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UMS Concert Program, Wednesday Oct. 23 To Nov. 03: University Musical Society: Fall 2002 - Wednesday Oct. 23 To Nov. 03 --

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Day
3
Month
November
Year
2002
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Rights Held By
University Musical Society
OCR Text

Season: Fall 2002
University Of Michigan, Ann Arbor

ums presentation
University Musical Society
of the University of Michigan
Fall 2002 Season
FALL 2002 SEASON
University of Michigan Ann Arbor
FROM THE UM PRESIDENT
"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 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 1 presentations by the Hubbard Street Dance Company and the well-known female a cap-pella group Sweet Honey in the Rock.
Most significantly, I would like to thank the faculty and staff of UM and UMS for their hard work and dedication to making this partnership a success. UMS staff, in particular, work with the University's faculty and students to create learning opportunities for our campus, and in the case of the larger residencies, for the greater community.
The University of Michigan is pleased to support the University Musical Society during its 0203 season. We share the goal of making our co-presentations the type of academic and cultural events that benefit the broadest possible constituency. ---------
Sincerely, ,
Mary Sue Coleman
President, University of Michigan
DENT
'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 www.ums.org.
We welcome UM President Mary Sue Coleman to the southeast Michigan com?munity and to membership on the UMS Board of Directors. The university from which President Coleman came to Michigan
x0has a distinguished record in its support of creative artists. During the Millennium season alone, while Dr. Coleman was president, the University of Iowa's Hancher Auditorium premiered over 20 new works in music, dance, and theater, all of them commissioned by Hancher. This unprecedented level of support of creative artists by a university presenting organization captured the attention of the performing arts field worldwide and reinforced the idea that research in the performing arts is as important and as valid to a great university as is research in other fields. We thank Dr. Coleman and her predecessors Lee C. Bollinger and B. Joseph White for the extra?ordinary level of UM support for the second residency of the Royal Shakespeare Company March 1-16 and of eight other projects this season that offer special value to the University's mission of teaching, research, and service.
This season offers some special challenges for UMS with the closing of Hill Auditorium for restoration and renovation. With your understanding and support, we know we will
overcome these difficulties and have a success?ful season. As we await our reopening concert scheduled for January 2004, UMS is creating special opportunities for our patrons to see and hear world-renowned artists in outstand?ing venues in Detroit, Ypsilanti, and Ann Arbor. You won't want to miss the first southeast Michigan presentations of the Bolshoi Ballet November 20-24 or the February 27 return of the Vienna Philharmonic for the first time in the region since 1988. For many of our Detroit performances, UMS is offering transportation by luxury coach to our Ann Arbor patrons. And we urge you to bring the whole family to UMS's first event in Crisler Arena when the Boston Pops performs its Holiday Concert on December 8.
Yes, things will be different this season. The UMS staff is determined to do everything we can to make this season run as smoothly as possible for you and our other patrons. Please let us know if you have any questions or problems. Call our ticket office at 734.764.2538, now led by Ticket Services Manager Nicole Paoletti, successor to Michael Gowing, who retired August 30. You should also feel free to get in touch with me about anything related to UMS. If you don't see me in the lobby at our performances, you can send me an email message at kenfisch@umich.edu or call me at 734.647.1174.
Very best wishes,
Kenneth C. Fischer UMS President
leadership
R FROM THE CHAIR'
. t is a pleasure to welcome you to this performance of the UMS 0203 season. With world-renowned performers, new community
1 partnerships, and ever-expanding educational activities, our 124th season continues our commitment to artistic and educational excellence and our dedication to our audiences and extended com?munity. We are delighted that you are here to share in the excitement of the live performing arts.
As we enjoy this performance, we want to recognize and thank the many generous supporters who help make this extraordinary season possible. As you know, the price of your ticket does not cover our costs of presenting this performance. To bridge the gap, we must rely on the generosity of our many individual, corporate, govern?mental and foundation donors. In supporting UMS, they have pub?licly recognized the importance of the arts in our community and helped create new educational opportunities for students and adults of all ages and backgrounds.
So, as you read through the program book and take pleasure in this performance, please join me in thanking our many generous contributors. They are playing an important role in the artistic life of our community, and we are truly grateful for their support.
Sincerely,
Beverley Geltner
Chair, UMS Board of Directors
CORPORATE LEADERS FOUNDATIONS
John M. Rintamaki
Group Vice President, Chief of Staff, Ford Motor Company -----------
At Ford Motor Company, we believe the arts educate, inspire and bridge differences among cultures. They present for us all a common language and enhance our knowledge of each other and the world. We continue to support the University Musical Society and its programs that through the arts bring forth the human spirit of creativity and originality." j
David Canter
Senior Vice President, Pfizer, Inc. "The science of discovering new medicines is a lot like the art of music: To make it all come together, you need a diverse collection of very brilliant people. What you really want are people with world-class talent--and to get those people, you have to offer them a special place to live and work. UMS is one of the things that makes Ann Arbor quite special. In fact, if one were making a list of the things that define the quality of life here, UMS would be at or near the very top. Pfizer is honored to be among UMS's patrons."
Douglass R. Fox
President, Ann Arbor Automotive i
"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, 1 DTE Energy
"Plato said, 'Music and rhythm find their way into the secret places of the soul.' The DTE Energy Foundation congratulates UMS for touching so many hearts and souls by inspiring, educating and enriching the lives of those in our community."
Edward Surovell
President, Edward Surovell Realtors
"It is an honor for Edward Surovell Realtors to support the distinguished University Musical Society. For over a century it has been a national leader in arts presentation, and we encourage others to contribute to UMS's future."
Leo Legatski
President, Elastizell Corporation of America "The University Musical Society is a leading presenter of artistic groups--music, dance and theater. Please support their efforts in the development of new works, which they combine with educational workshops in the region."
Rick M. Robertson
Michigan District President, KeyBank
"KeyBank is a proud supporter of the performing arts and we commend the University Musical Society on its contributions to the cultural excellence it brings to the community."
Jan Barney Newman
Michigan Regional Director, Learning Express "Learning Express-Michigan is committed to promoting toys that excite imaginations of children. It is therefore with pleasure that we support the stimulating and diverse presentations of UMS that educate and enrich the entire community."
Eugene "Trip" Bosart
Senior Managing Director, McDonald Investments, Inc. "McDonald Investments is delighted to partner with the University Musical Society and bring world class talent and performances to audiences throughout southeastern Michigan."
Albert M. Berriz
President and CEO, McKinley Associates, Inc. "The success of UMS is based on a commitment to present a diverse mix of quality cultural performances. McKinley is proud to support this tradition of excel?lence which enhances and strengthens our community."
Erik H. Serr
Principal, Miller, Canfield, Paddock & Stone, P.L.C. "As 2002 marked Miller Canfield's 150th anniversary, we salute and appreciate the University Musical Society for presenting wonderful cultural events to i our community for more than 120 years. Miller Canfield is proud to support such an inspiring organization."
Robert J. Malek
Community President, National City Bank "A commitment to quality is the main reason we are a proud supporter of the University Musical Society's efforts to bring the finest artists and special events to our community."
Joe Sesi
President, Sesi Lincoln Mercury Volvo Mazda "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury Volvo Mazda team is delighted to sponsor such a fine organization."
Thomas B. McMullen
President, Thomas B. McMullen Co., Inc. "I used to feel that a UM-Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS pro?vides the best in educational entertainment."
Sharon L. Beardman
Regional Vice President, TIAA-CREF Individual and Institutional Services, Inc. "TIAA-CREF works with the employees of the perform?ing arts community to help them build financial security, so that money doesn't get in the way of the art. We are proud to be associated with the great tradition of the University Musical Society."
PROFILES
Peter Laki
Program Note Annotator
? 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 g?
The Power Foundation Wallace-Reader's Digest Funds
S50.000 99,999 I '
Community Foundation for Southeastern Michigan i
$10,000 49,999
Association of Performing Arts
PresentersArts Partners National Endowment for the Arts New England Foundation for the Arts
$1,000 9,999
Arts Midwest
Gelman Educational Foundation
Heartland Arts Fund
The Lebensfeld Foundation
Mid-America Arts Alliance
Montague Foundation
THE MOSAIC FOUNDATION
(of R. and P. Heydon) Sarns Ann Arbor Fund Rosalie EdwardsVibrant Ann Arbor Fund
$100 999 Erb Foundation
UNIVERSITY MUSICAL SOCIETY of the University of Michigan
Beverley B. Geltner,
Chair Alice Davis Irani,
Vice-Chair Prudence L. Rosenthal,
Secretary Erik H. Serr, Treasurer
Janice Stevens
Botsford
Barbara Everitt Bryant Kathleen G. Charla Mary Sue Coleman Jill A. Corr Hal Davis Sally Stegeman
DiCarlo
David Featherman Debbie Herbert
Toni Hoover Gloria James Kerry Helen B. Love Barbara Meadows Lester P. Monts Alberto Nacif Jan Barney Newman Gilbert S. Omenn Randall Pittman Philip H. Power Rossi Ray-Taylor
Judy Dow Rumelhart Maya Savarino Herbert Sloan Timothy P. Slottow Jorge A. Solis Peter Sparling Clayton Wilhite Karen Wolff
S,SENATE
(former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Lee C. Bollinger Paul C. Boylan Carl A. Brauer Allen P. Britton Letitia J. Byrd Leon S. Cohan Peter B. Corr -Jon Cosovich ' Douglas Crary Ronald M. Cresswell Robert F. DiRomualdo
James J. Duderstadt David J. Flowers William S. Hann Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Kay Hunt Stuart A. Isaac Thomas E. Kauper David B. Kennedy Richard L. Kennedy Thomas C. Kinnear F. Bruce Kulp Leo A. Legatski Earl Lewis Jp
Patrick B. Long Judythe H. Maugh Paul W. McCracken Rebecca McGowan Shirley C. Neuman Len Niehoff Joe E. O'Neal John D. Paul John Psarouthakis Gail W. Rector John W. Reed Richard H. Rogel Ann Schriber Daniel H. Schurz Harold T. Shapiro George I. Shirley
John O. Simpson Carol Shalita Smokier Lois U. Stegeman Edward D. Surovell . James L. Telfer Susan B. Ullrich Eileen Lappin Weiser Gilbert Whitaker B. Joseph White Marina v.N. Whitman Iva M. Wilson
ADVISORY COMMITTEE
Sara B. Frank, Chair Louise Townley,
Vice-Chair Sue Schroeder,
SecretaryTreasurer Raquel Agranoff Barbara Bach Lois Baru Judi Batay-Csorba Kathleen Benton Mimi Bogdasarian Jennifer Boyce Victoria Buckler
Laura Caplan
Cheryl Cassidy
Patrick Conlin
Elly Rose Cooper
Nita Cox
Mary Ann 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 Morrine Silvennan Maria Simonte Loretta Skewes Cynny Spencer Wendy Woods
UMS STAFF
Administration Finance
Kenneth C. Fischer,
President Lisa Herbert,
Special Projects Director Elizabeth E. Jahn,
Assistant to the
President John B. Kennard, Jr.,
Director of
Administration Chandrika Patel, Senior
Accountant John Peckham,
Information Systems
Manager
Choral Union
Thomas Sheets,
Conductor Jason Harris, Assistant
Conductor Andrew Kuster, Associate
Conductor Kathleen Operhall,
Manager Donald Bryant,
Conductor Emeritus
Development
Susan McClanahan,
Director Mary Dwyer, Manager of
Corporate Support William P. Maddix,
Development Assistant Lisa Michiko Murray,
Manager of Foundation
and Government
Grants M. Joanne Navarre,
Manager of Individual
Support Lisa Rozek, Assistant to
the Director of
Development J. Thad Schork,
Development Officer
Education Audience Development
Ben Johnson, Director Erin Dahl, Youth
Education Assistant Kristin Fontichiaro,
Youth Education
Manager Dichondra Johnson,
Manager Warren Williams,
Manager
MarketingPublic ,
Relations ;
Sara Billmann, Director Susan Bozell, Marketing
Manager Gulshirin Dubash, --
Public Relations
Manager Kirsten Karlen,
Promotion Coordinator
Programming Production
Michael J. Kondziolka,
Director
Emily Avers, Production ?
Administrative Director Christine Field, ,
Production Assistant Jasper Gilbert, Technical
Director i
Jeffrey Golde, Production
and Programming
Assistant Susan A. Hamilton,
Artist Services
Coordinator Mark Jacobson, ]
Programming Manager Bruce Oshaben, Head
Usher
Ticket Office
Nicole Paoletti, Manager Angela Clock, Associate Sally A. Cushing,
Associate Laurel Hufano, Group
Sales Coordinator Robert W. Hubbard,
Staff
Work-Study
Aubrey Alter April Chisholm Kindra Coleman Jamie Freedman Lakshmi Kilaru Dawn Low Claire Molloy Fred Peterbark Rosie Richards Jennie Salmon Corey Triplett ; Sean Walls
Interns ,,..
Shirley Bartov ,Mmit!fc ( Vineeta Bhandari Carla Dirlikov Jennifer Gates Milena Grubor Lindsay Mueller Sameer Patel
President Emeritus Gail W. Rector
UMS TEACHER ADVISORY COMMITTEE
Fran Ampey Kitty Angus Alana Barter Joseph Batts Linda Batts Kathleen Baxter Elaine Bennett Lynda Berg Yvette Blackburn Barbara Boyce Letitia Byrd
Doug Cooper Nancy Cooper Gail Davis Barnes Ann Deckert Gail Dybdahl Keisha Ferguson Doreen Fryling Yulonda Gill-Morgan Brenda Gluth Louise Gruppen Vickey Holley Foster
Linda Jones Deborah Katz Deb Kirkland Rosalie Koenig Sue Kohfeldt David Leach Rebecca Logie Dan Long Laura Machida Ed Manning Kim Mobley
Ken Monash Eunice Moore Denise Murray Michelle Peet Rossi Ray-Taylor Gayle Richardson Victoria Scott Rondeau Katy Ryan Nancy Schewe Karen Schulte Derek Shelton
loan Singer Sue Sinta Grace Sweeney Sandy Trosien Melinda Trout Sally Vandeven Barbara Wallgren Jeanne Weinch
UMSservic
Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, the Power Center, Mendelssohn Theatre and Detroit Opera House are equipped with infrared listening systems. Headphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Rackham Auditorium, Trueblood Theatre, Power Center, and Mendelssohn Theatre please call University Productions at 734.763.5213. For items lost at St. Francis of Assisi Catholic Church, Michigan Theater, Crisler Arena, Pease Auditorium, Detroit Opera House and Orchestra Hall please call the UMS Production Office at 734.764.8348.
Parking " Parking for Ann Arbor events is available in the Liberty Square (formerly Tally Hall), Church Street, Maynard Street, Thayer Street, Fletcher Street and Fourth Avenue structures for a minimal fee. Parking for Detroit events
is available in the Orchestra Hall lot, Detroit Opera House garage and People Mover lots for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. UMS members at the Principal level and above receive 10 complimentary parking passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for per?formances in the 0203 Choral Union series. Cars may be dropped off in front of the per?formance venues beginning one hour prior to performance. There is a S10 fee for this service. UMS members at the Producer level and above are invited to use this service at no charge.
For up-to-date parking information, please see the UMS website at www.ums.org.
Refreshments
Refreshments are served in the lobby during intermissions of events in the Power Center, Detroit Opera House and Orchestra Hall, and are available in the Michigan Theater. Refresh?ments are not allowed in the seating areas.
Smoking Areas --------------------------
University of Michigan policy forbids smok?ing in any public area, including the lobbies and icstrooms.
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.UITlS.Org
By Mail
UMS Ticket Office Burton Memorial Tower 881 North University Avenue Ann Arbor, MI 48109-1011
Performance hall ticket offices open 90 minutes prior to each performance.
Returns
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the Ticket Office. Refunds are not available; however, you will be given a receipt for an income tax deduc?tion. Please note that ticket returns do not count toward UMS membership.
'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!
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 M UMS events in three ways: , -?
1. Each semester, UMS holds a Half-Price Student Ticket Sale, at which students can purchase tickets for all UMS events for 50 off the published price. This extremely popu?lar event draws hundreds of students every fall--last year, students saved nearly $100,000 by purchasing tickets at the Half-Price
Student Ticket Sale! Be sure to get there early as some performances have limited numbers of discounted tickets available.
2. Students may purchase up to two $10 Rush Tickets the day of the performance at the UMS Ticket Office, or 50 off at the door, subject to availability.
3. Students may purchase the UMS Card, a pre-paid punch card that allows students to pay up front ($50 for 5 punches, $100 for 11 punches) and use the card to purchase Rush Tickets during the 0203 season. Incoming freshman and transfer students can purchase the UMS Card with the added perk of buying Rush Tickets two weeks in advance, subject to availability. M
ooking for that perfect meaningful gift i 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 $100 or more. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe
Ann Arbor Art Center
Ann Arbor Automotive
Back Alley Gourmet
Bivouac
The Blue Nile'
Restaurant Bodywise Therapeutic
Massage Cafe Marie Dough Boys Bakery
Gandy Dancer ----------
Great Harvest John's Pack and Ship Kerrytown Bistro King's Keyboard
House
Le Dog
Michigan Car Services,
Inc. and Airport
Sedan, LTD Nicola's Books, Little
Professor Book Co. Paesano's Restaurant Randy Parrish Fine
Framing Ritz Camera One Hour
Photo Shaman Drum
Bookshop Washington Street
Gallery
oin the thousands of savvy people who log onto www.ums.org each month!
Why should you log onto www.ums.org
Tickets Forget about waiting in long ticket lines--order your tickets to UMS performances online! And now you'll know your specific seat location before you buy online.
