. Buckley, Production Supervision Greg Rowland, Production Manager Jill Dombrowski, Company Manager Samantha Lambourne, Deputy Stage Manager Patricia McGregor, Assistant Stage Manager David J. Lander, Lighting Supervisor .
Michael Van Sleen, Sound Engineer Heather Patton, Wardrobe Mistress
Really Useful Theatres Production Department
Donna Munday, General Manager Briony Goodliffe, Stephanie Creed, Production Assistants
London Production Staff
Jo Davies, Children's Director Jo Davies, Casting Director Jim Leaver, Production Manager Rosalind Morgan-Jones, Rehearsal
Company Manager Sabine Lemaitre, Costume Supervisor Alan Bain, Assistant to the Set Designer
The Abbey Theatre
Brian Jackson, Managing Director Martin Fahy, General Manager Marie Kelly, Executive Secretary Ciara Flynn, PA Secretary
Production Credits
Additional Casting: Jodi Collins, CSA; Carol Blanco Scenery: Scott Fleary, Ltd.; PL Parsons and
Company; Top of the Bill; Precision Glass &
Additional Scenery: Showman Fabricators Paintshops: John Campbell Scenic Studios;
Paddy Hamilton Scenic Studios Special Effects Equipment: Jauchem & Meeh, Inc. Original London Production Costume Design:
Tom Rand
Special thanks to Alison McArdle, Motorola, Jonathan Ginsburg, and Brian H. Goldstein.
Deborah Warner and Fiona Shaw first created Medea for The Abbey Theatre in Dublin in May of 2000. A further expansion of this work was pro?duced in London's West End in January of 2001 by Max Weitzenhoffer, Roger Berlind, Old Vic Productions and Nica Burns for Really Useful Theatres.
The current production was organized by Jedediah Wheeler for presentation by BAM's Next Wave Festival; the University Musical Society, University of Michigan, Ann Arbor; ClearChannel Entertainment, Boston, MA; The John F Kennedy Center for the Performing Arts; CAL Performances, University of California, Berkeley and Le Theatre National de Chaillot, Paris, France.
Edward Surovell Realtors
Takacs Quartet and Garrick Ohlsson Piano
Edward Dusinberre, Violin Karoly Schranz, Violin Roger Tapping, Viola Andras Feier, Cello
Program Sunday Evening, October 20 at 7:00
,' Rackham Auditorium Ann Arbor
Ludwig Van Beethoven String Quartet in A Major, Op. 18, No. 5
Andante cantabile. Thema--
Variationen I-V Coda. Poco Adagio ?.;. Allegro
Maurice Ravel
Ernst von Dohndnyi
String Quartet in F Major
Allegro moderato--Tres doux Assez vif--Tres rythme' Tres lent Vif et agite
Piano Quintet in c minor. Op. 1
Scherzo: Allegro vivace Adagio, quasi andante Finale: Allegro animato
Mr. Ohlsson
16th Performance of the 124th Season
40th Annual Chamber Arts 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 Edward Surovell Realtors.
Special thanks to Edward Surovell for his generous support of the University Musical Society both personally and through Edward Surovell Realtors.
Additional support provided by media sponsor WGTE.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
The Takacs Quartet appears by arrangement with CramerMarder Artists and records exclusively for DeccaLondon Records.
The Takacs Quartet is Quartet-in-Residence at the University of Colorado in Boulder and Fellow of The Guildhall School of Music and Drama in London.
Large print programs are available upon request.
String Quartet in A Major, Op. 18, No. 5
Ludwig van Beethoven
Born December 15 or 16, 1770
in Bonn, Germany Died March 26, 1827 in Vienna
Commentators on Beethoven's A-Major quartet (and their number is legion) invari?ably point out the young composer's debt to Mozart, in particular the quartet in the same key (K. 464) that Mozart included in a set of six works dedicated to Haydn. No one will dispute this claim, which is based on the ex?ternal structuring of the work: like Mozart, Beethoven placed his minuet second place, and included a set of slow variations in the key of D Major. The more important ques?tion, however, is whether this quartet sounds anything like Mozart. And there, the answer has to be a definite no-from the very first measures we hear the sudden offbeat accents so typical of Beethoven, a certain dance rhythm rarely used by Mozart, and myriad other fingerprints that unmistakably belong to Beethoven and no one else.
In a more profound sense, Beethoven's debt-to Mozart and even more importantly -to Haydn who had also been Mozart's model-is in the way the four instruments blend to?gether as equals, or take turns as leaders. In 1799-1800, when Beethoven was composing his Op. 18, Mozart had been dead for nearly a decade, but the much older Haydn was still actively composing. Haydn and his erstwhile rebellious student even found themselves in a kind of quartet-writing competition, as both had been commissioned by Prince Franz Joseph von Lobkowitz. But the older compos?er only finished two quartets from the six that had been planned (eventually published as Op. 77), leaving the field to the young genius that Haydn used to call, jokingly, the "Grand Mogul."
When Beethoven left his native Bonn for Vienna in 1792, Waldstein sent him on his way with the prophetic words: "With the help of assiduous labor you shall receive Mozart's spirit from Haydn's hands." Once in Vienna, the young composer lost no time in claiming his place as the rightful heir of Haydn and Mozart. But it was like someone who moves into an old house and immedi?ately starts rebuilding it.
The general feeling of the opening movement is rather cheerful and lightheart-ed, but that feeling seems to be constantly contradicted by the frequent incursions into the minor mode and the sudden rests inter?rupting the musical flow. As a result, we are kept on the edge of our seats, never knowing what is going to happen next in the music.
Pundits have called the second-movement minuet "simple," mainly because it is an old-fashioned minuet rather than the more novel scherzo. Yet it is a sophisticated simplicity; even when the texture is down to the two violins as it is at the beginning, the phrases don't always go where they are expected to, nor are they necessarily over after the standard length of eight bars. The sudden outburst in a minor key in the middle of the minuet, followed by a general rest, is certainly a sur?prise, as is the varied recapitulation involving some contrapuntal imitation. The trio would be "simple" indeed, and even "Schubertian" as has been claimed, were it not for those persistent, and disquieting, offbeat accents.
With its theme all made up of scales, going first down and then up, the third move?ment again looks like a model of simplicity. It is one of many variation themes by Bee?thoven that are kept purposely "bare-bones" in order to allow for some spectacular devel?opment in the variations. But the latter turn out to be much more than the figurative embellishments of traditional variation writing. The very first one introduces coun?terpoint. The second variation may be more conventional, but the third is a breathtaking
essay in musical color, the fourth a stunning chromatic chorale, and the fifth a grandiose statement of almost symphonic breadth. One would expect a sixth variation, but instead-after a sudden leap into a remote key-Bee?thoven appends a coda (conclusion) which is really a free meditation on the opening portion of the theme.
g The finale is brilliant and virtuosic, with a swiftly running first theme and a second one that moves quite a bit more slowly. Both themes are manipulated with great ingenuity and are finally combined in the witty coda.
String Quartet in F Major
Maurice Ravel
Born March 7, 1875 in Ciboure, Basses-Pyrenees, France Died December 28, 1937 in Paris
Ravel was 27 years old when he wrote his string quartet. He was still, at least nominally, a student, as he was auditing Gabriel Faure's composition class at the Paris Conservatoire. But he had been active as a composer for years, with numerous public performances behind him. Yet he had failed to win a prize from the Conservatoire, which was a condi?tion for graduation. In particular, the presti?gious Prix de Rome continued to elude Ravel, who was eliminated from the contest no fewer than five times. This situation became more and more ludicrous and it finally led to a much-publicized scandal in 1905. The director of the Conservatoire had to resign, and Ravel confirmed his status as one of the leading French composers of his generation, in fact the only one whose work could be compared to that of Claude Debussy.
Ravel's string quartet-dedicated "to my dear master Gabriel Faure"-is clearly mod?eled on Debussy's celebrated Quatuor from 1893, yet Ravel displays a sense of color and melody that is all his own. To both com-
posers, the string quartet as a medium sug?gested adherence to classical tradition. Yet nothing was farther from them than acade?micism of any kind. The denning moment of both works is precisely the tension that exists between the classical forms and a pos?itively non-classical sensitivity that is mani?fest at every turn.
Melody, harmony and rhythm are usu?ally thought of as the most important ingre?dients of music. Ravel's string quartet, written at the beginning of the 20th century, was nothing less than prophetic in the way it added a fourth element, sound, as a factor of equal importance. The alternation of playing techniques (pizzicato, con sordino, arpeggio, bow on the fingerboard) is as crucial to the unfolding of the piece as the alternation of themes, and their succession-especially in the second and third movements -creates a musical form of its own, entirely non-tradi?tional this time.
In the first movement, classical sonata form-a legacy that reached Ravel through the intermediary of Faure-is realized with great clarity and ingenuity. Note the characteristic pianissimo rallentando (extremely soft and slow playing) at the end of the movement, similar to the analogous moment in Ravel's Piano Trio of 1914. (On the other hand, the opening movement of Debussy's string quartet ends with a loud and fast coda.)
The second movement of Ravel's quartet is based on the contrast between two themes of opposite character, one pizzicato (plucked) and one bien chante (sing out!) with bow. Again, it seems that the movement looks into the future (ahead to the Piano Trio) rather than into the past (back to the Debussy quartet). The middle section, in which all four instruments use mutes, is an expressive slow movement in miniature, with subtle variations on both scherzo themes.
The unique beauty of the third move?ment evolves by fits and starts, as it were, through the sometimes abrupt juxtaposition
of segments in different tempos, keys, and meters. An expressive melody, whose primary exponent is the viola, is interrupted by memories of the first movement's opening theme. After a more animated middle section, culminating in a passionate outburst, the initial slow tempo returns with its exquisite harmonies.
The last movement (which Faure thought unbalanced and too short) is based on an ostinato ("stubbornly" returning pat?tern) in an asymmetrical 58 meter. After a '? while, this ostinato yields to a more regular 34, which, once more, contains echoes of the first movement. A different musical character-the first aggressive, the second more lyrical-corresponds to each of these two meters. Their contrast carries the move?ment forward, right up to the singularly forceful conclusion.
Piano Quintet in c minor, Op. 1
Ernst von Dohnanyi PW
Born July 27, 1877 in Pozsony, Hungary" '
(now Bratislava, Slovakia) Died February 9, 1960 in New York ?.
Like Ravel, Ernst von Dohnanyi was a student when he wrote his first great chamber work. The Hungarian composer was even younger, only 18, when he produced this astonishing Opus 1. Yet, even though it is heavily influ?enced by Brahms and Schumann, it is hard?ly a "student work." The young man had the language of Romantic chamber music down to the last nuance. Every musical detail is exactly in its place: the melodies and their development evolve naturally; the handling of the five instruments is always idiomatic. The piano and the strings-and the individ?ual members of the quartet-are treated as equals, and each player is given plenty of opportunities to shine; yet they can also blend together perfectly to form a unified
group whenever necessary. This combination of inborn talent and well-honed craft is ex?tremely rare-no wonder that Brahms was extremely impressed. Upon receiving the score from Hans Koessler, Dohnanyi's composition teacher at the Academy of Music in Budapest, Brahms personally made the arrangements for the premiere performance in Vienna.
The first movement keeps the rhythmic energy alive even during the more lyrical moments: even the more introspective second theme is accompanied by exciting syncopa?tions or pizzicato (plucked) figures that never allow the momentum to sag. After a brilliant traversal of many keys in the development, the recapitulation concludes with a shift from c minor to C Major-a classic move serving to introduce a brighter mood at the end, applied here with irresistible verve and dramatic force.
The second-movement scherzo inge?niously plays with one of Brahms's favorite rhythmic figures, the so-called hemiola (in which two bars of 34 time [one-two-three, one-two-three] are merged into a single bar of 32 [one-and-two-and-three-and], hiding the second downbeat). The trio, or middle section, is, by contrast, quiet and placid, moving more slowly in sustained chords.
A supremely beautiful viola solo opens the slow movement, which blossoms into a passionate romantic song shared by all five instruments. Another expressive melody, in a new key and a new time signature follows, before the first idea returns. The ending, recalling the main melody as in a dream, is particularly effective.
The finale immediately attracts our ?" attention on account of its irregular 54 meter, later mixed with 64 and 32 in a brilliant and unpredictable way. The second theme,! introduced by the cello, is more stable metjjj rically. In the middle of the movement, Dohnanyi introduces a virtuosic fugato sec?tion, followed by a return of the earlier i materials. Like many Romantic composersJ
Dohnanyi brings back the opening theme of the first movement (along with a hint at the viola solo in the third), to create a sense of cyclic unity in the whole composition, which ends with a grandiose restatement of the 54 melody.
After the resounding success of the Piano Quintet, Dohnanyi's career was under way. Within a few years he established himself as one of the leading pianist-composers of his time, at home in the concert halls of Vienna, Berlin, London, and New York. He remained faithful to chamber music, producing three string quartets, a second piano quintet and the masterful Serenade for string trio. His best-known symphonic work is the Variations on a Nursery Song for piano and orchestra. And although Dohnanyi remained unshak-ably committed to the musical universe of Brahms his entire life, he enriched that uni?verse with contributions noted for their wit, elegance, structural sophistication and a profound understanding of the soul of the instruments. If that is epigonism, as has sometimes been charged, then it takes exceptional talent to be a good epigone.