Cyber$avers Special weekly discounts appearing every Tuesday, only available by ordering over the Web.
Information Wondering about UMS's history, event logistics, or volunteer opportunities Find all this and more.
Program Notes and Artist Bios Your online source for performance programs and in-depth artist information. Learn about the artists and repertoire before you enter the hall!
Sound Clips Listen to recordings from UMS performers online before the concert.
Education Events Up-to-date information detailing educational opportunities surrounding each UMS performance.
Development Events Current infor?mation on UMS Special Events and activities outside of the concert hall. Find details on how to support UMS and the arts online!
BRAVO! Cookbook Order your UMS hardcover coffee-table cookbook featur?ing more than 250 recipes from UMS artists, alumni and friends, as well as historic photos from the UMS archives.
Choral Union Audition information and performance schedules for the UMS Choral Union.
UMSannals
1 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.
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 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. 1
The Choral Union's 0102 season includ?ed performances of Messiah, Ives's Symphony No. 4 with Michael Tilson Thomas and the San Francisco Symphony Orchestra and Brahms's Ein deutsches Requiem with Thomas Sheets conducting the Ann Arbor Symphony Orchestra, all in Hill Auditorium. To conclude its 123rd season, the Choral Union joined the DSO and Neeme Jarvi in three critically acclaimed performances of Beethoven's Missa Solemnis.
During the 20002001 season, the UMS Choral Union appeared in two series with the DSO. The season culminated in a perform?ance of Berlioz's Requiem with the Greater Lansing Symphony Orchestra, along with tenor Stanford Olsen and members of the UM School of Music Symphony Band in Hill Auditorium.
The Choral Union is a talent pool capa?ble of performing choral music of every genre. In addition to choral masterworks, the Choral Union has performed Gershwin's Porgy and Bess with the Birmingham-Bloomfield Symphony Orchestra, and other musical theatre favorites with Erich Kunzel and the DSO at Meadowbrook. The 72-voice Concert Choir drawn from the full chorus has performed Durufle's Requiem, the Langlais Messe Solennelle, and the Mozart Requiem. Recent programs by the Choral Union's 36-voice Chamber Chorale include "Creativity in Later Life," a program of late works by nine composers of all historical periods; a joint appearance with the Gabrieli Consort and Players; a performance of Bach's Magnificat, and a recent joint performance with the Tallis Scholars.
Participation in the Choral Union remains open to all by audition. Composed of singers from Michigan, Ohio and Canada, members of the Choral Union share one common passion--a love of the choral art. For more information about membership in the UMS Choral Union, e-mail choralunion@umich.edu or call 734.763.8997.
EN U ES
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
ill Auditorium
'he 18-month, $38.6-miIIion dollar reno-vation to Hill Auditorium began on May 3,2002 under the direction of Albert Kahn ssociates, Inc., and historic preservation chitects Quinn EvansArchitects. Hill was st opened to Michigan audiences in 1913 d this current renovation project will update of its infrastructure systems and restore luch of the interior decor to its original Jendor.
Exterior renovations will rebuild brick aving and stone retaining walls, restore the 3uth entrance plaza, rework the west barrier-ree ramp and loading dock, and improve the tndscaping which surrounds the building.
Interior renovations will create additional Ktrooms, improve audience circulation by roviding elevators, replace main-floor seating ) increase patron comfort, introduce barrier-:ee seating and stage access, replace audio-jsual systems, and completely replace all Mechanical and electrical infrastructure sys-tms for heating, ventilation, and air condi-loning.
[ Upon reopening in January 2004, Hill . Euditorium will decrease in seating capacity, iom 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.
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
"I 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
"he Power Center for the Performing Arts
grew out of a realization that the University of Michigan had no adequate proscenium-stage theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities was mentioned "a new theatre." The Powers were immediately inter?ested, realizing that state and federal government were unlikely to provide financial support for the construction of a new theatre.
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 I 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.
i
Ypsilanti Venues tr
EMU Convocation Center
n exciting new era in EMU athletics was Lset in motion in the fall of 1998 with the opening of the $29.6-million Convocation Center. The Barton-Malow Company along with the architectural firm Rossetti Associates of BirminghamThe Argos Group began con?struction on the campus facility in 1996. The Convocation Center opened its doors on December 9, 1998 with a maximum seating capacity of 9,510 for center-stage entertain?ment events.
Pease Auditorium
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 :;v-,vn
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 J
effortWHNL
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 l
een from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor land?marks. Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet. UMS administrative offices 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 Wednesday, October 23 through Sunday, November 3, 2002
General Information
Children of all ages are welcome at UMS Family and Youth Performances. Parents are encouraged not to bring children under the age of three to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS perfor?mance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment are prohibited in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to let yourself and other audience members become immersed in the arts during this UMS event: electronic-beeping or chiming digital watches, ringing cellu?lar phones, beeping pagers and click?ing portable computers should be turned off during performances. In case of emergency, advise your paging ser?vice of auditorium and seat location in Ann Arbor venues, and ask them to call University Security at 734.763.1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS performances included in this edition. Thank you for your help.
Lorraine Hunt Lieberson
Wednesday, October 23,8:00 pm ??
Lydia Mendelssohn Theatre Ann Arbor
Orquestra de Sao Paulo
Wednesday, October 30, 8:00 pm ,
Michigan Theater Ann Arbor .,
Banda Mantiqueira with Orquestra de Sao Paulo 17
Thursday, October 31,8:00 pm
Michigan Theater Ann Arbor I
Grupo Corpo
Friday, November 1, 8:00 pm ;
Saturday, November 2, 2:00 pm (Family Performance) ?
Saturday, November 2, 8:00 pm ',.t Power Center Ann Arbor
Michigan Chamber Players
Sunday, November 3, 2002 at 4:00 Rackham Auditorium Ann Arbor
Greetings! With the holiday season fast approaching and the UMS season in hill swing, I'm delighted to share in the excitement and energy of some of the most exciting performance presentation in southeastern Michigan!
As many of you know, former ticket office manager Michael Gowing has left us for a relaxing and well-deserved retirement. 1 was lucky enough to spend several weeks working side-by-side with the legendary Mr. Gowing and consider myself even luckier to be finally meeting the patrons of whom he spoke so fondly with such frequency.
As a Michigan native, I am happy to return home after years of exploring the customer service end of the performing arts in various cities throughout the US -happier still to have found a home with UMS. Not only is Ann Arbor a wonderful community filled with charm, intelligence, diversity and warmth, UMS is a truly exceptional organization presenting a diverse program of the highest quality in music, dance, and theater (rarely found in the world of the performing arts). Tonight's program is just a sample of the standard of excellence UMS holds -a standard that has had many of you returning season after season, in venue after venue, to look, listen and love the arts.
Working in the UMS Ticket Office, I have the privilege of working with an excellent staff who remain committed to providing the best customer service pos?sible. Sally Cushing celebrates her 34th year with UMS. Many of you have heard ;__ her friendly voice coming from the phone room in the Burton
Tower Ticket Office when calling to purchase tickets. Angela Clock, our new Assistant Manager, can be found in the League Ticket Office, guaranteeing your ticket exchanges and in-person sales are done expediently and with a smile. Rob Hubbard is always concerned with you having the best ticketing experience possible, both on the phone, or in person at the League or at concerts and events. For all of your group ticketing needs, Lakshmi Kilaru is accessible Monday through Friday in the Burton Tower Ticket Office. We also have a wonderful group of
student employees who provide an excellent foundation of support in our cus?tomer service initiative and share our love of the arts.
This season progresses with impressive highlights as the Boston Pops in UM's Crisler Arena, Audra McDonald, the Vienna Philharmonic in Detroit, and the Royal Shakespeare Company returning to Ann Arbor for a three-play residency which includes the US premiere of Salmon Rushdie's Midnight's Children. As this season progresses into the months ahead, I look forward to handling your ticket?ing needs, filling your subscription orders and sharing my love of the arts with such an exceptional group of people.
Thank you for welcoming me to the UMS family!
Sincerely,
Nicole Paoletti
UMS Ticket Office Manager
UMS Educational
ents
UMS Educational Events through Tuesday, November 5,2002
All UMS educational activities are free and open to the public unless otherwise noted ($). Please visit www.ums.org for complete details and updates.
Lorraine Hunt Lieberson
Vocal Master Class Lorraine Hunt Lieberson, soprano, works with students from the UM Department of Vocal Music. Open for observation only. Thursday, October 24, 1 pm, UM School of Music, 1100 Bates Drive (North Campus), Ann Arbor
Orquestra de Sao Paul, Banda Mantiqueria, and Grupo Corpo
Brazil Immersion In its 0203 season, UMS will focus on the great cultural traditions of Brazil. UMS Education is hosting a wide array of interactive events to further appreciation of Brazilian cul?ture, music, and dance. These events are a UMS collaboration with the UM Latin American and Caribbean Studies Program, UM School of Music, and UM Depart-ment of Dance. All events are free and held in Ann Arbor.
Study Clubs
Led by local and visiting Brazilian expertseducators, these UMS Study Clubs (detailed below) offer the opportunity to learn more about Brazilian culture, music and dance. Registration required. To register, please contact UMS Education, 734.615.6739 or umsed@umich.edu. Seating is limited.
Brazilian Culture Led by Keila Grinberg, Associate Professor of History at the University of Rio de Janeiro. Through short lec?tures, discussion, and film clips, this interactive workshop will focus on Brazil's international image through two lenses: the history of Brazilian culture and the ways Brazilians have represented this culture abroad; and
how and why non-Brazilians, includ?ing critics in the US, have produced certain images about Brazilian culture. Monday, October 28, 7-9 pm, Michigan League Vandenberg Room (911 North University, 3rd Floor)
Brazilian Dance Led by Lucia M. Suarez, former dancer, Assistant Professor of Span?ish at the University of Michigan, and Faculty Associate at VM Center for Latin American Caribbean Studies. This Study Club will focus on the history of classical, modern, and folk-loric dance in Brazil, as well as the work of contemporary choreographers and companies, viewed through the prism of the Brazilian aesthetic. Thursday, October 31, 2:30-4 pm, International Institute, Room 1636, (Located in the School of Social Work building at 1080 South University, 1st Floor)
Brazilian Music
Led by Mary Catherine Smith, host of WEMU's weekly radio program, "Brazilian Sol." Focusing on the pop?ular musical traditions of Brazil, such as samba, bossa nova, and trop-icalismo, this Study Club will give an in-depth overview of the history of Brazilian music, as well as focus on important artists featured in the UMS Brazil Series. Wednesday, November 13, 7-9 pm, Michigan League Koessler Room (911 North University, 3rd Floor)
Symposia: Art Music from Brazil
Many music enthusiasts are familiar with the more popular musical forms from Brazil, but Brazil is also home to a rich diversity of important con?temporary art music. These sessions (detailed below) help put Brazil's art music into perspective with a focus
on important composers, vocal, and classical music repertoire. Wednesday, October 30, 11 am-4 pm, Michigan Theater (603 East Liberty)
Orquestra de Sao Paulo Open Rehearsal
Housed within the impressive Sala Sao Paulo (a former 1920s railway station), the Orquestra de Sao Paulo is considered one of the most impor?tant orchestras in South America. Under the artistic direction of John Neschling, the orchestra prepares for its Ann Arbor performances rehears?ing works by such composers as VillaLobos, Guarnieri, and Krieger (11 am-12:30pm).
Maestro John Neschling and Quarteto Amazonia
The Brazilian artisticmusic director of the Orquestra de Sao Paulo, John Neschling, leads this lecturedemon?stration on important Brazilian clas?sical music composers. Quarteto Amazonia, a string quartet housed within the Orquestra, will assist Maestro Neschling (1:30-2:30 pm).
Search for a National Voice: 100 Years of Brazilian Art Song
This lecturerecital by Luiz Ballestero will trace the development of the Art Song in Brazil and present how this genre has helped to form a musical national identity. The lecture will be illustrated with songs by Carlos Gomes, Nepomuceno, Fernandez, Villa-Lobos, Mignone, and Guarnieri (2:30-4 pm).
continued, next page
UMS Educational Events, Continued
Brazilian Dance Symposium
The history of dance in Brazil is pro?found and significant with the devel?opment of such important traditions as capoeira, samba, Carnaval, and emerging classical and modern dance. These sessions (detailed below) focus on Brazil's contributions to the world of dance, and how this art form is informed by Brazil's history, people, and culture.
Thursday, October 31, 2:30-5:30 pm, International Institute, Room 1636, (Located in the School of Social Work building at 1080 South University, 1st Floor)
Brazilian Dance Study Club
(See above, "Study Clubs")
Panel Discussion Interview with Grupo Corpo Grupo Corpo Brazilian Dance Theater Artistic Director Rodrigo Pederneiras and company members
discuss the state of dance-making in Brazil, their upcoming performance, and how Brazilian culture and aes?thetic inform their artistry. 4-5 pm
Reception with Grupo Corpo
Post-discussion, International Institute Lobby
Master Classes Grupo Corpo Dance Observe Grupo Corpo company members work with UM dance stu?dents on repertory from the compa?ny's upcoming performance. Open for observation only. Seating is limited. Thursday, October 31, 11-12:30 pm, UM Dance Building, Studio A (1310 North University Court, 2nd Floor)
Banda Mantiqueira Percussion
Banda Mantiqueira will lead this workshop with UM Percussion stu?dents. This master class will focus on Brazilian rhythms such as the
gafieira, samba, chorinho, and bossa nova. Open for observation only. Thursday, October 31, 1-2:30 pm, Michigan Tlieater (603 East Liberty)
Brazil Community Party!
A community party for Orquestra de Sao Paulo and Grupo Corpo. Music by local Brazilian music group Sonam6. Cash bar and light food provided.
To attend, show a ticket to any per?formance on UMS's Brazil Series or your original Brazil Community Party invitation.
Thursday, October 31, Post-perfor?mance, Zanzibar Restaurant (216 South State Street) '
For questions about any of these events, please contact UMS Education at umsed@umich.edu or 734.615.6739.
National City Bank
ptesent
Lorraine Hunt Lieberson
Mezzo-Soprano
Robert Tweten, Piano
Wednesday Evening, October 23,2002 at 8:00 Lydia Mendelssohn Theatre Ann Arbor
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I7ie audience is politely asked to withhold applause until the end of each group of songs. Please do not applaud after the individual songs within each group. ... .
17th Performance of the 124th Season
Eighth Annual Song Recital Series
The photographing or'sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by National City Bank.
Special thanks to George Shirley and the UM Department of Vocal Studies for their involvement in this residency.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Lorraine Hunt Lieberson appears by arrangement with IMG Artists, New York, New York. 1
Large print programs are available upon request.
native of the San Francisco Bay Area, Lorraine Hunt Lieberson
began her musical career as a vio-list. She is a consummate recitalist and concert singer and a riveting operatic performer; her repertoire ranges from the Baroque to the contemporary. On the opera stage she has excelled in roles as diverse as Ottavia (Monteverdi), Ariodante (Handel), Sesto (Mozart), Carmen (Bizet), and Myrtle Wilson (Harbison).
Recognized by Musical America as the 2001 "Vocalist of the Year," Ms. Hunt Lieberson's activities during the present sea?son include the role of Didon in the Metro-
pohtan Operas new production of Les Troyens conducted by James Levine; John -: Adams's El Nino with ; the Los Angeles Phil?harmonic, both in Los ': Angeles and in New York; a North American' recital tour with appearances in Atlanta, Berkeley, Los Angeles
and New York, and Ann Arbor; and a return to Glyndebourne to reprise her triumphant portrayal of Irene in the Peter Sellars pro?duction of Handel's Theodora.
Highlights of previous seasons have in?cluded Myrtle Wilson in The Great Gatsby at the Metropolitan Opera; Bach Cantatas staged by Peter Sellars in New York, Paris, London, and Lucerne; Sesto in La Clemenza di Tito and the title role in Xerxes for the New York City Opera; Ottavia in L'Incoronazione di Poppea at the Aix-en-Provence Festival and at the San Francisco Opera; and the world premiere of John Adams's El Nitlo at the Chatelet in Paris and in San Francisco fol?lowed by a recording for Nonesuch Records. She has sung Jocasta in Oedipus Rex for the Netherlands Opera; Charlotte in Werther in Lyon, with Kent Nagano; and Triraksha in
Peter Lieberson's Ashoka's Dream for the Santa Fe Opera.