Program notes by Peter Laki.
ince his triumph as winner of the 1970 Chopin International Piano Competition, American pianist Garrick Ohlsson has established himself as a musician of extraordi?nary interpretive power and prodigious technical facility. Although he has long been regarded as one of the world's leading expo?nents of the music of Chopin, Mr. Ohlsson commands an enormous repertoire, which encompasses virtually the entire piano liter?ature. A student of the late Claudio Arrau, Mr. Ohlsson has come to be noted for his masterly performances of the works of Mozart, Beethoven, and Schubert, as well as the Romantic repertoire.
Mr. Ohlsson's concerto repertoire is unusually wide and eclectic--ranging from Haydn and Mozart to 20th-century masters-and he has at his command some 80 works for piano and orchestra. He has performed solo recitals throughout the US, Canada, and Europe--a highlight being complete Chopin cycles in New York, Paris, London, Warsaw and Ann Arbor.
During the 0203 season, Mr. Ohlsson is featured by Lincoln Center's Great Performers
in Busoni at the Key?board," a three-recital series at Alice Tully Hall, which presents the piano music of Busoni, in the company of works by Bach, and Liszt. The series will highlight the influence of Bach and Liszt in shaping Busoni's
highly original synthesis of the classic, the Romantic, and the avant-garde.
A prolific recording artist, Mr. Ohlsson can be heard on the Arabesque, RCA Victor Red Seal, Angel, Bridge, BMG, Delos, Hans-sler, Nonesuch, Telarc, and Virgin Classics labels. Mr. Ohlsson has recorded the com?plete solo works of Chopin for Arabesque.
Mr. Ohlsson was born in White Plains, New York, where he began his piano studies at the age of eight. He attended the West-chester Conservatory of Music and at 13, he entered The Juilliard School in New York City. Although he won First Prizes at the 1966 Busoni Competition in Italy and 1968 Mon?treal Piano Competition, it was his 1970 tri?umph at the Chopin Competition in Warsaw, where he won the Gold Medal, that brought him worldwide recognition as one of the finest pianists of his generation.
77iis evening's performance marks Mr. Ohlsson's 11th appearance under UMS auspices. Mr. Ohlsson made his UMS debut on July 28, 1971. He subsequently embarked on a six-
concert UMS cycle of the complete solo piano music of Frederic Chopin beginning in 1995. Mr. Ohlsson is the recipient of the 1998 UMS ? Distinguished Artist Award.
he Takacs Quartet is recognized as one of the world's greatest string quartets. Since its formation in 1975, the ensemble has appeared regu-_ larly in every major music capital and prestigious festival. The quartet is based in Boulder, Colorado, where it has held a Residency at the University of Colorado since 1983. The Takacs is a Resident Quartet ? at the Aspen Festival and its members are ?? also Visiting Fellows at the Guildhall School of Music and Drama in London.
The first volume of the Takacs Quartet's Beethoven Cycle (middle quartets) was re-;? leased in May 2002. Its recording of the Bart6k ". cycle received the Gramophone "Chamber Music Recording of the Year" award for 1998, and in 1999 it was nominated for a Grammy. The ensemble's subsequent recording release for DeccaLondon, with which it signed an [exclusive recording contract in 1988, includes the Schubert "Trout" Quintet with pianist Andreas Haefliger (Grammy nominee, 2000), and Dvorak's String Quartet, Op. 51 and ?' Piano Quintet, Op. 81, also with Mr. Haefliger. Volume two (early quartets) of the Beethoven cycle will be released in Spring 2003, and the final volume of the late quartets is to appear in early 2005.
During the 0203 season, the Takacs Quartet performs over 40 concerts in the US, and tours extensively in Europe. Special pro?jects include a tour with the famed Hungar?ian gypsy ensemble Muzsikas, performing under UMS auspices on March 29, and a Beethoven cycle presented by the Cleveland Orchestra. Additionally, the Takacs will con?tinue their annual residency at the Aspen Festival and a residency at the Music Academy of the West in Santa Barbara. In the 0102
season, the Takacs toured in 15 cities, includ?ing Ann Arbor, with former US Poet Laureate Robert Pinsky, culminating in a concert at Lincoln Center. Their program of music and poetry was centered around the theme of Love.
The Takacs Quartet was formed by Gabor Takacs-Nagy, Karoly Schranz, Gabor Ormai and Andras Fejer in 1975, while all four were students at Budapest's Liszt Aca?demy. It first received international attention in 1977, winning First Prize and the Critics' Prize at the International String Quartet Competition in Evian, France. Thereafter, the Takacs won the Gold Medal at the 1978 Portsmouth and Bordeaux Competitions and First Prizes at the Budapest International String Quartet Competition (1978) and the Bratislava Competition (1981). The quartet made its North American debut tour in 1982.
This evening's performance marks the Takacs Quartet's fifth appearance under UMS auspices. The Quartet made their UMS debut in Feb?ruary 1984. The Quartet will return to UMS to close the 40th Annual Chamber Arts Series on March 29, 2003 in a joint performance with the Hugarian gypsy ensemble Muzsikds in Rackham Auditorium.
___I _____
(lease note that a com?plete listing of all UMS Educational activities will now be conveniently locatec within the concert progran section of your program book All Education activities are also posted on the UMS website at
'Forest Health Services presents the 124th Annual Choral Union series.
Hubbard Street Dance Chicago
Jim 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 Musk ,
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. t
Media Sponsor Metro Times.
Cleveland Orchestra
Franz YVelser-MOst, music director Heinz Karl Gruber, baritone
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
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
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 Geltncr
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.
Rackham Auditorium
Sponsored by Edward Surovell
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. j?
Grupo Corpo Brazilian Dance Theater j
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 j
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
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 of
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.
A Traditional Gaelic Seasonal
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. JonesAmie Zane
Dance Company
with the
Chamber Music Society
of Lincoln Center
featuring the Orion String
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. I
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. 'dditional support provided by JazzNet. ledia 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 &
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 Coriolanus
David Farr, director Sunday, March 2, 1:30 p.m. , Tuesday, March 4, 7:30 p.m. , Thursday, March 6, 7:30 p.m. H Friday, March 7, 7:30 p.m. Saturday, March 8, 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 Salman Rushdie's Midnights 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. I & 7:30 p.m. ' Sunday, March 16, 1:30 p.m.
Power Center
i 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.
Alban Berg Quartet
Monday, March 3, 8 p.m. Rackham Auditorium Sponsored by Bank of Ann Arbor. Media 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 fSp'fcp'
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 VVGTF. 91.3 FM.