Concert highlights include Mahler's Symphony No. 3 with the Boston Symphony Orchestra and James Levine; Berg's Seven H Early Songs with the Berlin Philharmonic under Nagano; Mahler's Songs of a Wayfarer with the Los Angeles Philharmonic and Esa-Pekka Salonen concert performances of Les Troyens at the Edinburgh Festival with Donald Runnicles; Berlioz's Les Nuits d'ete in Paris with Roger Norrington and in the San Francisco Bay Area with the Philhar., monia Baroque Orchestra and Nicholas flj McGegan; and Venfance du Christ at m Carnegie Hall with the Orchestra of St. m Luke's and Sir Charles Mackerras. Recital .1 appearances have taken her to Lincoln Center, Wigmore Hall, the Concertgebouw, and to Boston's Jordan Hall. M_
Lorraine Hunt Lieberson sings the role of Idamante on the newly released recording of Idomeneo on EMI and her recording of Britten's Phaedra with the Halle Orchestra on Erato was nominated for a Grammy Award. Her discography for Erato also ? includes Hippolyte et Aricie and Medee, with Les Arts Florissants. For Harmonia Mundi she has recorded Handel's Ariodante, P-Susanna, Theodora, Messiah, Clori, Tirsi e Fileno, and Arias for Durastanti; Purcell's Dido and Aeneas; and also Bach's Anna Magdalena's Notebook. The BBC has released a recital disc of Handel, Mahler, and Lieberson; she has recorded Schumann songs for Koch Classics; and for Archetype Records, music of John Harbison. Ms. Hunt Lieberson was seen on the international television broadcasts and subsequent video releases of Peter Sellars's productions of Don Giovanni (Donna Elvira), Giulio Cesare (Sesto), and Theodora (Irene). She makes 3p her home in Santa Fe, New Mexico with her husband, composer Peter Lieberson and their dog Coyito._______
Tonight's recital marks Lorraine Hunt Lieberson's UMS debut.
native of Canada, Robert Tweten
began his career as a piano soloist after receiving his Associate of Arts Degree from , the Victoria Conservatory of Music and winning competitions including the Du Maurier Search for Stars and the Canadian National Piano Championship. His love of the voice and vocal music led him into the operatic world where he has since been busy as an accompanist, vocal coach and conductor. Mr. Tweten has been associated with several opera companies including: the Canadian Opera Company, where in addition to conducting, he also served as Chorus Master and Head Coach; , the Banff Center of Fine Arts where he was a conductor for the Music Theatre Studio Ensemble as well as coaching for the Opera and Musical Theatre programs; and the Houston Grand Opera. Maestro Tweten has
led the Lyric Opera or Chicago Orchestra and singers of the Opera Center for American ? Artists in Rising Stars ' in Concert as well as conducted perfor?mances of Mozart's Die Zauberfloete for Lyric Opera of Chicago '''' where he presently serves as Assistant
Conductor. He was Guest Conductor for the Santa Fe Symphony and Chorus this season leading Handel's Messiah and recently con?ducted performances of Rossini's Barbiere di Siviglia for Opera Pacific and Ermione for the Santa Fe Opera where he serves as Head of Music Staff.
Mr. Tweten often performs in recital with many of today's most prominent ": singers. With Catherine Malfitano, he has { appeared in many of the important recital halls of Europe, Canada and the US, includ?ing: the Salzburg Festival, Alice Tully Hall at New York's Lincoln Center, Chicago's Orchestra Hall, Toronto's Ford Center, Barcelona's Gran Teatre del Liceu, La Monnaie in Brussels, the Zurich Opera House, Vienna's Konzerthaus and London's Wigmore Hall. A frequent recital partner : with Elizabeth Futral since making his Ned York recital debut with her at Carnegie ' Hall's Weill Recital Hall, he can be heard on CD with Futral and baritone Stephen White in Sweethearts, a program of music by Victor Herbert and Sigmund Romberg released on the Newport Classics label. Other singers Mr. Tweten has collaborated with in concert include Samuel Ramey, Suzanne Mentzer, Gregory Turay, Jennifer Larmore, Nancy Gustafson, James Morris, Richard Leech, Thomas Hampson Ben Heppner and Kitty Carlisle Hart. Robert has also recently performed in recital with the St. Lawrence Quartet, violinist Rachel JBBI Barton, and toured throughout Germany with the vocal group Hudson Shad. He cur?rently is performing in recitals throughout the US with mezzo-soprano Lorraine Hunt Lieberson. Future conducting engagements include Barbiere di Siviglia with Madison Opera and Pirates ofPenzance with the Santa Fe Opera.
Tonight's recital marks Robert Tweten's UMS debut. ?.. . . ..,...,. , .
Photo by Carolyn Wright
presents
Orquestra de Sao Paulo
John Neschling, Artistic Director and Conductor Sergio and Odair Assad, Guitars Roberto Minczuk, Co-Artistic Director
Edinp Krieger
Mario Castelnuovo-Tedesco
Heitor Villa-Lobos
Wednesday Evening, October 30 at 8:00 Michigan Theater Ann Arbor
Passacalha para o novo Milenio
(Passacaglia for the New Millennium)
Double Concerto for Two Guitars and Orchestra, Op. 201
Un poco moderato e pomposo
Andante ? . .. ... {:.-..ffr.
Rondo mexicano
SERGIO AND ODAIR ASSAD INTERMISSION
Uirapuru ????
M. Camargo Guarnieri Symphony No. 2 (Uirapuru)
Energico
Terno
Festivo
18th Performance of the 124th Season
124th Annual Choral Union Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
The 124th Annual Choral Union Series is sponsored by Forest Health Services.
Special thanks to Randall and Mary Pittman for their continued and generous support of the University Musical Society, both personally and through Forest Health Services.
Additional support provided by media sponsor WGTE 91.3 FM.
Special thanks to the UM Center for Latin American and Caribbean Studies, UM School of Music, WEMU, and Zanzibar for their involvement in this residency.
The Steinway piano used in this evening's performance is made possible by Mary and William Palmer and Hammell Music, Inc., Livonia, Michigan.
Orquestra de Sao Paulo appears by arrangement with Columbia Artists Management, Inc.
The Sao Paulo Government and Secretary of Culture are the proud sponsors of the Orquestra de Sao Paulo 2002 Tour.
Embratur is the official supporter of the Orquestra de Sao Paulo 2002 Tour. Varig is the official airline of the Orquestra de Sao Paulo.
Large print programs are available upon request.
Forest Health Services presents the 124th Annual Chor.il Union Series.
Introducing Orquestra de Sao Paulo
ith their cosmopolitan makeup, Brazil and the state of Sao Paulo in particular have often been described as ethnic "melting pots." I find that description somewhat inadequate. The term "melting pot" conveys the idea of a process of fusion in which diverse elements merge to form a single mass, losing their separate colors, clarity and substance along with the various other essential aspects of their identity. Personally, I prefer to think of Sao Paulo as a place where people from a very wide variety of origins come together and harmonize like the instruments in an orchestra. They retain their individuality and the greater their differences and the contrasts between them the more magnificent and enthralling the final result.
In Sao Paulo, people who have come from every corner of the globe preserve their own customs and traditions while contributing enormously to the development of their new country, through their labor, their investment and their knowledge, but also and delec-tably with their art, their cuisine, their typical ways of celebrating, that help to bring us closer together, reinforce our mutual respect for one another and deepen our sense of brotherhood.
Orquestra de Sao Paulo (OSP) the State of Sao Paulo Symphony Orchestra is the living, beguiling embodiment in sound of this vast harmonious plurality of cultures that we see immediately reflected in the origins of its members. Some are recent arrivals from distant lands; others, like our much-loved conductor John Neschling, drawn to Sao Paulo from virtually every other state in Brazil, are the children, grandchildren and great-grand?children of people who crossed the oceans in search of a new homeland that welcomed them with warmth and appreciation.
Without regard for the barriers of time, gender or nationality, the OSP's repertoire is the expression of a journey across the vast universe of music, bringing to audiences the works of internationally renowned masters from the past along with the prolific output of the many great classical composers that our country has produced since the 18th century.
The exuberant variety of the typical rhythms of Brazil samba, bossa nova, chorinho, baiao, xaxado, batuque, and others adds a special sparkle to OSP's concert performances. The Orchestra "dresses-up" some of the classics of Brazilian popular music in a rich sym?phonic garb while preserving the spontaneity of those soft, sweet, warm cadences that are so evocative of the charms of this tropical country. On Thursday evening's concert, the Orchestra is joined by the wonderful Banda Mantiqueira, in a thrilling encounter that unites the classical and popular aspects of Brazilian culture.
The Government of the State of Sao Paulo is pleased and honored to present this sumptuous and flavorsome spectacle of multiculturalism for the enjoyment of the people in Ann Arbor tonight and in the US. We believe that the OSP is not only a superb adver?tisement for the achievements of Brazilian art and culture but also a vehicle for bringing people from every part of the world together in the cause of peace. ' ' ""
Enjoy the concerts!
-Geraldo Alckmin Governor of the State of Sao Paulo
Passacalha para o novo Milenio
(Passacaglia for the New Millennium) Edino Krieger ?!
Born March 17, 1928 in Brusque, Santa j
Catarina, Brazil
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Tonight's performance marks the UMS jj
premiere of Edino Krieger's Passacaglia for J
the New Millennium.
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Edino Krieger was born in Santa Catarina in "i 1928 and moved to Rio de Janeiro in 1945 to continue his studies at the Conservatorio Brasileiro de Miisica. As a young man, he j closely followed the discussions on the direction of Brazilian culture and politics, I including nationalism and internationalism, j popularity and avant-garde, dodecaphony J and tonality. His music reflects the postj modern acceptance of juxtaposing styles, j including expressive incursions into the field j of atonal experimentalism as well as the j popular urban music of choroes (interpreters of chows--popular Brazilian music) and j jazz players. He is beloved by the Brazilian I music milieu because of the apparent ease j of his creative process. In addition, he is also j the leading mentor of the music biennials in i Rio de Janeiro that encourage composition 1 and interpretation of contemporary music. )
The Passacalha para o novo Milenio was i especially composed for the Orquestra de Sao J Paulo in July 1999. The piece is a composition j of pre-classic formal structure, in which melodic-rhythmic elements of Brazilian I popular music, past to future, are inserted. 1
The harmonic language presents a predominance of minor chords, sometimes j juxtaposed, as consonant clusters or in ?{
arrangements of ornamental character. The j theme, which is originally presented with a 3 pesante character by the double-basses and 4 the contrabassoon, is repeated 13 times, always beginning a semitone above the pre' vious statement, so as to encompass all of ! the tones of the chromatic scale. !
Beginning with the sixth presentation, typical Brazilian elements begin to oppose the classical feature of the theme. The oboe solo that emerges from the texture is cajoled by the rhythm of the marcha-rancho (slow carnival march music). Later, a clarinet solo embroiders waltz contours to the accompa?niment of the harp, and following zfugato episode, the metallic fanfare of a frevo (typi?cal fast dance) overlaps the low pedal of the theme. The finale has a festive character, as if to optimistically welcome the passage to the current millennium.
Program note by Marcos Branda Lacerda.
Double Concerto for Two Guitars and Orchestra, Op. 201
Mario Castelnuovo-Tedesco
Born April 3, 1895 in Florence, Italy Died March 16,1968 in Beverly Hills, CA
Tonight's performance marks the UMS premiere of Mario Castelnuovo-Tedesco's v Double Concerto for Two Guitars and Orchestra.
Persuaded by the famous Spanish guitarist Andres Segovia, composer Mario Castelnuovo-Tedesco produced a significant canon of pieces that contributed to the 20th century's revival of the classical guitar.
Displaying musical talent at a very early age, at 10 years old, Castelnuovo-Tedesco M composed two pieces for the piano, a Noturne and a Barcarole. He attended the Cherubini Conservatory in Florence and 'I studied piano with Edgardo del Valle de Paz. Following his graduation in 1914, he con?tinued his composition studies with Ildebrando Pizzetti, who was an influential mentor. Thereafter, Castelnuovo-Tedesco was called to the attention of pianist, con?ductor, and composer Alfredo Casella, who was the indefatigable defender of the musical
revival in Italy who played an integral role in promoting Castelnuovo-Tedesco's music to international audiences.
During the 1920s and '30s, Castelnuovo-Tedesco worked as an independent pianist and composer in Florence, whose music was sought by esteemed performers such as Gieseking, Heifetz and Toscanini for perfor?mances throughout Europe and the US.
The collaboration with Andres Segovia began in Venice in 1932 during the Inter?national Festival, when Segovia insisted that Castelnuovo-Tedesco compose a piece for guitar. The composer replied that he would be delighted to do so, but that he had no idea of how to go about it. As a reply, Segovia sent -. him the variations by Fernando Sor and by Manuel Ponce that contained the major dif?ficulties that might be faced by the guitar. Castelnuovo-Tedesco responded by writing
Jthe Variazioni-attraverso isecoli (Variations) throughout the centuries), Op. 71, about ! which Segovia commented, "It is the first Uptime I meet a musician who immediately understands how to write for the guitar." The piece eventually compelled Segovia to make an even more daring request, this time for a concerto for guitar and orchestra.
Around this time, the "racial campaign" in fascist Italy was placing Castelnuovo-Tedesco, who was Jewish, into a distressing situation, so much so that for some time he was even held back from composing. Segovia's arrival in Florence gave him sup?port at a time when many colleagues turned their backs to him. With his colleague's motivation, Castelnuovo-Tedesco began writing again, and in January 1939, the Concerto in D Major, Op. 99 was premiered
? by Segovia under the baton of L. Baldi in 1-Montevideo. Considered by many to be the first guitar concerto of the 20th century, it,
i was written the same year as Joaquim.
' Rodrigo's Concerto de Aranjuez.
': In July of that year, Castelnuovo-Tedesco
left for the US, becoming an American citizen
in 1946. He worked in the US for over 10 years, composing soundtracks for movies and teaching composition at the Los Angeles Conservatory.
The Concerto for Two Guitars and Orchestra, Op. 201 is from the composer's North American period and is also the out?come of the composer's meeting with the guitar duo Ida Presti and Alexandre Lagoya, for whom he had previously composed the Sonatina Canonica, Op. 196 and Les Guitarres bien temperees, Op. 199. In the Concerto for Two Guitars, the composer's mastery of idiomatic writing for the guitar is revealed and set in a texture that is more sonorous than in the Concerto in D Major, with new colors brought by the percussion instruments.
The first movement, "Un poco modera-to e pomposo," is based on a gallant court?ing theme in G Major which is first heard in the orchestra and after a trumpet solo, by the soloists, in E Major. A transition based on the themes of the trumpet solo leads to the second theme, Alia Marcia and burlesco, also first introduced by the orchestra. The development is an energetic dialogue between the soloists and the orchestra, in which the two guitars are treated as a single instrument, with ample possibilities of tex?ture and timbre. In the final tutti, the princi?pal theme is played by the violins in octaves, accompanied by the soloists. Muted trum?pets and horns add color to the short coda.
The second movement, "Andante," is the emotional core of the work. It begins jf with an evocative melody in a minor that is presented in thirds by the soloists and passed on to the solo horn and flute section. An agitated transition leads to the second theme, which is rhythmic and decisive in character. The flutes usher in the recapitula?tion, in which the themes unfold in reverse order. In the conclusion, reminiscences of the main themes are heard over a sustained pedal tone. ..--?' ?
The "Rondo mexicano" is a brilliantly written piece for both the soloists and the orchestra, recalling a popular feast. The rondo theme, impertinente, is presented by solo trumpet in the style of a mariachi. The first episode introduces the theme by the soloists. After another tutti, the new passage presents an elegant secondary theme. All the themes are eventually tied together, with the use of castanets contributing to the finale's brilliance.
m
Program note by Roberto Dante Cavalheiro.
Uirapuru
Heitor Villa-Lobos
Born March 5, 1887, in Rio de Janeiro, Brazil Died November 17, 1959, in Rio de Janeiro
Tonight's performance marks the UMS premiere of Heitor Villa-Lobos's Uirapuru.
Stamping his controversies on everything he did, Villa-Lobos wrote his orchestral work Uirapuru with a purpose that clearly belonged to a period with which he was perfectly in tune. The score is dated 1917, but keeping in mind the composer's notoriety of changing the dates of his compositions, some data shows that it may have been written after the beginning of the 1930s. However, one point is unquestionable--the date of its premiere: May 25,1935 at the Colon Theater in Buenos Aires, conducted by Villa-Lobos himself.
Uirapuru recalls the decade of 1910, not only because of the creative imagination of the sounds, but because of the striking impact that compositions such as The Firebird and The Rite of Spring by the Russian composer Igor Stravinsky had on it. Moreover, the com?position shares similar traits as other works by Villa-Lobos, such as African Dances and the ballet Amazonas of 1916. It has a similar structure of interspersed sound groupings and musical sonority as Stravinsky; the cut-
ting sounds he detected in the work of a com?poser like Edgard Varese; or even the noc?turnal music by Bela Bartok; but all of this intermingled with elements that characterize Villa-Lobos himself--music that distinguishes his work from those of Mussorgsky, Debussy, Dukas, Ravel, Stravinsky, Varese and Bart6k.
We are always discussing the topic of nationalism in the music of Villa-Lobos, a ?.. nationalism laden with popular songs and rhythms of the Brazilian folklore. But listen?ing to Uirapuru, this is not the nationalism that comes to mind. It is the sound of Indian music, the sonority of the song of an imagi?nary bird, the sound of the depth of the forest that is present in all its complexity, giving the music a continuous change of color.
To outline his sound layers, the composer docs not hesitate to use the most diverse overlapping and juxtaposed timbres: the piano in the low tones, the flute and oboe playing repeated notes, a xylophone and immediately following, its amplification of a few mea?sures in the orchestral tutti, interrupted by percussion. Uirapuru demonstrates a constant interplay of creative imagination that culmi?nates with the introduction of a new musical instrument: the violin-phone. The violin-phone does not necessarily amplify the sound, but allows the clear and wide spectrum of the violin to become transformed and filtered, losing its character while enabling it to out-1 line a song that can be heard from afar. ?
Program note by Silvio Ferraz. ;j
O 2002 Columbia Artists Management Inc.
Silvio Ferraz is composer and associated researcher for the Sao Paulo State Foundation for Support to Research-Fapesp and to the Center for Musical .
Language of the Semiotics Program of the Catholic M University of Sao Paulo. .... J-
Symphony No. 2 (Uirapuru)
M. Camargo Guarnieri ;
Born February 1, 1907 in Tieti, .'?
Sao Paulo, Brazil Died January 13,1993 in Sao Paulo
Tonight's performance marks the UMS premiere ofM. Camargo Guarnieri s :
Symphony No. 2.
Camargo Guarnieri was born the oldest child of a poor family that played music in their spare time. His parents, Miguel and Gcia flutist and pianist, respectively had eight more children. Camargo was the little "Mozart" of Miguel, who, when he perceived his son's great vocation, moved to the capital city to provide the best musical education for the boy who started to compose at a very early age. In the large city, Camargo concen?trated his main attention to the piano, until he met the Italian maestro Lamberto Baldi in 1927, with whom he studied composition e and conducting. As part of an environment where ideas on artists' commitments with both a Brazilian and universal art flourished, he looked for a new mode for his musical ideas: Camargo decided to stop using the name "Mozart," in full, primarily because he thought it was presumptuous and outdated for a 20th-century composer in the year of 1928. The "musical past" was kept in files, some pieces nicknamed "tabooed work"-?? a title that roused the scholars' curiosity-and he began to sign his name as "M. Camargo Guarnieri."
In the author's catalog there is another overture for orchestra, Festiva, and seven symphonies composed between 1944 and 1985. Symphony No. 2 was composed in 1945, achieving a second-place ranking prior to its premiere in the Competition for Symphonies of the Americas. Titled "Uirapuru," a bird from the Amazon Region: whose song inspired Villa-Lobos to write a choral work (1944) and a symphonic poem
(1917) with the same title (previously heard on tonight's program), Camargo's piece was dedicated to the Rio de Janeiro composer. Years later he composed another more explicit dedication, the Tribute to Villa-Lobos, in a work for wind instruments and percus?sion, written in 1966.
Symphony No. 2 is composed in three movements. The opening movement, "Energico," in sonata form, juxtaposes two themes, the first expressed by the strings and the second, by the French horns. The next movement begins with a solo by the English horn, a melody cleverly worked alongside the entire passage with the charac?ter of the central part contrasting with the extremes. In the finale, "Festivo," also in sonata form with two themes, the first theme is announced by the wind instruments and the second by the English horn. The entire cello section adds an additional third theme, a melody that recalls the memory of Villa-Lobos.
Program note by Fldvia Camargo Toni. O 2002 Columbia Artists Management Inc.
Flavia Camargo Toni is musicologist and curator of the Camargo Guarnieri collection of the Institute for Brazilian Studies of the University of Sao Paulo.
ince their childhood concerts in Brazil and their New York appear?ances as teenagers in 1969, the musical development of Sergio ; and Odair Assad has followed a ;__ fascinating path. Having taken as their base the traditional repertoire of the guitar duo which they refer to as the repertoire of the Presti-Lagoya duo, they started by adding to it the contributions of fellow Brazilians Radames Gnattali, Francisco Mignone, Heitor Villa Lobos, Egberto Gismonti, Marios Nobre, Wagner Tiso and Hermeto Pascoal.
At the beginning of the 1980s, Sergio and Odair Assad made a name for them?selves in Europe. Their amazing talent and their extraordinary musical personalities astounded and delighted their concert audi?ences. Among this group was Astor Piazzolla, captivated after hearing them play at the house of a mutual friend in Paris in 1983, who, shortly afterwards, dedicated three original tangos for two guitars to the brothers, the Tango Suite, which today is part of the guitar duo standard repertoire. During their exploration of the treasures of Baroque music, the two brothers took one hand each in the two-handed harpsichord pieces of Rameau, Scarlatti, Bach and Couperin. Over time, they have refined their skill of mixing musical styles, periods and cultures, even in the course of a single evening's concert. The Assad brothers have added to their repertoire not only the pieces written for them by Nikita Koshkin, Terry Riley and many others, but also a series of daring arrangements including Gershwin's Rhapsody in Blue.
Various commissions and joint projects have widened the scope of the brothers' musical involvement. These projects include
the music of the Japanese film Notsu no Niwa, which Sergio was asked to write and the brothers recorded in 1994. The Assad brothers have collaborated with violinist Gidon Kremer and soprano Dawn Upshaw in 1996; cellist Yo-Yo Ma (a recording which recently received a Grammy) and violinist Fernando Suarez Paz in 1997; violinist Nadja Salerno Sonnenberg in 1998; and with vio?linist Iwao Furusawa in 1999.
Their dedicated work and their bound?less imagination have given Sergio and Odair international renown. Their duo is a "veritable phenomenon, which, with time to mature, will go down in history {Diapason)!'
Tonight's performance marks Sergio and Odair Assad's fourth appearance under UMS auspices. The duo made their UMS debut in November 1992 in Rackham Auditorium.
Please turn to page 19 for complete orchestral biographies for Orquestra de Sao Paulo.
Bank of Ann Arbor
present
Banda Mantiqueira with Orquestra de Sao Paulo
John Neschling, Artistic Director and Conductor
Roberto Minczuk, Co-Artistic Director
Proveta, Alto and Soprano Saxophones, Clarinet
Vinicius Dorin, Tenor Saxophone, Flute
Vitor Alcantara, Tenor Saxophone, Flute
Ubaldo Versolato, Baritone Saxophone, Flute, Piccolo
Francois de Lima, Valve Trombone
Valdir Ferreira, Trombone
Nahor Gomes, Trumpet, Flugelhorn
Walmir Gil, Trumpet, Flugelhorn
Odesio Jerico, Trumpet, Flugelhorn .Jii:-:_?-.a?-..-?
Jarbas Barbosa, Electric Guitar .'.?
Edson Alves, Electric Bass
Lelo Izar, Drums "'""' -1 "?
Fred Prince, Percussion
Guello, Percussion
Program
Chico Buarque de Holanda, Arr. Laercio de Freitas
John Neschling, Arr. Edson ]os? Alves
Pixinguinha
Jaco do Bandolin, Arr. Nailor "Proveta"
Joao BoscoAldir Blanc, Arr. Nailor "Proveta"
Tom Jobim
Vinicius de Moraes, Arr. Alex Milhanovich
and Nailor "Proveta"
Thursday Evening, October 31 at 8:00: Michigan Theater Ann Arbor
Homenagem ao Malandro '
Olha a Lua
Medley de Choros
Naquele tempo
0 voo da mosca
1 xO
Pret-a-porter de tafeta
Insensatez
Ari Barroso, Aquarela do Brasil
.Arr. Lairico de Freitas
INTERMISSION
Zequinha de Abreu, TlCO-TlCO no Fuba
Arr. Nailor "Proveta"
Joao BoscoAldir Blanc, Linha De Passe Arr. Nailor "Proveta."..
Guinga, ; ,Arr. Nailor 'Proveid
Baiao de Lacan
19th Performance of the 124th Season
Ninth Annual Jazz Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by the Bank of Ann Arbor. '
Presented with support from JazzNet, a program of the Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation and the National ' Endowment for the Arts. (
Additional support provided by media sponsor WEMU 89.1 FM.
Special thanks to the UM Center for Latin American and Caribbean Studies," UM School of Music, WEMU, and Zanzibar, for their involvement in this residency.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan. . ;
Banda Mantiqueira and Orquestra de Sao Paulo appear by arrangements with Columbia Artists Management, Inc.
The Sao Paulo Government and Secretary of Culture are the proud sponsors: of the Orquestra de Sao Paulo 2002 Tour. ? ?? ?
Embratur is the official supporter of the Orquestra de S5o Paulo 2002 Tour.
Varig is the official airline of the Orquestra de Sao Paulo and Banda Mantiqueira. ?
Large print programs are available upon request.
ohn Neschling took over as the orchestra's artistic director in January of 1997, assuming responsi?bility for restructuring it and install?ing it in the Sala Sao Paulo. This new challenge allowed the conductor to resume his musical work in Brazil without neglecting his international commitments.
In 1999, besides per?forming Mahler's Symphony No. 2 (Resurrection), a work that he chose for the grand opening of the Sala Sao Paulo, Mr. Neschling also con?ducted new presenta?tions of Alban Berg's Wozzeck and Puccini's Manon Lescaut, both at
the Massimo Theater, and Tosca, at the Carlo Felice Theater in Genoa. He also performed concerts with the Santa Cecilia Academy in Rome. He conducted a program dedicated to Richard Strauss with the Giuseppe Verdi Orchestra in Milan, and in May of 2000, he conducted the world's first performance of Andre Previn's most recent work, played by the Pittsburgh Symphony Orchestra. His last engagements included concerts with the Toronto Symphony, Orchestre de la Suisse Romande and a production of Ernani in Naples.
Living in Europe since 1983, John Neschling built a solid career on the European Continent. He was the musical director of the Sao Carlos Theater in Lisbon, as well as the Artistic Director of the Saint Gallen Stadttheater, in Switzerland, and of the Massimo Theater in Palermo. He was also resident conductor of the Staatsopera in Vienna and of the Bordeaux-Aquitaine National Orchestra. Before moving to Europe, he had already conducted at the Sao Paulo and Rio de Janeiro Municipal Theaters in Brazil.
One of the high points in Maestro Neschling's career was his production of Carlos Gomes's Guarany. With Placido Domingo in the leading role, the production premiered at the Bonn Opera House in 1996. This same work also opened the 1997 season at the Washington Opera. Sony Classical released the recording of this work and BBC broadcast a documentary on its production. In 1998, Maestro Neschling conducted Donizetti's Adelia in Genoa, starring Mariella Devia. The live recording of this performance, at the Carlo Felice, was released under the BMGRicordi label. He has also composed the sound tracks for numerous Brazilian films, including Pixote (awarded at the Gramado Film Festival), The Kiss of the Spider Woman, Os Condenados (winner of the State Governor's Award), Lucio Fldvio and Gaijin. He was awarded the Order of Rio Branco from the Brazilian Government in 1997 for his artistic merits.
John Neschling was born in Rio de Janeiro, to Austrian parents.
These performances by Orquestra de Sao Paulo and Banda Mantiqueira mark John Neschling's UMS debut.
? o-Artistic Director of the Sao Paulo State Symphony of Brazil, young Brazilian conductor Roberto Minczuk has swiftly established himself as one of the most important emerging talents of his generation. After leading the New York Philharmonic's summer Concerts in the Parks series in 1998 he was immediately re-engaged to lead the same series in 1999, and continues an ongoing relationship with that orchestra today. Since 1998, he has been invited to conduct extensively in the North American orchestral scene, with highly successful appearances at the Houston Sym-
phony, Detroit Symphony, Seattle Symphony, Indianapolis Symphony, St. Paul Chamber Orchestra, Oregon Symphony, Vancouver Symphony, Florida Philharmonic and Pacific Symphony Orchestras. An avid educator of young musicians, he has also appeared twice as guest conductor of The Juilliard Orchestra at Lincoln Center. Upcoming appearances will include return visits to San Antonio, Colorado, Detroit and Indianapolis with major debuts at the Milwaukee Symphony Orchestra, the Baltimore Symphony, the New Jersey Symphony and the Brooklyn Philharm-, onic during the 0203 concert season. Jr On the international circuit, Maestro Minczuk will also be conducting the Halle Orchestra of Manchester, the Basle Symphony Orchestra, the New Zealand
Symphony and the Budapest Symphony Orchestra. He embarks upon the first-ever concert production of Wagner's Ring Cycle in Sao Paulo with the : Sao Paulo State Symphony this coming summer, and leads the orchestra, along with Artistic Director John
Neschling, on the current three-week debut concert tour of the US.
Roberto Minczuk has won many presti?gious awards and prizes throughout his young career. At the recommendation of Kurt Masur, he received the 2000 Martin E. Segal Award as one of Lincoln Center's most promising young artists. Other awards include the 1997 Revelation of the Year Award given tp the most outstanding young artist by the.H Performing Arts Critics Association in Sao , Paulo, and the 1991 Moinho Santista Youth 1 Prize (the most important prize in Brazil) awarded in various disciplines for extraordi?nary achievement in a chosen field.
These performances by the Orquestra de Sao Paulo and Banda Mantiqueira mark Roberto Minczuk's UMS debut.
'he history of the Orquestra de Sao
Paulo can be divided into two peri?ods. The first, under the direction of Eleazar de Carvalho, began in 1972 _ and ended with the conductor's death in 1996. The second period began with John Neschling, who took over the orchestra in 1997, and has its own specific characteristics.
The orchestra was first organized in 1953 by Souza Lima, but until the beginning of the 1970s, it led an ephemeral life. The 24 years under the direction of Eleazar de Carvalho were a phase of great activity and prestige, with the orchestra playing in regu?lar, critically acclaimed concert seasons. In the early 1990s, however, the orchestra had fallen into a state of disorganization, had no set place to perform its concerts, and lacked the basic structure needed to schedule its seasons and implement new projects.
Sao Paulo is the third largest city in the world with a population of 11 million inhabitants and the financial reference of Latin America. At the same time, it is a center of excellence in scientific research and, with its 114 theaters and 68 museums, is the hub of Brazilian cultural life, holding important collections of Brazilian and inter?national art. It is also home to the country's most prestigious university.
When John Neschling took over as Artistic Director of the orchestra, he set j-down clear rules designed to make it a I model musical organization in Brazil and J-to include it in the international circuit. He wanted to build an orchestra that would be on a par with Sao Paulo's demands and possibilities.
In 1997, the orchestra underwent a ren?ovation. After a rigid selection process, its staff of regular musicians was re-evaluated,
and numerous young Brazilian and foreign musicians were hired who felt attracted by the greatness and potential of the project. Between 1997 and 1999, its concerts were performed in the Sao Pedro Theater, until the orchestra moved to its newly renovated headquarters in Sala Sao Paulo on July 9, 1999, the last and most important step in the re-building process.
Each year the orchestra prepares approximately 40 different programs, per?forming an average of 90 concerts in the Sala Sao Paulo and at venues in other Brazilian cities. The distinctive trademark of its profile is concern with its repertoire. Alongside benchmark pieces of Western music Vivaldi's The Four Seasons, Haydn's The Creation, Britten's War Requiem, Stravinsky's The Rake's Progress, cycles of symphonies by Schumann, Shostakovich and Mahler approximately 20 works by Brazilian composers from the 18th century through the present are also selected for performance each season.
The orchestra's musicians have an important role in choosing each season's schedule and programs, working like soloists and players in chamber music groups. The list of guest musicians who have appeared with the orchestra include Kurt Masur, Stanislaw Skrowaczewski, Alain Lombard, Paavo Berglund, Theodor Guschlbauer, Djansug Kakhidze, Barbara Hendricks, Radovan Vlatkovic, Miriam _ Fried, Miklos Perenyi, Sergio and Odair Assad, Alex Klein, Natalia Gutman, Nelson Freire, Antonio Meneses, Julian Rachlin, Gerhard Oppitz, Vadim Gluzman, Melvyn Tan, Stephan Genz, and Stephen Kovacevich.
These performances mark Orquestra de Sao Paulo and Banda Mantiqueira's UMS debuts.
Office of the Senior Vice Provost for Academic Affairs
present
Grupo Corpo
Rodrigo Pederneiras, Artistic Director and Choreographer
Dancers
Cassilene Abranches Everson Botelho Elias Bouza Edson Beserra Ana Paula Cancado Janaina Castro Flavia Couret Edgar Dias Silvia Gaspar Jacqueline Gimenes Edson Hayser
Peter Lavratti Diogo de Lima Alessandra Mattana Dejalmir Melo Juliana Meziat Ana Paula Oliveira Danielle Pavam Danielle Ramalho Val Santos Ivelise Tricta
Friday Evening, November 1 at 8:00 . . ....._.,
Saturday Afternoon, November 2 at 2:00 (family performance) Saturday Evening, November 2 at 8:00 Power Center Ann Arbor
INTERMISSION
0 Corpo
20th, 21st and 22nd Performances of the 124th Season
12th Annual Dance Series
The photographing or sound recording of this concert or possession of tiny device for such photographing or sound recording is prohibited.
The Saturday evening performance is co-presented with the Office of the Senior Vice Provost for Academic Affairs.
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 sponsor WEMU 89.1 FM and Metro Times.
Special thanks to the UM Center for Latin American and Caribbean Studies, UM School of Music, UM Department of Dance, and Zanzibar, for their involvement in this residency.
Large print programs are available upon request.
(40 minutes)
Choreography Rodrigo Pcderneiras
Marco Antonio GuimaraesUAKTI
Set Design Fernando Vclloso
Costume Design Freusa Zechmeistcr
Lighting Design
Paulo Pederneiras
0 Corpo
(42 minutes
Choreography
Rodrigo Pederneiras
Arnaldo Antunes
Set Design ?: Costume Design Lighting Design
Paulo Pederneiras
Freusa Zechmeister and Fernando Velloso
Paulo Pederneiras
Rehearsal Director Carmen Purrfi!
Technical Director Pedro Pederneiras
Maria Candida, Manager
Carmen Purri, Miriam Pederneiras, Choreography Assistants. J
Bettina Bellomo, Ballet Master
Eustaquio Bento, Stefan Bottcher, Virgilio Dangelo, Gabriel Castitho,
Technicians Marcelo Claudio Teixeira, Veronica Bonome, Administrators
Kenia Marques, Secretary -. .....
Cristina Castilho, Documentation Fernando Velloso, Program Coordinator
Licia Horta, Robson Oliveira, Pianists Alexandre Vasconcelos, Wardrobe Assistant. ,
i 3
any Brazilians perceive Grupo Corpo as a national cultural treasure. This 27-year-old M dance company began as a " family project for the
Pederneiras siblings and their parents, who gave up their house to serve as Grupo Corpo's first headquarters. The entire family helped to get Grupo Corpo off the ground and remain involved in running the compa?ny and its 400-student school. Rodrigo Pederneiras is Artistic Director and " Choreographer, Paulo Artistic Director and' Lighting Designer, and Pedro the Technical Director. Miriam, formerly a company dancer, is now a choreographic assistant, and Jose Luiz is the company's photographer.