Featuring Marta Sebestyeii 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 i
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 a
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
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
? he FORD HONORS PROGRAM is made possible by a generous grant from the Ford Motor Company Fund
i 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
Van Cliburn
Jessye Norman
Garrick Ohlsson
Canadian Brass
Isaac Stern I
Marcel Marceau
Marilyn Home
?onsidered one of the top performing arts educational programs in the country, UMS strives to illuminate the performing arts through education and community engagement, offering audiences a multitude of opportunities to make connections and deepen 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, email, 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 I 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. --
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.
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.
MS 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, email, 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 ?feM&i?&rtfiii_________
Teachers who wish to be added to the youth performance mailing list should call 734.615.0122 or email,
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
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@ 1
$ 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
Special Discounts for Teachers and Students to Public Performances
UMS offers group discounts to schools attending evening and weekend performances not offered through the First Acts Program. Please call the Group Sales Coordinator at 734.763.3100 for more information.
The Kennedy Center Partnership
UMS and the Ann Arbor Public Schools are members of the Kennedy Center Partners in Education 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.
elebrate 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 fJH 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! I"
Gratzi Restaurant ]
326 South Main Street Call 888.456.DINEfor 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 mmnm
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
60-member UMS Advisory Commi provides important volunteer assistai. and financial support for these exceptions educational programs. Please call 734.936.6837 for information about 'nteering for UMS Education and 1------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 offers group discount rates and can accom?modate conferences, musical and performing arts events, weddings and family celebrations. Call to inquire about special package prices.
Visit and enjoy these fine area restaurants. Join us in thanking them for their generous support of VMS.
Arbor Brewing Co. rrr"
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.
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.
Cafe Marie
1759 Plymouth Road 734.662.2272 Distinct and delicious breakfast and lunch dishes, creative weekly specials. Fresh-squeezed juice and captivating cappuccinos! A sunny, casual, smoke-free atmosphere. Take out available.
The Chop House
322 South Main Street 888.456.DINE Ann Arbor's newest taste temptation. An elite American Chop House featuring U.S.D.A. prime beef, the finest in Midwestern grain-fed meat, and exceptional premium wines in a refined, elegant setting. Open nightly, call for
D'Amato's Neighborhood Restaurant
102 South First Street 734.623.7400 D'Amato's Italian Restaurant (corner First St. & Huron) is casual dining at its best. Classic and 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.
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-
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.
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.
326 South Main Street 888.456.DINE Celebrated, award-winning Italian cuisine served with flair and excitement. Sidewalk and balcony seating. Open for lunch ancl dinner. Reservations accepted.
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,
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, r
Real Seafood Company
341 South Main Street 888.456.DINE As close to the world's oceans as your taste can travel. Serving delightfully fresh seafood and much more. Open for lunch and dinner.
Reservations accepted. ______
Red Hawk Bar & Grill
316 South State Street 734.994.4004 Neighborhood bar & grill in campus historic district, specializing in creative treatments of traditional favorites. Full bar, with a dozen beers on tap. Lunch and dinner daily. Weekly specials. Smoke-free. No reservations.
Seva________ ____
314 East Liberty 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.
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.
ack by popular demand, friends of UMS are hosting a variety of dining events to raise funds for our nationally recognized education programs. Thanks to the generosity of the hosts, all proceeds from these delight?ful dinners go to support these important activities. Treat yourself, give a gift of tickets, or come alone and meet new people! For more information or to receive a brochure, call 734.936.6837.

UMS support
MS volunteers are an integral part of the success of our organi?zation. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome you to the UMS family and involve you in our exciting programming and activities. We rely on volunteers for a vast array of activities, including staffing the edu?cation residency activities, assisting in artist services and mailings, escorting students for our popular youth performances and a host of other projects. Call 734.936.6837 to request more information.
he 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.
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.
As a UMS corporate sponsor, your organiza?tion comes to the attention of an educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treasures, and also receive numerous benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
Enhancing corporate image
Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic groups
Making highly visible links with arts and education programs
Recognizing employees
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