Grupo Corpo places particular empha?sis on collaboration. The creative core of this company Rodrigo, Paulo, Fernando Velloso (set design), and Freusa Zechmeister (costumes) have worked together since the company's conception. Together they take the raw material of 19 dancers and create works that yield an integrated visual specta?cle. Many choreographers change their : designers with each piece, and while this affords them the opportunity to try out new styles and design ideas, the process of deep-, ening the creative collaboration is lost. In ? Grupo Corpo, the artists draw on their long history of work together and deepen their commitment to the dance piece as a whole with each new collaboration. This process weaves an operatic dimension to each Grupo Corpo performance. Grupo Corpo frequently commissions work from Brazilian musicians, including Milton Nascimento and Arnaldo Antunes, among many others.
Classical ballet technique is the basis of Rodrigo Pederneiras's choreography, but Brazilian movements, from folk dances to street moves, peek through. This is not an ethnographic or folkloric dance company; ballet, modern, folk, and popular dances
fuse to become a unique dance phenome?non. Modern techniques and Brazilian ver?nacular dance bend classical movements to take on new lines and a new spirit. Mr. Pederneiras's choreography is then inter?preted by a group of dancers whose intense athleticism and propulsive energy are tem?pered by a quality of ease and looseness that suggest that no matter how challenging the choreography, they have plenty of energy in reserve.
The company is based in Belo Horizonte, a provincial capital of Brazil almost 300 miles north of Rio de Janeiro. Because it is far away from the Europeanized cities, Grupo Corpo has been free to develop a distinctly Brazilian movement style. In fact, the company presents work that explores all aspects of Brazilian cultural identity. The emphasis on rhythm in Grupo Corpo's work is seen as particularly Brazilian, and many guest composers employ sound ele?ments from regional Brazilian music as well as from Brazilian pop music. Ms. Zech-meister's costumes often quote Brazilian folk art and celebrate a tropical love of color. But these are fragments of Brazilian culture that are incorporated into the whole, which defies a nationalistic definition of its art, while remaining a national symbol of pride.
These performances mark Grupo Corpo's UMS debut.
. Rodrigo Pederneiras (Artistic Director and Choreographer) joined Grupo Corpo as a
: choreographer in 1978. Nearly a decade later, while working with the cutting-edge musical ensemble Uakti, he began to envision the visceral style of dance that has become his
1 trademark. Mr. Pederneiras's choreography blends the traditional Brazilian dances of
Ixaxado, samba, and capoeira with modern dance and ballet technique. His work has earned international recognition, and he has , choreographed for the Ballet do Theatro .Municipal do Rio de Janeiro, the Ballet do Teatro Guaira, the Ballet da Cidade de Sao Paulo and the Companhia de Danca de Minas Gerais, Deutsche Oper Berlin, y -? Gulbenkian, Les Ballets Jazz Montreal, Stadttheater Saint Gallen, and Opera du Rhin. His work for Grupo Corpo remains his primary interest, saying "Grupo Corpo j$ today has its own language, which is some?thing hard to achieve." If Grupo Corpo has a language of its own today, it is Rodrigo's language: it has his unmistakable accent, which speaks to our bodies and beckons us to dance.............
Paulo Pederneiras (Artistic Director and Founder), General and Artistic Director of the company, founded Grupo Corpo in 1975. Mr. Pederneiras is also responsible for the lighting of the ballets and has played an integral role in the creation of stage sets. .."I think of the space the same way I think of the lighting. Sometimes the light is the space." Besides his work with Grupo Corpo, Paulo has supervised lighting for several operas, including Don Giovanni, Suor Angelica, Lucia de Lammermoor, La Voix Humaine, Salome and Orfeo. He has also designed exhibits such as Indigenous and Anthropologic Art at the Brazil 500 Years Exhibit, held at the Oca in Ibirapuera Park, i Sao Paulo, 2000.
To Fernando Velloso (Costume and Set Designer), a set design is not a matter of ? self-expression, but the sum of various elements working to enhance the choreogra?phy. Mr. Velloso, who has a degree in archi?tecture, began working with Grupo Corpo in 1989, during the production Missa do Orfanato. Since 1992, he has served as Gropo Corpo's Program Coordinator. With over 30 years of experience, Fernando has created sets for numerous international productions, including 4? Encontro das Americas at Minas Centra (1997, Alluvium, Deutsche Oper) and Rede Globo Televisao's Uma Mulher Vestida de Sol in 1994. Mr. Velloso's work is infused with familiar themes of the Brazilian culture, and melds the choreography with the stage design. In O Corpo, Mr. Velloso focuses on the costumes, since in his own words, "the stage setting is the lighting effect, and the costumes are the stage setting."
The aim of Freusa Zechmeister (Costume Designer), who has worked with Grupo Corpo since 1981, is complementing Grupo Corpo's energetic choreography with color?ful designs that do not restrict body move?ment. In almost all of her costumes she uses a leotard as a "second skin" that reinforces the movements of Rodrigo Pederneiras's choreography. Since 1989, she has collabo?rated with the team of Rodrigo and Paulo ! Pederneiras and Fernando Velloso in a cre?ative capacity, designing and unifying the : elements of costuming, lighting, and set design in Grupo Corpo's productions. In addition to her work with Grupo Corpo, Ms. Zechmeister has created costumes and stage settings for operas such as Lucia de jj Lammemoor at the Teatro Municipal in Sao Paulo and the Sao Paulo City Ballet. She also works as an independent architect and inte?rior designer. _._..__..___ ?????'.
presents
Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music
Yehonatan Berick, Violin Aaron Berovsky, Violin Katherine Collier, Piano Anthony Elliott, Cello Andrew Jennings, Violin
Fred Ormand, Clarinet Yizhak Schotten, Viola Kathryn Votapek, Violin Martha Walvoord, Violin
Sunday, November 3, 2002 at 4:00 Rackham Auditorium Ann Arbor
Moritz Mbszkowski
BrightSheng
Suite for Two Violins and Piano, Op. 21
Berick, Berovsky, Collier
Concertino
for Clarinet and String Quartet Andante Prestissimo Largo; piu mosso ?
5j"5rtf'" ' ',
OrmandJenningsVWalvoord?otapek, Elliott'
INTERMISSION
Johannes Brahms
Piano Quintet in f minor, Op. 34 .,....
Allegro non troppo Andante, un poco adagio ''? Scherzo: Allegro Finale
t Collier, Berovsky, Jennings, Schotten, Elliot
23rd Performance of the 124th Season
The photographing or sound recording of this concert or ] possession of any device for such photographing or sound recording is prohibited. __
Thanks to all of the UM School of Music Faculty Artists for their ongoing commitment of time and energy to this special UMS performance. i
Large print programs are available upon request.
Suite in G Major for Two Violins and Piano, Op. 21
Moritz Moszkowski
Born August 23, 1854 in Breslau, Germany Died March 4, 1925 in Paris
, Concertino
for Clarinet and String Quartet
Bright Sheng 'ffc.Born December 6,1955 in Shanghai, China
Piano Quintet in f minor, Op. 34
HHI Johannes Brahms -WKiSffl
Born May 7, 1833 in Hamburg
Died April 3, 1897 in Vienna , , ,v . ?...,.
One evening Brahms was asked how he had spent the day. "I was working on my sym?phony," the composer replied. "In the morn; ing I added an eighth note. In the afternoon " I took it out."
Spurious as this anecdote may be, it does furnish some insight into the slow, careful _ way firahms fashioned his music and the ; difficulty he had in bringing certain works up to his incredibly high standards. The Piano Quintet is a particularly good illustration of a composition that underwent several major revisions before publication.
The original version was a string quintet for two violins, viola, and two cellos, which Brahms composed in 1862. Joseph Joachim,' the composer's close friend and trusted , musical advisor, liked the piece at first, but after rehearsing it, told Brahms that he though it lacked charm and that the com?poser should "mitigate the harshness of -; some passages." A slightly altered work was1 played at another rehearsal, but it too '; proved unsatisfactory.
The following year, Brahms entirely transformed the piece into a sonata for two pianos, which he performed with Karl Tausig in Vienna early in 1864. (Although Brahms burned the original cello quintet version, he preserved the two-piano realiza?tion, which is published as Op. 34b.) Critics, gave it a generally poor reception saying it_ lacked the necessary warmth and beauty that only string instruments could provide.
Finally, during the summer of 1864, Brahms reworked the same musical material once more, this time shaping it into its final piano quintet form. Brahms, at long last, was satisfied. He allowed it to be published in 1865. It is now considered the composer's most epic piece of chamber music.
The massive and complex first movement is replete with a superabundance of melodic strains and rhythms. Yet, despite this rich 'tor diversity, Brahms achieves a musical synthe?sis through the use of various unifying tech-niques that are skillfully woven into the music. To take but one example, the move?ment opens with piano, first violin, and _ cello singing the noble, sonorous first ) theme. After a pause, the piano begins a pas?sage of running notes that seems unrelated to the opening statement. Careful listening, though, reveals that the passage is nothing more than a free, speeded-up transposition of the melody we have just heard! Brahms' delight in counterpoising twos against threes is evident in the subdued second sub?ject, with its ostinato triplets underpinning the equal pairs of notes in the melody. A $jj closing theme that contrasts sustained, legato measures with staccato, rhythmic measures leads to a comparatively brief development, a recapitulation, and a coda that starts slowly and quietly but builds to a brilliant climax.
The slow movement is serene, tender, and simple--especially in comparison with the majestic sweep of what has come before. The opening subject, a warm, gently swaying melody, is played by the piano to a restrained,
rhythmical string accompaniment. The intensity increases as the second violin and viola, in unison, introduce the subsidiary subject. Clam returns as the main theme returns to close the movement.
The "Scherzo" has great rhythmic verve and a plenitude of melodic material. There are three basic musical ideas: an eerie, slightly off-beat melody over an insistent : cello pizzicato; a crisply rhythmic figure in the strings; and an exultant, full-voiced exclamatory statement from all five players. After expanding and developing these .;' "' themes, the music builds powerfully to a sudden cut-off, which is followed by the contrasting cantabile melody of the Trio Brahms then directs the players to repeat the Scherzo section.
The "Finale" opens with a slow intro?duction that casts a mood of dark forebod?ing. In a while the shadows disperse as the cello saunters forth with a fast, jolly tune. After a dramatic outburst, a second melody appears, slightly faster in tempo, but drooping with feigned sorrow. A vigorous, syncopated them brings the exposition to an end. The freely realized development and recapitulation lead to the coda, a summing up of the entire movement in an unrestrained whirl?wind of orchestral sonority.
The first public performance of the quintet was given in Paris on March 24, 1868, by pianist Louise Langhans-Japha , and four unidentified string players. '_
Program note by Melvin Berger.
A prizewinner at the 1993 Naumburg competition, and a recipient of the 1996-97 Prix Opus, Yehonatan Berick is in high demand internationally as soloist, recitalist, chamber musician (on violin as well as on viola) and pedagogue. He has performed-under Yoav Talmi, Mendi Rodan, Kees Baakels and Keith Lockhart, with the Quebec, Windsor, Jerusalem and Haifa Symphonies, and the Israeli, Cincinnati, Montreal and Manitoba Chamber Orchestras and .
has presented recitals with James Tocco, Louis Lortie, Stephen Prutsman and Michael Chertock and collaborated in chamber music performances with David Soyer and Michael Tree of the Guarneri Quartet, Peter Wiley, Stephen Isserlis, Wolfgang Meyer, James Campbell, and Julius Baker. Mr. Berick's many festival credits include Marlboro, Ravinia, Seattle, Vancouver, Ottawa, Jerusalem, El Paso, Great Lakes, Leicester, Moritzburg, Lapland, Riihimaki, Strings in the Mountains, and Bowdoin. On CD, Mr. Berick has recorded for the Summit, Gasparo, Acoma, JMC and Helicon labels. Previously he held the position of Professor of Violin at McGill University, as well as Visiting Professor of Violin at the Eastman School of Music. He has been invited as teacher and artist-in-residence at Bowdoin Music Festival, Keshet Eilon Mastercourse, and the JMC Young Players' Unit. Mr. Berick started his musical education at the age of six. His violin teachers were Ilona Feher, Henry Meyer, Kurt Sassmanshauss, and Dorothy DeLay.
This afternoon's performance marks Yehonatan Berick's UMS debut.
Aaron lerofsky made his solo debut at the age of thirteen and since then has received international critical acclaim as both a soloist and a chamber musician. He received his Master of Music degree from the Juilliard School, where he studied with Dorothy DeLay. Other teachers include Glenn Dicterow, Robert Mann, Elaine Richey, and Masao Kawasaki. Mr. Berofsky comes to Michigan from the faculty of Indiana University, South Bend. He also taught and coached chamber music at the Oberlin Conservatory (the String Quartet program), and was a faculty member at Interlochen Arts Camp. His recordings can be heard on the Sony, New Albion, and Chesky labels.
This afternoon's performance marks Aaron Berofsky's UMS debut.
Katherine Collier has had a distinguished and ver?satile career as a soloist, chamber music artist, and accompanist. She received her bachelors and masters degrees from the Eastman School of Music. Ms. Collier was the first prize winner of the National
Young Artist's Competition and the Cliburn Scholarship Competition and was the recipient of a Rockefeller Award. She won a Kemper Educational Grant to study at the Royal College of Music in London, England, where she completed postgradu?ate work. She has soloed with the Cincinnati, Dallas, and Eastman-Rochester Orchestras, as well as the Houston Symphony. Ms. Collier is an active collabo?rator with such artists as Joshua Bell, Ani Kavafian, Steven Kates, Steven Doane, Donald Mclnnes, Edgar Meyer, David Shifrin, Eddie Daniels, and members of the Tokyo, Emerson, Cleveland, Orion, Ying, and Vermeer Quartets. She has concertized throughout Europe and the US and has performed at the Aspen Music Festival, Interlochen, Meadowmount, and Skaneateles. As an accompanist Ms. Collier worked in the studios of Dorothy DeLay, Nathan Milstein and the BBC. She tours extensively with her hus?band, violist Yizhak Schotten, and they are founders and music directors of the Maui Chamber Music Festival, where they perform each summer. They are also music directors of the Strings in the Mountains Festival in Colorado. Their duo recording on CRI Records was selected for three months as "Critics' Choice" by High Fidelity Magazine. Ms. Collier also appears on the Pandora, Pearl, Crystal, and Centaur labels.
This afternoon's performance marks Katherine Collier's eighth appearance under UMS auspices.
Anthony Elliott, a protege of Janos Starker and of Frank Miller, won the Feuermann International Cello Solo Competition, which was followed by a highly successful New York recital. Mr. Elliott has given master classes at most leading American con?servatories. He is a frequent soloist with major orchestras, including those of Detroit, Minnesota, Vancouver, CBC Toronto, and the New York Philharmonic. His compact disc of Kabalevsky, Martinu, and Shostakovich sonatas received a rave review from Strad Magazine of London and was named a "Best Buy of 1991" by the Houston Post. Forthcoming releases include works by French and Russian composers. In demand as a chamber musi?cian, Mr. Elliott has been a guest artist at the Sitka (Alaska) Summer Music Festival, the Seattle and Texas chamber music festivals, New York's Blossom
Music Festival, Houston's Da Camera Series and the Victoria International Festival. He has performed as a member of Quartet Canada and as a guest artist with the Brunswick, Lyric Art, and Concord string quartets. He devotes his summers to teaching and performing at the Aspen Music Festival and School. Mr. Elliott joined the University of Michigan School of Music faculty in 1994.
This afternoon's performance marks Anthony Elliott's 12th appearance under VMS auspices.
Andrew Jennings graduated from the Juilliard ...
School. His principal teachers were Ivan Galamian, , Alexander Schneider, Pamela Gearhart and Raphael : Druian. He was a founding member of the Concord String Quartet, a new ensemble that quickly gained international recognition by winning the Naumberg j Chamber Music Award in 1972 and also performed ' more than 1200 concerts throughout the US, Canada, and Europe. Specializing in the perfor?mance of new works (with an emphasis on American composers), this Quartet gave more than 50 premieres and commissions; it also performed the standard repertory and 32 cycles of the complete Beethoven quartets and made numerous recordings, three of which were nominated for Grammy Awards. Mr. Jennings maintained his association, with this Quartet until it disbanded in 1987. The Concord Trio, which Mr. Jennings subsequently formed with Norman Fischer and Jeanne Kierman, ... debuted in 1993. Mr. Jennings's teaching career began at Dartmouth College where members of the Concord Quartet were engaged as artists-in-resi-dence from 1974 to 1987. Later he served on the faculty of Oberlin College. He currently devotes his summers to chamber music instruction at the Tanglewood Music Center in Massachusetts where ' he holds the Beatrice Proctor Master Teacher Chair and to the Musicorda School for Strings Holyoke Massachusetts. His recordings can be found on RCA, Nonesuch, Vox, Turnabout, Equilibrium, 1 Danacord and MMO. XfiKK' '?.
This afternoon's performance marks Andrew ?? Jennings's 15th appearance under UMS auspices. ?'
Fred Ormand has played with the Chicago, Cleveland, and Detroit symphony orchestras and has performed as a soloist with orchestras in the US, China, and Europe. He founded and has toured extensively with the Interlochen Arts Quintet and the Dusha Quartet. Formerly a faculty member at several leading American universities, he was also a visiting professor at the Shanghai Conservatory. In 1995, he gave master classes in England, Denmark, and Sweden. Since 1988, he has been a member of the summer faculty at the Music Academy of the West. From 1990 to 1992 Mr. Ormand served as president of the International Clarinet Association and is often invited to perform at the international conferences of this group. In recent years he has published editions of the music for winds of Amilcare Ponchielli. In 1996 he released a compact disc on Danacord Records titled Convcgno, a pre?miere recording of Ponchielli's solo works for winds.