nternships with UMS provide experience in performing arts administration, mar?keting, publicity, promotion, production and arts education. Semesterand year-long internships are available in many of UMS's departments. For more information, please call 734.615.1444.;
tudents working for UMS as part of the College Work-Study program gain valu?able experience in all facets of arts manage?ment including concert promotion and marketing, fundraising, arts education, event planning and production. If you are a University of Michigan student who receives work-study financial aid and who is interested in working at UMS, please call 734.615.1444.
ithout 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.
grams--would not be possible without the generous support of the community. UMS _ gratefully acknowledges the following individuals, businesses, foundations and government encies--and those who wish to remain anonymous--and extends its deepest gratitude foi eir support. This list includes current donors as of August 7, 2002. Every effort has been ;
.to ensure its accuracy. Please call 734.647.1178 with any errors or omissions. dF
$25,000 or more
Randall and Mary Pittman Philip and Kathleen Power
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
Maurice and Linda Binkow Leo and Kathy Legatski Prudence and Amnon Rosenthal Edward and Natalie Surovell
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
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
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. Crawford
lack 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 Lcderman
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
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 s, Ralph P. Beebe Patrick and Maureen Belden Harry and Betty Benford Ruth Ann and Stuart J. Bergstein L. S. Berlin
Suzanne A. and Frederick J. Beutler loan Akers Binkow Elizabeth and Giles G. Bole Howard and Margaret Bond Bob 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 )im Byrne Betty Byrne
Barbara and Albert Cain lean W. Campbell Michael and Patricia Campbell Thomas and Marilou Capo Edwin and ludith Carlson Jean and Kenneth Casey Janet and Bill Cassebaum Anne Chase lames S. Chen lanice A. Clark
Mr. and Mrs. )ohn Alden Clark Leon and Heidi Cohan Mr. Ralph Conger Carolyn and L. Thomas Conlin Mm and Connie Cook lane Wilson Coon Anne and Howard Cooper Hugh and Elly Rose-Cooper Paul N. Courant and Marta A. Manildi Malcolm and luanita Cox
George and Connie Cress -------Sj
Kathleen Crispell and Thomas Porter ludy 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 Fcatherman Yi-tsi M. and Albert Feuerwerker Mrs. Gerald J. Fischer (Beth B.) Ray 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 loan 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 Nculiep and Patricia Pancioli M. Haskcll and Jan Barney Newman William and Deanna Newman Eulalie Nohrden Marylen and Harold Oberman
Gilbert Omenn and Martha Darling
Mrs. William B. l'almcr
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 S
Dr. Nathaniel H. Rowe
lames and Adrienne Rudolph .,
Craig and Jan Ruff
Alan and Swanna Saltiel I___________
Dick and Norman Sams
Meeyung and Charles R. Schmitter
Mrs. Richard C. Schneider
Rosalie and David Schottenfeld
Sue Schroeder
Steven R. and Jennifer L. Schwartz i
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 I. 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 :Wg
Paul Yhouse !JmM
Ed and Signe Young
Gerald B. and Mary Kay Zelenock
Michael and Marilyn Agin'
Robert Ainsworth
Dr. and Mrs. Robert G. Aldrich
Michael and Suzan Alexander
Anastasios Alexiou
Dr. and Mrs. David G. Anderson
Dr. and Mrs. Rudi Ansbacher
Benefactors, continued
Elaine and Ralph Anthony
Janet and Arnold AronofF
Norman E. Barnctt
Mason and Helen Barr
Lois and David Baru
Dr. Wolfgang and Eva Bernhard
)ohn Blankley and
Maureen Folcy 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 Bulklcy 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 Daane Delia DiPictro 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 Boehnke Maxinc and Stuart Frankel
Foundation Dr. Ronald Freedman Professor and
Mrs. David M. Gates Drs. Steve Geiringer and
Karen Bantel
Thomas and Barbara Gelehrlcr Charles and Rita Gelman Cozette Grabb Elizabeth Needham Graham Dr. and Mrs. Lazar J. Greenfield David and Kay Gugala Carl and Julia Guldberg Don P. Hacfncr 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 Hayden Henry R. and Lucia Heinold Mrs. W.A. Hiltner
John H.and
Maurila Peterson Holland Drs. Linda Samuelson and
loci Howcll
Mr. and Mrs. William Hufford Eileen and Saul Hymans John and Gretchen lackson Jean Jacobson Jim and Dale Jerome John Kennedy Dick and Pat King Hcrmine R. Klingler Philip and Kathryn Klintworth Joseph and Marilynn Kokoszka Lee and Tcddi Laniks Mr. John K. Lawrence Mr. and Mrs. Fernando S. Leon Jacqueline H. Lewis Daniel Little and
Bernadette Lintz E. Daniel and Kay Long Brigitte and Paul Maassen Jefif Mason and Janet Nctz Griff and Pat McDonald Deanna Relyea and
Piotr Michalowski Jcanette and lack 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 Bcttina Pollock Richard H. and Mary B. Price Wallace and Barbara Prince Mrs. Gardner C. Quarton Mrs. Joseph S. Radom Dr. Jeanne Raisler and Dr.
Jonathan Allen Cohn Rudolph and Sue Rcichcrt Molly Resnik and John Martin H. Robert and Kristin Reynolds Jay and Machree Robinson Peter C. Schabcrg and
Norma J. Amrhein Ann and Thomas J. Schriber Erik and Carol Serr Julianne and Michael Shea Thomas and Valerie Yova Sheets Howard and Aliza Shevrin 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 Jeff Stoller Prof. Louis J. and
Glennis M. Stout Dr. and Mrs. Stanley Strasius Charlotte B. Sundclson Bob and Betsy Teeter Elizabeth H. Thiemc 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 dcr 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
Mr. and Mrs. Roy I. Albert
Helen and David Aminoff
David and Katie Andrea
Harlenc and Henry Appelman
Jeff and Deborah Ash
Mr. and Mrs. Arthur . 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. Jere 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. Botek 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. Bungc Susan and Oliver Cameron Margot Campos Jeannettc and Robert Carr Dr. and Mrs. Joseph C. Cerny Thomas Champagne and
Stephen Savage
Dr. Kyung and Young Cho Kwang and Soon Cho Robert I. Ciorznicwski Reginald and Beverly Ciokajlo Brian and Cheryl Clarkson Carolyn and I.. Thomas Conlin Nan and Bill Conlin Clifford and Laura Craig Merle and Mary Ann Crawford Peter C. and Lindy M. Cubba Richard J. Cunningham Marcia A. Dalbey Dr. and