This afternoon's performance marks Fred Ormand's 13th appearance under UMS auspices.
Yizhak Schotten's solo appearances have included performances with conductors Seiji Ozawa, Thomas Schippers, Sergiu Commissiona, Joseph Swensen, and Arthur Fiedler. He has concertized in Israel, Japan, Taiwan, Malaysia, Holland, Austria, Mexico, England, Canada and throughout the US. He has appeared at Town Hall, Carnegie Hall, Merkin Hall, Jordan Hall, the Cleveland Museum of Art, the Library of Congress, and the Concertgebouw. Formerly a member of the Boston Symphony Orchestra, he subsequently became principal violist of the Cincinnati and Houston symphony orches?tras. He is the music director of the Maui Chamber Music Festival, Strings in the Mountains Festival and SpringFest in Ann Arbor. In 1997, he represent?ed the US as a judge and performer at the Tertis International Viola Competition in England. Mr. Schotten was the Artistic Director of the XIV International Viola Congress and has been a fea?tured artist at six other international Congresses. His CRI recording was chosen as "Critics' Choice" for three months in High Fidelity Magazine. Pearl Records recently included his playing on its anthol?ogy History of the Recording of the World's Finest Violists. He has given recitals and master classes in England at the Tertis International Competition, the
Menuhin School, the Guildhall School of Music and Royal College of Music. He has also given master classes in Israel at the Tel-Aviv and Jerusalem Academies of Music and at the Sydney Conservatorium of Music in Australia.
This afternoon's performance marks Yizhak Schotten's 18th appearance under UMS auspices.
A native of East Lansing, Michigan, Kathryn Votapek has been a member of the Chester String Quartet since 1990. In residence at Indiana University and as an associate professor of violin, Ms. Votapek has attended prestigious music festivals including the Stearns Young Artists Institute at Ravinia and the Tanglewood Music Center. As a guest artist, she performed with the Chicago Chamber Musicians and the Speedside Festival in Canada. Ms. Votapek received degrees from Indiana University under Franco Gulli and from The Juilliard School under Robert Mann.
This afternoon's performance marks Kathryn Votapek's second appearance under UMS auspices.
Martha Walvoord, a student of Andrew Jennings, is currently a first-year DMA student in violin performance at the University of Michigan. Martha received her Masters degree last April from Michigan, and her Bachelors degree from Rice University where she studied with Kathleen Winkler. Ms. Walvoord recently won the concertmaster position of the West Shore Symphony Orchestra in Muskegon, Michigan. In April, Martha will be per?forming the Glazunov Violin Concerto with the Andrews University Symphony Orchestra. Here in Ann Arbor, Ms. Walvoord is on the faculty of the Ann Arbor School for the Performing Arts. She has attended the music festivals of the Music Academy of the West, Encore School for Strings, and Musicorda, where she was invited to play on the faculty cham?ber music concert series.
This afternoon's performance marks Martha Walvoord's UMS debut.
experience
plete listing of all 1 Educational activities will' now be conveniently located within the concert program section of your program book.i All Education activities are' also posted on the UM
'Forest Health Services presents the 124th Annual Choral Union scries.
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 Music
Anouar Brahem, oud Barbaras Erkose, clarinet Lassad Hosni, bendir & darbouka Sunday, September 22, 4 p.m. Lydia Mendelssohn Theatre Presented in partnership with the Arab Community Center for Economic and
Social Services, with special support from the University of Michigan. Media Sponsor WEMU 89.1 FM.
Cullberg Ballet Mats Ek's Swan Lake
Tuesday, October 8, 8 p.m.
Power Center
Funded in part by the National Dance
Project of the New England
Foundation for the Arts.
Media Sponsor Metro Times.
Cleveland Orchestra
['ran. Welser-Mtist, music director Heinz Karl Gruber, baritone
chansonnier
Wednesday, October 9, 8 p.m. Orchestra Hall, Detroit Sponsored by Forest Health Services. Media Sponsor WGTE 91.3 FM.
Tamango and Urban Tap
Friday, October 11,8 p.m.
Saturday, October 12, 2 p.m.
(one-hour family performance)
Saturday, October 12, 8 p.m.
Power Center
The Friday performance is sponsored
by Elastizell.
The Saturday evening performance is
co-presented with the Office of the
Senior Vice Provost for Academic
Affairs.
Presented with support form the
Wallace-Reader's Digest Funds.
Media Sponsors WEMU 89.1 FM and
Metro Times.
Venice Baroque Orchestra
Andrea Marcon, conductor and
harpsichord Giuliano Carmignola, baroque
violin
Sunday, October 13, 7:30 p.m. St. Francis of Assisi Catholic Church Presented with the generous support of Michael Allemang and Beverley and Gerson Gcltncr
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
Realtors.
Media Sponsor WGTE 91.3 FM.
Lorraine Hunt Lieberson, mezzo-soprano
Robert Tweten, piano Wednesday, October 23, 8 p.m. Lydia Mendelssohn Theatre Sponsored by National City.
Orquestra de Sao Paulo
John Neschling, conductor Se'rgio and Odair Assad, guitar Wednesday, October 30, 8 p.m. Michigan Theater Media Sponsor WGTE 91.3 FM.
Banda Mantiqueira Brazilian
Big Band
with Orquestra de Sao Paulo
Thursday, October 31, 8 p.m.
Michigan Theater
Sponsored by Bank of Ann Arbor.
Additional support provided by
JazzNet.
Media Sponsor WEMU 89.1 FM.
Grupo Corpo Brazilian Dance Theater
Rodrigo Pederneiras,
artistic director Friday, November 1, 8 p.m. Saturday, November 2, 2 p.m. (one-hour family performance) Saturday, November 2, 8 p.m. Power'Center
The Saturday evening performance is co-presented with the Office of the Senior Vice Provost for Academic Affairs.
Media Sponsors WEMU 89.1 FM and Metro Times.
Michigan Chamber Players
Sunday, November 3,4 p.m. Rackham Auditorium Complimentary Admission
Herbie Hancock Quartet
Herbie Hancock, piano
Gary Thomas, saxophones
Scott Colley, bass
Terri Lyne Carrington, drums
Wednesday, November 6, 8 p.m.
Michigan Theater
Sponsored by McKinley Associates, Inc.
Additional support provided by
JazzNet.
Media Sponsors WEMU 89.1 FM and
WDET 101.9 FM.
Cantigas de Santa Maria with The Boston Camerata, Camerata Mediterranea and L'Orchestre Abdelkrim Rais of Fez, Morocco
Thursday, November 7, 8 p.m. St. Francis of Assisi Catholic Church Co-presented with the Office of the Senior Vice Provost for Academic Affairs.
Caetano Veloso
Friday, November 15, 8 p.m.
Michigan Theater
Sponsored by Borders.
Additional support provided by JazzNet.
Media Sponsors WEMU 89.1 FM and
WDET 101.9 FM.
Gidon Kremer, violin Sabine Meyer, clarinet Oleg Maisenberg, piano
Sunday, November 17, 4 p.m. Rackham Auditorium '
Media Sponsor WGTE 91.3 FM.
Orchestra 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 iffi
of Ann and Clayton Wilhite.
Media Sponsor WGTE 91.3 FM.
Altan
A Traditional Gaelic Seasonal
Celebration m-frwr
with special guests WriJ:
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
Quartet
Saturday, January 11,8 p.m. Sunday, January 12, 4 p.m. Power Center
The Saturday performance is spon?sored by Borders.
The Sunday performance is presented with the generous support of Maurice and Linda Binkow.
Funded in part by the National Dance Project of the New England Foundation for the Arts. Media Sponsors WGTE 91.3 FM, WDET 101.9 FM and Metro Times.
blessing the boats
A solo performance written and conceived by Sekou Sundiata Friday, January 17, 8 p.m. Saturday, January 18, 8 p.m. Sunday, January 19, 2 p.m. Trueblood Theatre This is a Heartland Arts Fund program. Media Sponsor Michigan Radio.
An Evening with Audra McDonald
Audra McDonald and Trio Ted Sperling, music director
and piano
Peter Donovan, bass Dave Ratajczak, drums Sunday, January 19, 7 p.m. Michigan Theater Presented with the generous support of Robert and Pearson Macek. Additional support provided by JazzNet. Media Sponsor WEMU 89.1 FM.
Sekou Sundiata and Band
Monday, January 20, 8 p.m. Michigan Theater Co-presented with the UM Office of Academic Multicultural Initiatives. This is a Heartland Arts Fund program. Media Sponsors WEMU 89.1 FM and Metro Times.
Voices of Brazil featuring Ivan Lins, Ed Motta, Joao Bosco, Leila Pinheiro and Zelia Duncan
Friday, January 31,8 p.m.
Michigan Theater
Sponsored by Keybank and McDonald
Investments, Inc.
Media Sponsor WEMU 89.1 FM.
Egberto Gismonti
Saturday, February 1, 8 p.m. Michigan Theater Presented with support from lazzNet. Media Sponsor WEMU 89.1 FM.
Michigan Chamber Players
Sunday, February 2,4 p.m. Rackham Auditorium Complimentary Admission
Martha Clarke
Vienna: Lusthaus (revisited)
Martha Clarke, director and
choreographer Richard Peaslee, music Charles L. Mee, text Friday, February 7, 8 p.m. Saturday, February 8, 8 p.m. Power Center
Funded in part by the National Dance Project of the New England Foundation for the Arts. Media Sponsors Michigan Radio and Metro Times.
Ying Quartet
Sunday, February 9, 4 p.m. Rackham Auditorium Sponsored by Miller, Canfield, Paddock and Stone, P.L.C. Media Sponsor WGTE 91.3 FM.
Dave Holland Quintet and New York Big Band
Dave Holland, bass Robin Eubanks, trombone Chris Potter, saxophones Steve Nelson, vibraphone &
marimba
Billy Kilson, drums Saturday, February 15, 8 p.m. Michigan Theater Presented with support from the Wallace-Reader's Digest Funds. Additional support is provided by JazzNet.
Media Sponsors WEMU 89.1 FM, WDET 101.9 FM and Metro Times. Presented in conjunction with the 2003 UM Jazz Festival.
Eos Orchestra
The Celluloid Copland:
Copland's Music for the Movies
(performed with original films) Jonathan Sheffer, conductor Sunday, February 16, 4 p.m. Michigan Theater Sponsored by the CF1 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 Fair, director Sunday, March 2, 1:30 p.m. Tuesday, March 4, 7:30 p.m. Thursday, March 6, 7:30 p.m. 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.
& 7:30 p.m.
Sunday, March 16, 1:30 p.m. Power Center
The Royal Shakespeare Company resi?dency is presented in association with (he 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
Kodo
Monday, March 24, 8 p.m. Tuesday, March 25, 8 p.m. Wednesday, March 26, 8 p.m. _ Michigan Theater Media Sponsor WDET 101.9 FM and Metro Times.
Susan Graham, mezzo-soprano
Malcolm Martineau, piano_____
Friday, March 28, 8 p.m. ; Lydia Mendelssohn Theatre
Takacs Quartet and Muzsikas
Saturday, March 29, 8 p.m. Rackham Auditorium Sponsored by Learning Express-Michigan. Media Sponsor WGTE 91.3 FM.
Muzsikas
Featuring Marta Sebestyen Sunday, March 30,4 p.m. Rackham Auditorium Co-presented with the Office of the Senior Vice Provost for Academic Affairs. Media Sponsor WDET 101.9 FM.
Evening at the Apollo
Friday, April 4, 8 p.m.
Michigan Theater
Saturday, April 5, 8 p.m.
Detroit Opera House
The Friday performance is sponsored
by Bank One.
The Saturday performance is
sponsored by Borders.
These performances are co-presented
with the University of Michigan and
presented in partnership with The Arts
League of Michigan.
Media Sponsors WEMU 89.1 FM and
Metro Times.
Bach Collegium Japan Bach's St. Matthew Passion
Masaaki Suzuki, conductor Wednesday, April 9, 7:30 p.m. St. Francis of Assisi Catholic Church
Matthias Goerne, baritone
Eric Schneider, piano __
Thursday, April 10, 8 p.m. Lydia Mendelssohn Theatre Sponsored by National City.
Afro-Brazilian Dance Party
Saturday, April 12, 9 p.m.
EMU Convocation Center__
Co-sponsored by Sesi._______
Media Sponsors WEMU 89.1 FM and Metro Times.
Gabrieli Consort and
Players
Bach's St. John Passion
Paul McCreesh, music director Saturday, April 19, 8 p.m. Michigan Theater Media Sponsor WGTE 91.3 FM.
The Hilliard Ensemble Morimur
Christoph Poppen, violin Thursday, May 1, 8 p.m. St. Francis of Assisi Catholic Church
The Ford Honors Program
F he FORD HONORS PROGRAM is made possible by a generous grant from the Ford Motor Company Fund and benefits the UMS Education Program. Each year, UMS honors a world-renowned artist or ensemble with whom we have maintained a long-standing and 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 Honorccs
1996
Van Cliburn
1997
Jessye Norman
199S
Garrick Ohlsson
1999
The
Canadian Brass
2000
Isaac Stern
2001
Marcel Marceau
2002
Marilyn Home
'onsidered one of the top performing arts ieducational 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 www.ums.org, email umsed@umich.edu, or call 734.647.6712.
Artist Interviews
These interviews engage the leading art-makers of our time in conversations about their body of work, their upcoming performance, and the process of creating work for the world stage.
Master Classes
Master classes are unique opportunities to see, hear, and feel the creation of an art form. Through participation andor observation, individuals gain insight into the process of art making and training. _____________
Study Clubs
Led by local experts and educators, UMS Study Clubs offer audiences the opportunity to gain deeper understanding of a particular text, artist, or art form. The study clubs are designed to give a greater appreciation of a specific subject matter within the context of the performance.
Essential Primers
This series is designed for seasoned concert-goers as well as new audiences. Each "primer" is designed to build and deepen basic under?standing about a particular art form.
:l
PREPs and Lectures
Pre-performance talks (PREPs) and lectures prepare audiences for upcoming performances.
Meet the Artists
Immediately following many performances, UMS engages the artist and audience in conversation about the themes and meanings within the performance, as well as the creative process.
Immersions
A series of events focused on a theme, culture, art form, or artist that may include master classes, films, panels and community engage?ment events. 20022003 Immersions include Abbey Theatre of Ireland: Euripides' Medea and Brazilian Dance and Music.
Artists-in-Residence
Many artists remain in Michigan beyond their performances for short periods of time to deepen the connection to communities throughout the region. Artists teach, create, and meet with community groups, university units, and schools while in residence. For the 0203 season, major residencies include the Bolshoi Ballet, Sekou Sundiata, and the Royal Shakespeare Company.
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 www.ums.org, email umsyouth@umich.edu, or call 734.615.0122.
Youth Performance Series
Designed to enhance the K-12 curriculum, UMS Youth Performances cover the full spec?trum of world-class dance, music, and theater. Schools attending youth performances receive UMS's nationally recognized study materials that connect the performance to the classroom curriculum. The 20022003 Youth Performance Series features: ____
Tamango and Urban Tap :
Herbie Hancock Quartet Sweet Honey in the Rock
Voices of Brazil
Sphinx Competition -free!
Kodo
Teachers who wish to be added to the youth performance mailing list should call 734.615.0122 or email umsyouth@umich.edu,
The Youth Education Program is sponsored by
Teacher Workshop Series
As part of UMS's ongoing effort to incorporate the arts into the classroom, local and national arts educators lead in-depth teacher workshops designed to increase educators' facility to teach through and about the arts. UMS is in partner?ship with the Ann Arbor Public Schools as part of the Kennedy Center's Partners in Education Program. This year's Kennedy Center work?shops are:
Harlem with Kimberli Boyd
Living Pictures: A Theatrical Technique for Learning Across the Curriculum with Sean
?H Layne
Workshops focusing on UMS Youth Performances are:
The Steps and Rhythms of Urban Tap with Susan Filipiak
Brazilian Music in the Classroom: An Introduction to Voices of Brazil with Mary Catherine Smith
Kodo: An Introduction to Japanese Percussion with Michael Gould
For information or to register for a workshop, please call 734.615.0122 or email umsyouth@ umich.edu.
First Acts Program
The First Acts Program provides opportunities for students in grades 4-12 to attend select evening and weekend performances with $6 tickets and reimbursed transportation costs. This year's First Acts roster includes Abbey Theatre of Ireland: Euripides' Medea, Orquestra de Sao Paulo, Gidon Kremer and Friends, Bolshoi Ballet: Swan Lake, Orchestre Philharmonique de Radio France, Boston Pops Esplanade Orchestra Holiday Concert, Ying Quartet, Stuttgart Chamber Orchestra, Muzsikas, and Bach Collegium Japan per?forming Bach's St. Matthew Passion.
For more information, please call 734.615.0122 or email umsyouth@umich.edu.
Special Discounts for Teachers and Students to Public Performances
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
1547Washtenaw Avenue Call 734.769.0653 for reservations 1H Join Ann Arbor's most theatrical host and hostess, Fred & Edith Leavis Bookstein, for a weekend in their massive stone house built in the mid-1800s for UM President Henry Simmons Frieze. This historic house, located just minutes from the performance halls, has been comfortably restored and furnished with contemporary art and performance memorabilia. The Bed & Breakfast for Music and Theater Lovers!
Gratzi Restaurant
326 South Main Street Call 888.456.DINE for reservations Dinner package includes guaranteed reserva?tions for a preor post-performance dinner (any selection from the special package menu plus a non-alcoholic beverage) and reserved "A" seats on the main floor at the performance. Packages are available for select performances.
Vitosha Guest Haus
1917 Washtenaw Avenue
Call 734.741.4969 for reservations
Join proprietors Christian and Kei Constantinov
for afternoon tea, feather duvets and owls in
the rafters in their expansive stone chalet
home. Catering to "scholars, artists and the
world-weary," this historic complex features
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.
114 East Washington 734.213.1393 Award-winning brewpub featuring a full : bar and menu. Casual downtown dining. Smokeless restaurant and bar. Private parties for 25-150.--
Bella Ciao Trattoria
118 West Liberty 734.995.2107
Known for discreet dining with an air of
casual elegance, providing simple and
elaborate regional Italian dishes for you and
your guests' pleasure. Reservations accepted.
www.bellaciao.com.
Blue Nile
221 East Washington Street 734.998.4746 Join us for an authentic dining adventure to be shared and long remembered. Specializing in poultry, beef, lamb and vegetarian specialties. Outstanding wine and beer list. http:annarbor.org.pages.bluenile.html
Cafe Marie
1759 Plymouth Road 734.662.2272 Distinct and delicious breakfast and lunch dishes, creative weekly specials. Fresh-squeezed juice and captivating cappuccinos! A sunny, casual, smoke-free atmosphere. Take out available.
The Chop House
322 South Main Street 888.456.DINE Ann Arbor's newest taste temptation. An elite American Chop House featuring U.S.D.A. prime beef, the finest in Midwestern grain-fed meat, and exceptional premium wines in a refined, elegant setting. Open nightly, call for reservations.www.thechophouserestaurant.com
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. www.damatos.com.
Just downstairs is Goodnite Grace Jazz & Martini bar featuring talented local jazz groups and the best martinis in town. Never a cover or minimum, always great entertain-
Daniel's on Liberty
326 West Liberty Street 734.663.3278 Located just west of Main Street in the restored Brehm estate. Fine American cuisine with a global fare. Full service catering, bakery, wedding cakes. Private meeting space available. www.danielsonliberty.com
The Earle
121 West Washington 734.994.0211 French and Italian dining, offering fresh fish, pastas, duck and beef tenderloin accompa?nied by our house-made desserts. Wine Spectator's "Best of Award of Excellence" 1991-2002.
Gandy Dancer
401 Depot Street 734.769.0592
Located in the historic 1886 railroad depot.
Specializing in fresh seafood.
Lunches Monday-Friday 11:30-3:30. Dinners
Monday-Saturday 4:30-10, Sunday 3:30-9.
Award-winning Sunday brunch 10:00-2:00.
Reservations recommended.
Gratzi
326 South Main Street 888.456.DINE Celebrated, award-winning Italian cuisine served with flair and excitement. Sidewalk and balcony seating. Open for lunch and dinner. Reservations accepted. www.gratzirestaurant.com
The Kerrytown Bistro
At the corner of 4th Avenue and Kingsley Street in Kerrytown 734.994.6424 The Kerrytown Bistro specializes in fine French Provincial inspired cuisine, excellent wines and gracious service in a relaxed, inti?mate atmosphere. Hours vary, reservations accepted.
La Dolce Vita
322 South Main Street 734.669.9977 Offering the finest in after-dinner pleasures. Indulge in the delightful sophistication of gourmet desserts, fancy pastries, cheeses, fine wines, ports, sherries, martinis, rare scotches, hand-rolled cigars and much more. Open nightly, www.msventures.com
347 South Main Street 888.456.DINE Zestful country Italian cooking, fresh flavors inspired daily. Featuring the best rooftop seating in town. Open for dinner nightly. Reservations accepted, large group space available, www.paliorestaurant.com
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. www.realseafoodcorestaurant.com
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 I 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. f
Zanzibar
216 South State Street 734.994.7777 Contemporary American food with Mediterranean & Asian influences. Full bar featuring classic and neo-classic cocktails, thoughtfully chosen wines and an excellent selection of draft beer. Spectacular desserts. Lunch, dinner, Sunday brunch and outside dining. Space for private and semi-private gatherings up to 120. Smoke-free. Reservations encouraged.
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.
U MS 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. _____________
[DVISORY COM MITT
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.
Advertising
When you advertise in the UMS program book you gain season-long visibility among ticket-buyers while enabling an important tradition of providing audiences with the detailed pro?gram notes, artist biographies, and program descriptions that are so important to perform?ance experience. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book.
Sponsorship
As a UMS corporate sponsor, your organiza?tion comes to the attention of an educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treasures, and also receive numerous benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
? Enhancing corporate image
Cultivating clients .?.-.
? Developing business-to-business relationships
Targeting messages to specific demographic groups
Making highly visible links with arts and education programs
? Recognizing employees
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
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 oe possible without tne generous support or tne community. UM3 gratefully acknowledges the following individuals, businesses, foundations and government agencies--and those who wish to remain anonymous--and extends its deepest gratitude for their support. This list includes current donors as of August 7,2002. Every effort has been . made to ensure its accuracy. Please call 734.647.1178 with any errors or omissions.
$25,000 or more
Randall and Mary Pittman Philip and Kathleen Power
SW,000-$24,999
Carl and Isabelle Brauer
Dr. Kathleen G. Charla
Peter and Jill Corr
Ronnie and Sheila Cresswell
Hal and Ann Davis
Beverley and Gerson Geltner
Jim and Millie Irwin
Robert and Pearson Macek
Charlotte McGeoch
Tom and Debby McMullen
Ann Meredith
Mr. and Mrs. Irving Rose
$7,500-$9,999 2-
Maurice and Linda Binkow "" Leo and Kathy Legatski Prudence and Amnon Rosenthal Edward and Natalie Surovell
$5,000-$7,499
Michael Allemang
Herb and Carol Amster
Douglas D. Crary
Dennis Dahlmann
David and Phyllis Herzig
Doug and Gay Lane
Paul and Ruth McCracken
Loretta M. Skewes
Lois A. Theis
Marina and Robert Whitman
Ann and Clayton Wilhite
PRODUCERS $3,500-S4,999 ?
Kathy Benton and Robert Brown David and Pat Clyde Katharine and Jon Cosovich Mr. and Mrs. Thomas C. Evans Michael and Sara Frank Debbie and Norman Herbert Dr. Toni Hoover
Shirley Y. and Thomas E. Kauper Don and Judy Dow Rumelhart Herbert Sloan Lois and John Stegeman Marion T. Wirick and James N. Morgan
$2,500-$3,499
Bob and Martha Ause Emily W. Bandera, M.D. Bradford and Lydia Bates Raymond and Janet Bernreuter Barbara Everitt Bryant
Edward and Mary Cady
Maurice and Margo Cohen
Mr. Michael J. and Dr. Joan S. Crawford
Jack and Alice Dobson --------
im and Patsy Donahey ,
Ken and Penny Fischer
John and Esther Floyd
Ilene H. Forsyth
Betty-Ann and Daniel Gilliland
Sue and Carl Gingles
Jeffrey B. Green
Linda and Richard Greene
Carl and Charlene Herstein
Janet Woods Hoobler :
John and Patricia Huntington
Keki and Alice Irani '
Dorian R. Kim
Paula and Henry Lederman
Marc and Jill Lippman , ,
Judy and Roger Maugh
Charles H. Nave
Mrs. Charles Overberger (Betty)
Jim and Bonnie Reece
John and Dot Reed
Barbara A. Anderson and
John H. Romani Maya Savarino Don and Carol Van Curler Mrs. Francis V.Viola III Don and Toni Walker B. Joseph and Mary White
$l,000-$2,499
Dr. and Mrs. Gerald Abrams
Mrs. Gardner Acklcy
Jim and Barbara Adams
Bernard and Raquel Agranoff
Jonathan W. T. Ayers
Lesli and Christopher Ballard
Dr. and Mrs. Robert Bartlctt
Astrid B. Beck and ,: : .......???"
David Noel Freedman--------------------
Ralph P. Beebe
Patrick and Maureen Belden
Harry and Betty Benford
Ruth Ann and Stuart). Bcrgstein
L. S. Berlin
Suzanne A. and Frederick I. 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 ). Byrd
Amy and Jim Byrne
Betty Byrne
Barbara and Albert Cain
Jean W. Campbell
Michael and Patricia Campbell
Thomas and Marilou Capo
Edwin and Judith Carlson
Jean and Kenneth Casey
Janet and Bill Cassebaum
Anne Chase
James S. Chen
Janice A. Clark
Mr. and Mrs. John Alden Clark
Leon and Heidi Cohan
Mr. Ralph Conger
Carolyn and L. Thomas Conlin
Jim and Connie Cook
Jane Wilson Coon
Anne and Howard Cooper
Hugh and Elly Rose-Cooper
Paul N. Courant and Marta A. Manildi
Malcolm and Juanita Cox
George and Connie Cress
Kathleen Crispell and Thomas Porter
Judy and Bill Crookes
Peter and Susan Darrow
Pauline and Jay J. De Lay
Lloyd and Genie Dethloff
Lorenzo DiCarlo and Sally Stegeman DiCarlo
Macdonald and Carolin Dick
Steve and Lori Director
Molly and Bill Dobson
Al Dodds
Elizabeth A. Doman
Dr. and Mrs. Theodore E. Dushane
Mr. and Mrs. John R. Edman
Martin and Rosalie Edwards
Leonard and Madeline Eron
Bob and Chris Euritt
Claudine Farrand and Daniel Moerman
Eric Fearon and Kathy Cho
David and Jo-Anna Featherman
Yi-tsi M. and Albert Feuerwerker
Mrs. Gerald J. Fischer (Beth B.)
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
lames 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 John and Helen Griffith Leslie and Mary Ellen Guinn Julian and Diane Hoff Robert M. and Joan F. Howe Sun-Chien and Betty Hsiao Dr. H. David and Dolores Humes Ann D. Hungerman Susan and Martin Hurwitz Stuart and Maureen Isaac Wallie and Janet Jeffries Timothy and Jo Wiese Johnson Robert L. and Beatrice H. Kahn Herbert Katz
Richard and Sylvia Kaufman David and Sally Kennedy Robert and Gloria Kerry Connie and Tom Kinnear Diane Kirkpatrick Jim and Carolyn Knake Victoria F. Kohl and Thomas Tecco Samuel and Marilyn Krimni 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 Lootnans John and Cheryl MacKrell Natalie Matovinovic Chandler and Mary Matthews : Margaret W. Maurer Susan McClanahan and
Bill Zimmerman
Joseph McCune and Georgiana Sanders Ted and Barbara Meadows Andy and Candice Mitchell Lester and Jeanne Monts Grant W. Moore Alan and Sheila Morgan Julia S. Morris
Cruse W. and Virginia Patton Moss Eva L. Mueller
Martin Neuliep and Patricia Pancioli M. Haskell and Jan Barney Newman William and Deanna Newman Eulalie Nohrden Marylen and Harold Oberman
Gilbert Omenn and Martha Darling
Mrs. William B. Palmer
William C. Parkinson
Dory and John D. Paul r"-
Margaret and Jack Petersen 'i
Elaine and Bertram Pitt '
Eleanor and Peter Pollack
Donald H. Regan and Elizabeth Axelson
Ray and Ginny Reilly
Maria and Rusty Restuccia
Kenneth J. Robinson
Mrs. Doris E. Rowan
Dr. Nathaniel H. Rowe
James and Adrienne Rudolph
Craig and Ian Ruff
Alan and Swanna Saltiel
Dick and Norman Sarns
Meeyung and Charles R. Schmitter
Mrs. Richard C. Schneider '
Rosalie and David Schottenfeld
Sue Schroeder
Steven R. and Jennifer L. Schwartz
Janet and Michael Shatusky
Helen and George Siedel
Donald C. and Jean M. Smith
Susan M. Smith
Carol and Irving Smokier fMB4(fctt
Gus and Andrea Stager RMiH
Curt and Gus Stager ?
David and Ann Staiger t'-a':
James and Nancy Stanley
Michael and Jeannette Bittar Stern
Victor and Marlene Stoeffler r ,...;
Jan and Nub Turner aiMMft
Susan B. Ullrich
Joyce A. Urba and David J. Kinsella
Michael L. Van Tassel
Elly Wagner
Florence S. Wagner
John Wagner
Willes and Kathleen Weber
Karl and Karen Weick
Robert O. and Darragh H. Weisman
Angela and Lyndon Welch
Marcy and Scott Westerman
Roy and )oAn Wetzel
Harry C. White and Esther R. Redmount
Max Wicha and Sheila Crowley
Phyllis B. Wright
Paul Yhouse
Ed and Signe Young
Gerald B. and Mary Kay Zelenock
S500-S999
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. BarnctI
Mason and Helen Barr
Lois and David Baru
Dr. Wolfgang and Eva Bernhard
lohn Blankley and ,__
Maureen Foley Jane Bloom, MD and
William L. Bloom Charles and Linda Borgsdorf David and Sharon Brooks Morton B. and Raya Brown Sue and Noel Buckncr 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 Maxine and Stuart Frankel
Foundation Dr. Ronald Freedman Professor and
Mrs. David M. Gates Drs. Steve Geiringer and
Karen Bantcl
Thomas and Barbara Gclehrter 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. Haefner and
Cynthia J. Stewart Mr. and Mrs. Elmer F. Hamel Robert and Jean Harris Paul Hysen and Jeanne Harrison Clifford and Alice Har! Jeannine and Gary Hayden Henry R. and Lucia Heinold Mrs. W.A. Hiltner
John H.and
Maurita Peterson Holland Drs. Linda Samuelson and
Joel Howell
Mr. and Mrs. William Hufford Eileen and Saul Hymans lohn and Gretchen lackson lean Jacobson Jim and Dale lerome John Kennedy Dick and Pat King Hcrmine R. Klingler Philip and Kathryn Klintworth Joseph and Marilynn Kokoszka Lee and Teddi Landes Mr. John K. Lawrence Mr. and Mrs. Fernando S. Leon Jacqueline H. Lewis Daniel Little and
Bernadette Lintz E. Daniel and Kay Long Brigilte and Paul Maassen leff Mason and Janet Netz Griff and Pat McDonald Dcanna Relyea and
Piotr Michalowski Icanette and Jack Miller Myrna and Newell Miller Brian and Jacqueline Morton Cyril Moscow Edward C. Nelson Dr. and Mrs. Frederick C. O'Dcll Mr. and Mrs. James C. O'Neill Lorraine B. Phillips Roy and Winnifred Pierce Stephen and Bettina Pollock Richard H. and Mary B. Price Wallace and Barbara Prince Mrs. Gardner C. Quartern . Mrs. Joseph S. Radom Dr. Jeanne Raislcr and Dr.