Mrs. Charles W. Davenport Ed and Ellie Davidson Peter A. and Norma Davis lohn and lean Dcbbink Elena and Nicholas Delbanco Richard and Sue Dempscy Elizabeth Dexter Jack and Claudia Dixon Judy and Steve Dobson Heather and Stuart Dombey Dr. Edward F. Domino Thomas and Esther Donahue John Dryden and Diana Raimi Rhetaugh Graves Dumas Swati Dutta
Martin and Rosalie Edwards Dr. Alan S. Eiser Judge and Mrs. S. J. Elden Ethel and Sheldon Ellis Mr. John W. Etsweiler, III Mark and Karen Falahcc Elly and Harvey Falit Dr. John W. Farah Drs. Michael and
Bonnie Fauman Karl and Sara Fiegenschuh Dr. James F. Filgas Susan FilipiakSwingCity
Dance Studio Hcrschel Fink C. Peter and Bev A. Fischer Gerald B. and
Catherine L. Fischer Howard and Margaret Fox Jason I. Fox Lynn A. Freeland Dr. Leon and Marcia Friedman Lela J. Fucster
Mr. and Mrs. William Fulton Harriet and Daniel Fusfcld Chuck and Rita Gclman Deborah and Flenry Gerst Elmer G. Gilbert and
Lois M. Verbrugge Matthew and Dcbra Gildea lames and Janet Gilsdorf Maureen and David Ginsburg Albert and Almeda Girod
Martha Mayo Enid M. Gosling Charles and Janet Goss Jerry M. and Mary K. Gray Lila and Bob Green Victoria Green and Matthew Toschlog
Snndra Gregerman
Bill and Louise Gregory
Raymond and Daphne M. Grew
Mark and Susan Griffin
Werner H. Grilk
Dick and Marion Gross
Bob and lane Grover
Susan and John Halloran
Claribel Halstead
Tom Hammond
Lourdes S. Baslos Hansen
David B. and Colleen M. Hanson
Martin D. and Connie D. Harris
Nina E. Hauser
Kenneth and Jeanne Heiningcr
J. Lawrence and Jacqueline
Stearns Hcnkel Dr. and Mrs. Keith S. Henley Kathy and Rudi Hcntschel Louise Hodgson Mr. and Mrs. William B. Holmes John I. Hritz, Jr. Jane H. Hughes Dr. and Mrs. Ralph M. Hulett Jewel F. Hunlcr Thomas and
Kathryn Huntzicker Robert B. Ingling Margaret and Eugene Ingram Kent and Mary Johnson Paul and Olga lohnson Dr. Marilyn S. Jones Stephen Josephson and
Sally Fink
Douglas and Mary Kahn Dr. and Mrs. Mark S. Kaminski George Kaplan and Mary Haan Arthur A. Kasclemas Professor Martin E. Katz Julie and Phil Kearney James A. Kelly and
Mariam C. Noland John B. and Joanne Kennard Frank and Patricia Kennedy Mr. Roland G. Kibler Donald F. and Mary A. Kiel Mrs. Rhea K. Kish Paul and Dana Kissner James and Jane Kistcr Dr. David E. and
Heidi Castlcman Klein Steve and Shira Klein Laura Klcm Anne Kloack Thomas and Ruth Knoll Dr. and Mrs. Melvyn Korobkin Amy Sheon and Marvin Krislov Bert and Geraldinc Krusc David W. Kuehn and
Lisa A. Tedesco Mrs. David A. Lanius Mr. and Mrs. Henry M. Lapeza Ncal and Anne Laurance Beth and George LaVoie F.laine and David I.cbcnbom Cyril and Ruth I.eder John and Theresa Lee Frank Lcgacki and
Alicia Torres
Jim and Cathy Leonard Carolyn Lepard Donald ). and
Carolyn Dana Lewis Ken and Jane Lieberthal Leons and Vija Liepa Dr. and
Mrs. Richard H. Lineback Rod and Robin Little Vi-Cheng and Hsi-Yen Liu Ronald Longhofer and
Norma McKenna Richard and Stephanie Lord Christopher and Carla Loving Charles and ludy Lucas Carl J. Lutkchaus Edward and Barbara Lynn Pamela J. MacKintosh Virginia Mahle Latika Mangrulkar Melvin and lean Manis Ann VV. 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 Mclntosh Nancy A. and Robert E. Meader Gcrlinda S. Melchiori Ph.D. Ingrid Merikoski Bernice and Herman Merte George R. and Brigitte Merz Henry D. Messer Carl A. House Ms Heidi Meyer Shirley and Bill Meyers Mr. and Mrs. Eugene Mill Sonya R. Miller Edward and Barbara Mills Thomas Mobley William G. and
Edith O. Moller, Jr. Jane and Kenneth Moriarty Thomas and Hedi Mulford Gerry and Joanne Navarre Frederick C. Neidhardt and
Gcrmaine Chipault Alexander Nelson lames G. Nelson and
Kathcrine 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 Hedda Panzer Nancy K. Paul Wade and Carol Peacock Zoe and Joe Pearson Karen Tyler Perry C. Anthony and
Marie B. Phillips
Mr. and
Mrs. Frederick R. Pickard Wayne Pickvet and
Bruce Barrett
Frank and Sharon Pignanclli Wayne and Suellen Pinch Richard and Meryl Place Donald and Evonne Plantinga Bill and Diana Pratt Jerry and Lorna Prescolt Larry and Ann Preuss J. Thomas and Kathleen Pustell Lei and and
Elizabeth Quackenbush Patricia Randle and fames Eng Jim and leva Rasmussen Anthony L. Reffells and
Elaine A. Bennett lack and Margaret Ricketts Constance O. Rinehart Kathleen Roelofs Roberts Mr. and Mrs. Stephen J. Rogers Robert and Joan Rosenblum Mr. Haskell Rothstein Doug and Sharon Rothwell Sally Rutzky Arnold Sameroff and
Susan McDonough Ina and Terry Sandalow Miriam Sandweiss John and Reda Santinga Michael and Kimm Sarosi Gary and Arlene Saxonhouse Albert J. and Jane L. Sayed Frank J. Schauerte Richard Black and
Christine Schesky-Black David and Marcia Schmidt Jean Scholl David E. and J
Monica N. Schteingart Mrs. Harriet Selin Judith and Ivan Shcrick George and Gladys Shirley Jean and Thomas Shope John and Arlene Shy Carl Simon and Bobbi Low Robert and Elaine Sims Tim and Marie Slot tow Carl and Jari Smith Mrs. Robert W. Smith Yoram and Eliana Sorokin Tom Sparks
Larry and Doris Sperling Jeffrey I). Spindler Burnctte Stacbler 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
James Peggs Eva and Sam Taylor
Stcphan Taylor and
Elizabeth Stumbo James I., and Ann S. Telfer Paul and Jane Thielking Edwin ). Thomas Bette M. Thompson Dr. and Mrs. Robert E. Todd Patricia and Terril Tompkins Dr. and Mrs. Merlin C. Towniey )im Toy
Bill and Jewell Tustian Tanja and Rob Van der Voo Lourdes Vclez, MD Wendy L. Wahl and
William R. Lee Charles R. and
Barbara H. Wallgren Robert D. and Liina M. Wallin Deborah Webster and
George Miller Lawrence A. Weis Susan and Peter Westcrman Iris and Fred Whitehouse Leslie Clare Whitfield Professor Steven Whiting Reverend Francis E. Williams Christine and Park Willis Thomas and Iva Wilson Lois Wilson-Crabtrce Beverly and Hadlcy Wine Beth and I. W. Winsten Charles Witke and Aileen Gatten Charlotte A. Wolfe Al and Alma Wooll Don and Charlotte Wychc MaryGrace and Tom York Ann and Ralph Youngrcn Mrs. Alejandra Zapata Gail and David Zuk
Tim and Leah Adams
Dr. Dorit Adler
Ronald Albucher and Kevin Pfau
Phyllis Allen
Richard and Bettyc Allen
Barbara and Dean AJseth
Forrest Alter AtfMiiK
Richard Amdur SJfSS:.
Dr. and
Mrs. Charles T. Anderson Joseph and Annette Anderson Mr. and Mrs. David Andrew Jill B. and
Thomas J. Archambeau M.D. Bert and Pat Armstrong Thomas and Mary Armstrong Gaard and Ellen Arneson Jack and Jill Arnold Dr. and Mrs. Allan Ash lames and Doris August John and Rosemary Austgcn Erik and Linda Lee Austin Ronald and Anna Marie Austin
Advocates, continued
Shirley and Donald Axon
Virginia and Jerald Bachman Mr. Robert M Bachtcal 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 V. Bauer Charles Baxter
Deborah Bayer and Jon Tyman Kenneth C. Beachler James and Margaret Bean Frank and Gail Beaver James M. Beck and
Robert J. McGranaghan Robert Beckley and
Judy Dinesen Nancy Bender Waller and Antje Benenson Mr. and Mrs. Ib Bentzen-Bilkvist Dr. Rosemary R. Berardi Helen V. Berg Harvey Berman and
Rochclle 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 llene 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 Paul 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 Chappcll Felix and Ann Chow :"
Catherine Christen Edward and Rebecca Chudacoff Sallie R. Churchill Nancy Cilley
Donald and Astrid Cleveland Mr. Fred W. Cohrs Willis Colburn and Dcnise 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 loann Culbertson John and
Carolyn Rundell Culotta Marcio Da Fonseca Mr. and Mrs. John R. Dale Marylee Dalton Timothy and
Robin Damschroder Mr. and Mrs. Norman Dancy Stephen Darwall and
Roscmarie 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
Don and Pam Devine Martha and Ron DiCecco Andrej 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 Vcrnon I. and Johanna tillers Karen Eisenbrcy Chris and Betty Elkins Lawrence Ellcnbogen Anthony and Paula Elliott Julie and Charles Ellis H. Michael and ludith L. Endres Joan and Emil Engel Karen Epstein and
Dr. Alfred Eranzblau Steve and Pamela Ernst Dorothy and Donald Eschman Mr. and Mrs. Robert B. Fair, Jr. Garry and Barbara Faja Inka and David Felbeck 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 )ill Francis Hyman H. Frank i Lora Frankel Lucia and Doug Freeth Richard and Joann Frecthy Sophia I.. French Joanna and Richard Friedman Marilyn L. Friedman and
Seymour Koenigsberg Susan Froelich and
Richard Ingram t 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 Gerstenberger and
Elizabeth A. Sweet Leo and Renatc Gerulaitis Allan F. Gibbard Paul and Suzanne Gikas Zita and Wayne Gillis loyce 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 Jean Gosling
Kristin A. Goss
Michael L. Cowing
Sieve and Carol Grafton
Christopher and Elaine Graham
Helen M. Graves
Isaac and Pamela Green
Oehorah S. Greer
Linda Gregerson and
Steven Mullaney G. Robinson and Ann Gregory Linda and Roger Grekin Lauretta and Jim Gribble Rila and Bob Grierson William L. and
Martha li. 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 Jan Hand Grace H. Hanninen Rachel Brett Harley Stephen G. and
Mary Anna Harper Ed Sarath and Joan Harris Laurelynnc D. and
George Harris Susan R. Harris -Julie Hartman Anne M. Heacock Henry and Mary S. Healey lames and Esther Heitlcr William C. Heifer Sivana Heller
Karl Hcnkel and Phyllis Mann Al and Jolene Hermalin leanne Hernandez Ken and Carrie Herr Roger and Dawn Hertz Ronald D. and Barbara J. Hertz Roger F. Hewitt lohn and Martha Hicks Herb and Dec Hildebrandt Peter G. Hinman and
Elizabeth A. Young James and Ann Marie Hitchcock Frances C. Hoffman Carol and Dieter Hohnke Gad Holland
Kenneth and Joyce Holmes Mrs. Howard Holmes Dave and Susan Horvath Paul A. Hossler Dr. Nancy Houk James and Wendy Fisher House leffrey and Allison Housner Gordon Housworth Kenneth and Carol Hovey Mrs.V.C. Hubbs Judc and Ray Hucttctnan Harry and Ruth Huff JoAnne W. Hulce Virginia E. Hunt
Edward C. Ingraham
Perry Irish
Sid and Harriet Israel
ludilh G. Jackson
Prof, and Mrs. John H. lackson
David Jahn
Elizabeth Jahn
loachim and Christra Janccke
Nick Janosi
Dean and Leslie Jarrett
Marilyn G. Jeffs
Frances and Jerome lelinek
Keith D. and Kathryn H. Jensen
Margaret Jensen
Christopher P. and
Sharon Johnson Mark and Linda Johnson Constance L. Jones Paul R. and Meredyth Jones Mary Kalmcs and Larry
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.D. 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 Smcrza John Kicly
Paul and Leah Kileny leanne Kin Howard King and
Elizabeth Sayre-King Jean and Arnold Kluge Dr. and Mrs. William L. Knapp Rosalie and Ron Koenig Michael J. Kondziolka Charles and Linda Koopmann Alan and Sandra Kortesoja Dr. and
Mrs. Richard Krachcnbcrg Jean 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 Tim and Kalhy Laing Mr. and Mrs. Seymour Lampert Henry and Alice Landau I'avid and Darlcnc Landsittel Carl F. and Ann L. LaRuc Fred and Ethel Lee I liane Lehman and
Jeffrey Lehman leffrey Lehman nn M. Lcidy Richard and Barbara Leitc
Dcrick and Diane Lentcrs
Richard LeSueur
David E. Levine
Harry and Melissa LcVine
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 Talbolt Michael and Debra 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 Geraldine 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 McConncll Neil and Suzanne McGinn Bob and Doris Melling Allen and Marilyn Mcnio Lori and Jim Mercier Arthur and Elizabeth Messiter Helen Mctzncr Don and Lee Meyer Suzanne M. Meyer Leo and Sally Micdler William and Joan Mikkelsen Carmen and Jack Miller Gerald A. and Carol Ann Miller Bob and Carol Milstein James and Kathleen Mitchiner Elaine Mogerman Olga Ann Moir Mary Jane Molesky Mr. Erivan R. Morales and
Dr. Seigo Nakao lean Marie Moran and
Stefan V. Chmielewski Arnold and Gail Morawa Robert and Sophie Mordis Dr. and Mrs. George W. Morley A. A. Moroun
John and Michelle Morris Rick Motschall James and Sally Mueller Bernhard and Donna Muller Marci and Kalic 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. James K. Newton John and Ann Nicklas Mrs. Marvin Niehuss Richard and Susan Nisbctt Chrisler and Outi Nordman Richard and Caroline Norman Jolanta 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
Gwynnc Jennings Dr. Jon Oscherwitz Mr. and Mrs. James R. Packard Daniel and Laura Palomaki Anthea Papista Donna D. Park Bill and Katie Parker Donna Parmelec and
William Nolting Sarah Parsons Robert and Arlene Paup Drs. R. Paul Drake and
Joyce E. Penner William and Susan Penner Steven and Janet Pepe Mr. Bradford Perkins Susan A. Perry Jeff lavowiaz 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 Radcliff 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. Remcn Anne and Fred Rcmlcy Duane and Katie Renken
Alice Rhodes mm-
Lou and Sheila Rice '
Walton and Sandra Rice James and Helen Richards Carol P. Richardson Betty Richart Lita Ristine
Janet K. Robinson, Ph.D. lim 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. Rosenfcld 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 Jochcn Schacht Mary A. Schievc 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 lanct 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 Sidcrs 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 Joan Singer Donald and Susan Sinta
Advocates, continued
Bernard I. Sivak and
Loretta 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 Julia Smith Susan E. Smith Hugh and Anne Solomon James 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 Jim Spevak
Judy and Paul Spradlin Charles E. Sproger Constance D. Stankrauff Stephen S. Stanton Stephanie and Chad Stasik Mr. and
Mrs. William C. Stcbbins Virginia and Eric Stein William and Georgine Steude Jim and Gayle Stevens Sue A. Stickel John and Beryl Stimson James L. Stoddard Mr. and
Mrs. James Bower Stokoe Bob and Shelly Stoler Benjamin and Mona Stolz Eric and Ines Storhok Mary Stubbins Thomai Stulbcrg 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
Dcnise 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 Jacqueline Tonks John and Geraldine Topliss Sarah Trinkaus Kenneth and Sandra Trosien
Roger and Barbara Trunsky Jeff and Lisa Tulin-Silver Michael Udow Mr. Thomas W. Ufcr Alvan and Katharine Uhlc Paul and Fredda Unangst Bcrnicc 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 (Catherine Verdery Ryan and Ann Vcrhey-Henke Marie Vogt
Harue and Tsuguyasu Wada Virginia Wait David C. and
Elizabeth A. Walker o Ann Ward
Drs. Philip and Maria Warren Lorraine Nadelman and
Sidney Warschausky Arthur and Renata Wasscrman Leo Wasserman Mr. and Mrs. Warren Watkins Carol Weber loan D. Weber
Richard and Madelon Weber Carolyn J. 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. Whcaton Mary Ann Whipple Gilbert and Ruth Whitaker lames 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 Easthopc
Sarajane and Jan Winkelman Mark and Kathryn Winterhaltcr 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 Woronoff Alfred and Corinne Wu Robert and Betty Wurtz Fran and Ben Wylie John and Mary Jean Yablonky Richard Yarmain James and Gladys Young Mayer and Joan Zald Sarah Zearfoss and
Stephen Hiyama Susan Zerweck Erik and Lineke Zuiderweg
$100,000 and above
Ford Motor Company Fund Forest Health Services
Corporation University of Michigan Pfizer Global Research and
Development: Ann Arbor
Borders Group, Inc. DaimlcrChrysler
Corporation Fund Office of the Senior Vice
Provost for Academic Affairs
Bank of Ann Arbor
Bank One
Brauer Investments
CFI Group
DTE Energy Foundation
McDonald Investments
McKinlcy Associates
Sesi Lincoln Mercury Volvo
Mazda Thomas B. McMullen Company
Ann Arbor Automotive Butzel Long Attorneys Comerica Incorporated Consumers Energy Dennis Dahlmann Inc. Edward Surovell Realtors Elastizcl! Corporation of
Learning Express-Michigan MASCO Charitable Trust Miller, Canfield, Paddock and
Stone, P.L.C. National City Bank Pepper Hamilton LLP
Alf Studios Blue Nile Cafe Marie Chase Manhattan Comcast Holcim(US)Inc. Joseph Curtin Studios Lewis Jewelers ProQuest Company Republic Bank TCF Bank Texaco
Ayse's Courtyard Cafe
Ann Arbor Builders
Ann Arbor Commerce Bank
Bed & Breakfast on Campus
BKR Dupuis & Rydcn, P.C.
Burns Park Consulting
Cemex Inc.
Clark Professional Pharmacy
Coffee Express
Or. Diane Marie Agresta !
Edward Brothers, Inc.
Fleishman Hillnrd Inc.
Galamp Corporation
Garris, Garris, Garris & Garris,
Guardian Industries Malloy Lithographing Michigan Critical Care --
Consultants 1?l;
Quinn EvansArchitects -''"' Rosebud Solutions Seaway Financial
AgencyWayne Milewski SeloShevel Gallery Swedish Women's Educational
Swing City Dance Studio Thalner Electronic
laboratories Inc.
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
Community Foundation for Southeastern Michigan
Association of Performing Arts
Presenters Arts Partners
Program National Endowment for
the Arts New England Foundation for the
Arts National Dance Project
Arts Midwest Gelman Educational
Foundation Heartland Arts Fund Mid-America Arts Alliance The Lebcnsfeld Foundation Montague Foundation THE MOSAIC FOUNDATION
(of R. and P. Heydon) Sarns Ann Arbor Fund Vibrant of Ann Arbor
SW0-S999 Erb Foundation
Contributions have been
received in honor andor memory of the following individuals:
Alice B. Crawford
Alice Kelsey Dunn
Michael Cowing
Dr. William Haeck
Carolyn Honston
Harold Jacobson
Joel Kahn
Elizabeth E. Kennedy
William McAdoo
Frederick N. McOmbcr
Robert Meredith
Gwen and Emerson Powrie
Professor Robert Putnam
Ruth Putnam
Steffi Reiss
Margaret Rothstein
Eric H. Rothstein
Ned Shure
Dora Maria Sonderhoff
Wolfgang F. Stolper
Diana Stone Peters
Isaac Thomas
Francis V.Viola III
Horace Warren
Carl H. Wilmot
Peter Holderness Woods
Elizabeth Yhouse
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 partnerships in future years.
Carol and Herb Amstcr
Dr. and Mrs. David G.
Mr. Neil P. Anderson Catherine S. Arcure Mr. Hilbcrt 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
Beverlcy and Gerson Geltncr John and Martha Hicks Mr. and Mrs. Richard Ives Marilyn lefts Thomas C. and Constance M.
Kinncar . ?-?-?
Charlotte McGeoch Michael G. McGuire Dr. Eva Mueller Len and Nancy NiehofF Dr. and Mrs. Frederick C. '
Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Mr. and Mrs. Jack W. Ricketts Mr.andMrs.WillardL.
Rodgers Prudence and Amnon
Rosenthal Irma 1. Skelnar Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wctzcl Mr. and Mrs. Ronald G. Zollars
The future success of the
University Musical Society is secured in part by income from UMS's endowment. VMS extends its deepest appreciation to the many donors who have established andor contributed to the following funds.
H. Gardner Acklcy
Endowment Fund Amster Designated Fund Catherines. Arcure
Endowment Fund Choral Union Fund Hal and Ann Davis
Endowment Fund Ottmar Eberbach Funds Epstein Endowment Fund JazzNct Endowment Fund William R. Kinney Endowment
NEA Matching Fund Palmer Endowment Fund Mary R. Romig-deYoung
Music Appreciation Fund Charles A. Sink Memorial
Fund Catherine S. ArcureHcrbert E.
Sloan Endowment Fund University Musical Society
Endowment Fund
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 Bodywisc 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
Leopold Bros, of Ann Arbor
Richard LeSueur
Mainstreet Ventures
Ernest and leanne Merlanti
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
Randy Parrish Fine Framing Red Hawk Bar & Grill Regrets Only Rightside Cellar Ritz Camera One Hour Photo Don and ludy Dow Rumclhart Maya Savarino Penny and Paul Schreiber Seva
Shaman Drum Bookshop Dr. Elaine R. Soller Washington Street Gallery Weber's Restaurant Zanzibar ?
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
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
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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