Jonathan Allen Cohn Rudolph and Sue Rcichert Molly Resnik and John Martin H. Robert and Kristin Reynolds Jay and Machree Robinson Peter C Schaberg and
Norma J. Amrhein Ann and Thomas J. 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 Alenc and Stephanie Smith Lloyd and Ted St. Antoine James Steward and Jay Pekala Jim Stewart JeffStoller Prof. Louis J. and
Glennis M. Stout Dr. and Mrs. Stanley Strasius Charlotte B. Sundelson Bob and Betsy Teeter Elizabeth H. Thieme Christina and Thomas Thoburn William C. Tyler
Dr. Sheryl S. Ulin and Dr. Lynn T. Schachinger
Dr. and Mrs. Samuel C. Ursu
Charlotte Van Curler
lack 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 Wedemcyer
Raoul Weisman and Ann Friedman
Dr. Steven W. Werns
Brymer Williams
Max and Mary Wisgerhof
Dean Karen Wolff
David and April Wright
$250-$499
Mr. and Mrs. Roy I. Albert
Helen and David Aminoff
David and Katie Andrea
Harlene and Henry Appelman
Jeff and Deborah Ash
Mr. and Mrs. Arthur J. 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 sHf Mrs. Jerc M. Bauer Gary Beckman and Karla Taylor Professor and Mrs. Erling
Blondal Bengtsson Dr. and Mrs. Ronald M. Benson Joan and Rodney Bcntz 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. Bunge Susan and Oliver Cameron Margot Campos Jeannette and Robert Carr Dr. and Mrs. Joseph C. Cerny Thomas Champagne and
Stephen Savage
Dr. Kyung and Young Cho Kwang and Soon Cho Robert J. Ciernicwski Reginald and Beverly Ciokajlo Brian and Cheryl Clarkson Carolyn and L. Thomas Conlin Nan and Bill Conlin Clifford and Laura Craig Merle and Mary Ann Crawford Peler C. and Lindy M. Cubba Richard J. Cunningham Marcia A. Dalbcy Dr. and
Mrs. Charles W. Davenport Ed and Ellie Davidson Peter A. and Norma Davis John and Jean Debbink Elena and Nicholas Delbanco Richard and Sue Dcmpscy Elizabeth Dexter lack and Claudia Dixon Judy and Steve Dobson 1 leather and Stuart Dombcy Dr. Edward E Domino Thomas and Esther Donahue John Dryden and Diana Raimi Rhetaugh Graves Dumas Swati Dutla
Martin and Rosalie Edwards Dr. Alan S. Eiser ludgc and Mrs. S. J. Elden Ethel and Sheldon Ellis Mr. John W. Etsweiler, III Mark and Karen Falahee Elly and Harvey Falit Dr. )ohn W. Farah Drs. Michael and
Bonnie Fauman Karl and Sara Fiegcnschuh Dr. lames E Filgas Susan FilipiakSwing City
Dance Studio Herschel Fink C. Peter and Bcv A. Fischer Gerald B. and
Catherine L. Fischer Howard and Margaret Fox Jason I. Fox Lynn A. Freeland Dr. Leon and Marcia Friedman Lela ]. Fuester
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld Chuck and Rita Gclman Deborah and Henry Gerst Elmer G. Gilbert and ? Lois M. Verbrugge Matthew and Dcbra Gildea lames and Janet Gilsdorf Maureen and David Ginsburg Albert and Almcda Girod Irwin Goldstein and
Martha Mayo Enid M. Gosling Charles and Janet Goss Jerry M. and Mary K. Gray I.ila and Bob Green Victoria Green and
Matthew Toschlog
Sandra Gregcrman
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 Halstcad
Tom Hammond
Lourdes S. Baslos Hansen
David B. and Colleen M. Hanson
Martin D. and Connie D. Harris
Nina E. Hauser
Kenneth and Jeanne Heininger
J. Lawrence and lacqueline
Stearns Henkel Dr. and Mrs. Keith S. Henley Kathy and Rudi Hentschel Louise Hodgson Mr. and Mrs. William B. Holmes lohn 1. Hritz, r. Jane H. Hughes Dr. and Mrs. Ralph M. Hulett lewel F. Hunter Thomas and
Kathryn Huntzicker Robert B. lngling Margaret and Eugene Ingram Kent and Mary Johnson Paul and Olga Johnson Dr. Marilyn S. lones Stephen losephson and
Sally Fink
Douglas and Mary Kahn Dr. and Mrs. Mark S. Kaminski George Kaplan and Mary Haan Arthur A. Kaselemas Professor Martin E. Katz lulie and Phil Kearney James A. Kelly and
Mariam C. Noland lohn B. and Joanne Kcnnard Frank and Patricia Kennedy Mr. Roland G. Kibler Donald F. and Mary A. Kiel Mrs. Rhea K. Kish Paul and Dana Kissner lames and Jane Kister Dr. David E. and
Heidi Castleman Klein Steve and Shira Klein Laura Klem Anne Kloack Thomas and Ruth Knoll Dr. and Mrs. Mclvyn Korobkin Amy Sheon and Marvin Krislov Bert and Geraldinc Kruse David W. Kuchn and
Lisa A. Tedesco Mrs. David A. Lanius Mr. and Mrs. Henry M. Lapcza Neal and Anne Laurance Beth and George LaVoie Elaine and David Lcbcnbom Cyril and Ruth Leder lohn and Theresa Lee Frank Legacki and
Alicia Torres
Jim and Cathy Leonard Carolyn Lcpard 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 Judy Lucas Carl J. Lutkehaus Edward and Barbara Lynn Pamela J. MacKintosh Virginia Mahle Latika Mangrulkar Melvin and lean Manis Ann W. Martin and Russ Larson lames E. and Barbara Martin Sally and Bill Martin Vincent and Margot Massey Dr. and Mrs. Ben McCallistcr Margaret E. McCarthy Ernest and Adclc McCarus Margaret and
Harris McClamroch lames Mclntosh Nancy A. and Robert E. Meader Gcrlinda S. Mclchiori Ph.D. Ingrid Merikoski Bernice and Herman Merte George R. and Brigitte Mcrz Henry D. Messer Carl A. House Ms Heidi Meyer Shirley and Bill Meyers Mr. and Mrs. Eugene Miller Sonya R. Miller Edward and Barbara Mills Thomas Mobley William G. and
Edith O. Moller, r. lane and Kenneth Moriarty Thomas and Hedi Mulford Gerry and Joanne Navarre Frederick C. Neidhardt and
Germainc 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 Oneal Constance and David Osier Marysia Ostafin and
George Smillie Drs. Sujit and Uma Pandit William and Hcdda Panzer Nancy K. Paul Wade and Carol Peacock Zoe and loe Pearson Karen Tyler Perry C. Anthony and
Marie B. Phillips
Mr. and
Mrs. Frederick R. Pickard Wayne Pickvet and
Bruce Barrett
Frank and Sharon Pignanelli Wayne and Suellen Pinch Richard and Meryl Place Donald and Evonne Plantinga Bill and Diana Pratt Jerry and Lorna Prescott Larry and Ann Preuss I. Thomas and Kathleen Pustell Leland and
Elizabeth Quackenbush Patricia Randle and lames Eng lim and leva Rasmussen Anthony L. Reffells and
Elaine A. Bennett Jack and Margaret Ricketts Constance O. Rinchart Kathleen Roelofs Roberts Mr. and Mrs. Stephen J. Rogers Robert and Joan Rosenblum Mr. Haskell Rothstein Doug and Sharon Rolhwell Sally Rutzky Arnold SamerofT 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 lean Scholl David E. and
Monica N. Schteingart Mrs. Harriet Selin Judith and Ivan Sherick George and Gladys Shirley Jean and Thomas Shope John and Arlene Shy Carl Simon and Bobbi Low Robert and Elaine Sims Tim and Marie Slottow Carl and Jari Smith Mrs. Robert W. Smith Yoram and Eliana Sorokin Tom Sparks
Larry and Doris Sperling Jeffrey D. Spindler Burnette Staebler Gary and Diane Stahlc Frank D. Stella Rick and Lia Stevens Stephen and Gaylc Stewart Ellen M. Strand and
Dennis C. Regan Donald and Barbara Sugcrman Richard and Diane Sullivan Brian and Lee Talbot Margaret Talburtt and
James Peggs Eva and Sam Tavlor
Stcphan Taylor and
Elizabeth Stumbo James L. and Ann S. Telfer Paul and lane Thielking Edwin J. Thomas Bette M. Thompson Dr. and Mrs. Robert F. Todd Patricia and Terril Tompkins Dr. and Mrs. Merlin C. Townlcy Jim Toy
Bill and lewell Tustian Tanja and Rob Van der Voo Lourdes Velez, 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 Peler Westerman Iris and Fred Whitehouse Leslie Clare Whitficld Professor Steven Whiting Reverend Francis E. Williams Christine and Park Willis Thomas and Iva Wilson Lois Wilson-Crabtree Beverly and Hadley Wine Beth and I. W. Winsten Charles Witke and Aileen Gatten Charlotte A. Wolfe Al and Alma Wooll Don and Charlotte Wyche MaryGrace and Tom York Ann and Ralph Youngren Mrs. Alexandra Zapata Gail and David Zuk
Tim and Leah Adams
Dr. Dorit Adler
Ronald Albucher and Kevin Pfcm
Phyllis Allen
Richard and Bettyc Allen
Barbara and Dean Alseth
Forrest Alter
Richard Amdur
Dr. and
Mrs. Charles T. Anderson Joseph and Annette Anderson Mr. and Mrs. David Andrew Jill B. and
Thomas ). Archambcau M.D. Bert and Pat Armstrong Thomas and Mary Armstrong Gaard and Ellen Arneson lack and Jill Arnold Dr. and Mrs. Allan Ash James and Doris August John and Rosemary Auslgen Erik and Linda Lee Austin Ronald and Anna Marie Austin
Advocates, continued
Shirley and Donald Axon Virginia and Jerald Bachman Mr. Robert M Bachteal Mark Bacrwolf Prof, and Mrs.). Albert Bailey foe and Helen Logelin Helena and Richard Balon Maria Kardas Barna Laurie and leff Barnett Robert and Carolyn Bartle Leslie and Anita Bassctt ludith Batay-Csorba Francis I. Bateman Dorothy W. Bauer Charles Baxter
Deborah Bayer and )on 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 Walter and Antje Benenson Mr. and Mrs. Ib Bentzen-Bilkvist Dr. Rosemary R. Berardi Helen V. Berg Harvey Berman and
Rochelle Kovacs Berman Kent Berridge Gene and Kay Berrodin Mark Bertz
Ralph and Mary Beuhler Christopher Bigge Eric and Doris Billes Jack Billie and Sheryl Hirsch Sara Billmann and Jeffrey Kuras William and Ilene Birge Elizabeth S. Bishop Leslie and Roger Black Martin and Mary Black Mary Steffek Blaske and " Thomas Blaske Mark and Lisa Bomia Seth Bonder Harold W. and
Rebecca S. Bonnell Lynda Ayn Boone Morris and Reva Bornstein Jeanne and David Bostian Jim Botsford and Janice
Stevens Botsford Bob and Jan Bower William R. Brashear Mr. and Mrs. Gerald Bright Paul A. Bringer Olin and Alceta 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 James and Jennifer Carpenter
Dennis B. and 1
Margaret W. Carroll 1
John and Patricia Carver
Margaret and William Caveney
K. M. Chan
Samuel and Roberta Chappell
Felix and Ann Chow
Catherine Christen
Edward and Rebecca Chudacoff
Sallie R. Churchill
Nancy Cilley
Donald and Astrid Cleveland
Mr. Fred VV. Cohrs
Willis Colburn and Denise Park
Michael and Marion T. Collier
Ed and Cathy Colone
Wayne and Mclinda 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 1. Crump
Peggy Cudkowicz
Townley and Joann 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 Rosemaric 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 DcGrood George and Margaret DeMuth Pamela DeTullio and Stephen
Wiseman
Don and Pam Devine Martha and Ron DiCecco Andrzej and Cynthia Dlugosz Ruth J. Doanc 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 F.arley
Richard and Myrna Edgar Morgan H. and Sara O. Edwards Vcrnon I. and Johanna Ehlers Karen Eisenbrey Chris and Betty Elkins Lawrence Ellenbogen Anthony and Paula Elliott Julie and Charles Ellis H. Michael and Judith L. Endres Joan and Emil Engel Karen Epstein and
Dr. Alfred Franzblau 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 Till Francis Hyman H. Frank Lora Frankel Lucia and Doug Freeth Richard and loann Freethy Sophia L. French Joanna and Richard Friedman Marilyn L. Friedman and
Seymour Koenigsberg Susan Froelich and
Richard Ingram Gail Frames Jerry Frost Ms. Carolyn Frost Joseph E. Fugcre 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
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Selma and Albert Gorlin
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Isaac and Pamela Green
Deborah S. Grcer
Linda Grcgerson and
Steven Mullaney G. Robinson and Ann Gregory Linda and Roger Grekin Lauretta and Jim Gribble Rita and Bob Grierson William L. and
Martha B. Grimes Laurie Gross
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Mary Anna Harper Ed Sarath and loan Harris Laurelynne D. and
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Edward C. Ingraham
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Prof, and Mrs. John H. Jackson
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Elizabeth lahn
loachim and Christra Janecke
Nick Janosi
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Marilyn G. leffs
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Keith D. and Kathryn H. Jensen
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Allen and Marilyn Menlo
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Julia Broxholm ;----
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like Rhodes ,
Lou and Sheila Rice '
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Italy Richart $?jjf
Lita Ristine ?
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Drs. Edward and J
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Advocates, continued
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SUPPORT
VMS gratefully acknowledges the support of the following foundations and government agencies:
$100,000 and above
Doris Duke Charitable
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Cultural Affairs The Power Foundation Wallace-Reader's Digest Funds
$50,000-$99,999
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$l,000-$9,999
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Foundation Heartland Arts Fund Mid-America Arts Alliance The Lebcnsfeld Foundation Montague Foundation THE MOSAIC FOUNDATION
(of R. and I'. Hcydon) Sams Ann Arbor Fund Vibrant of Ann Arbor
S100-S999 Erb Foundation
Contributions have been
received in honor andor memory of the following individuals:
Alice B. Crawford
Alice Kelsey Dunn
Michael Gowing
Dr. William Haeck
Carolyn Honston
Harold Jacobson
loci Kahn
Elizabeth E. Kennedy
William McAdoo
Frederick N. McOmber
Robert Meredith
Gwen and Emerson Powrie
Professor Robert Putnam
Ruth Putnam
Steffi Reiss
Margaret Rothslcin
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 Holdcrncss 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.
Anonymous
Carol and Herb Amster
Dr. and Mrs. David G.
Anderson
Mr. Neil P. Anderson Catherine S. Arcure Mr. Hilberl Beyer Elizabeth Bishop Mr. and Mrs. Pal E. Borondy ' Barbara Everitt Bryant Pat and George Chatas Mr. and Mrs. John Alden Clark Douglas D. Crary H. Michael and Judith L
Endres
Beverley and Gerson Geltner lohn and Martha Hicks Mr. and Mrs. Richard Ives Marilyn Jeffs Thomas C. and Constance M.
Kinnear
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O'Dell
Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Mr. and Mrs. Jack W. Ricketts Mr. and Mrs. Willard L.
Rodgers Prudence and Amnon
Rosenthal Irma J. Skelnar Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wetzel Mr. and Mrs. Ronald G. Zollars
The future success of the
University Musical Society is secured in part by income from UMS's endowment. UMS extends its deepest appreciation to the many donors who have established andor contributed to the following funds.
H. Gardner Ackley
Endowment Fund Amster Designated Fund ......
Catherine S. Arcure
Endowment Fund Choral Union Fund Hal and Ann Davis
Endowment Fund Ottmar Eberbach Funds Epstein Endowment Fund JazzNet Endowment Fund William R. Kinney Endowment
Fund
NEA Matching Fund Palmer Endowment Fund Mary R. Romig-deYoung
Music Appreciation Fund Charles A. Sink Memorial
Fund Catherine S. ArcureHerbert E.
Sloan Endowment Fund University Musical Society
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A-l Rentals, Inc.
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The Blue Nile Restaurant Bodywise Therapeutic Massage Borders Book and Music Cafe Marie Bill and Nan Conlin Hugh and Elly Rose Cooper Cousins Heritage Inn Roderick and Mary Ann Daane D'Amato's Italian Restaurant Daniel's on Liberty David Smith Photography Peter and Norma Davis Robert Derkacz The Display Group
Dough Boys Bakery
The Earle
Kathcrinc and Damian Farrcll
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
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LeDog
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Michigan Car Services, Jnc.
and Airport Sedan, LTD Robert and Melinda Morris Nicola's Books, Little Professor
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UMS ADVERTISERS
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& Studio
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Orchestra 38 Automated Resource
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UMS
(i n d
National City Bank
present
Lorraine Hunt Lieberson
Mezzo-Soprano
Robert Tweten, Piano
UMS Education Vocal Master Class
Lorraine Hunt Lieberson leads vocal master class. Free and open to the public for observation only. Thursday, October 24, 1 pm, UM School of Music, Stearns Building, Cady Room, 2005 Baits, Ann Arbor
This event is a UMS collaboration with the UM School of Music, Vocal Arts Division.
Scherza infida
George Frideric Handel
E vivo ancora E senza il ferro
Oh Dei!
Che faro Che mi dite,
O affanni miei
Scherza infida in grembo al dnido. Io tradito a morte in braccio Per tua colpa ora men vo. Ma a spezzar l'indegno laccio, Ombra mesta e spirto ignudo, Per tua pena io tornero. Scherza infida, etc.
Lasda ch'io pianga
Handel
Armida dispietata! Colla forza d'abisso Rapimmi al caro
Ciel di miei contenti, E qui con duoio eterno viva mi tieni
In tormentoso Inferno.
Signor! Ah! per pieta lasciami piangere.
Lascia ch'io pianga mia cruda sorte.
E che sospiri la liberta!
II duolo infranga queste ritorte
De' miei martiri, sol per pieta.
Am I still alive And without my sword
OGod,
What shall I do What do you counsel,
In my anguish
Play, faithless one, in your lover's embrace.
Because of you I now go forth
Betrayed into the arms of death.
But to break this vile deceit
As a gloomy shade, a mere wraith,
I will return to punish you.
Play, faithless one, etc.
Pitiless Armida! With fiendish force You have abducted me from the blessed
Heaven, from my happiness, And here, in eternal pain, you hold me
alive, tormented in Hell.
Oh Lord, have pity, let me weep. Let me weep my cruel fate, And let me breathe freedom! Let sorrow break these chains Of my suffering, for pity's sake.
II
Beau Soir
Claude Debussy (Paul Bourget)
Lorsqu'au soleil couchant les rivieres
sont roses Et qu'un tiede frisson court sur
les champs de ble, Un conseil d'etre heureux semble sortir
des choses Et monter vers le coeur trouble.
Un conseil de gouter le charme d'etre au
monde, Cependant qu'on est jeune et que le soir
est beau, Car nous nous en allons comme s'en va
cette onde, Elle a la mer, nous au tombeau.
Vocalise en Forme de Habanera
Maurice Ravel
Le Colibri
Ernest Chausson (Leconte de Lisle)
Le vert colibri, le roi des collines, Voyant la rosee et le soleil dair, Luire dans son nid tisse d'herbes fines, Comme un frais rayon s'echappe dans l'air. II se hate et vole aux sources voisines, Oil les bambous font le bruit de la mer, Oil l'acoka rouge aux
odeurs divines S'ouvre et porte au coeur un humide
eclair. Vers la fleur doree, il descend,
se pose,
Et boit tant d'amour dans la coupe rose, Qu'il meurt, ne sachant s'il l'a
pu tarir!
Sur ta levre pure, 6 ma bien-aimee, Telle aussi mon ame eut voulu mourir, Du premier baiser qui l'a parfumee.
Beautiful Evening
When, in the setting sun, the streams
are rosy, And when a warm breeze floats over the
fields of grain, A counsel to be happy seems to emanate
from all things And rise toward the troubled heart;
An advice to enjoy the pleasure of being
alive While one is young and the evening is
beautiful, For we shall go as this
wave goes, -It, to the sea: we, to the grave.
The Humming Bird
The green humming bird, king of the hills, Seeing the dew and the bright sun Glitter on his nest, woven of fine grasses, Like a light breeze escapes into the air. He hurries and flies to the nearby springs, Where the reeds make the sound of the sea, Where the red hibiscus, with its
heavenly scent, Unfolds and brings a humid light to
the heart. Towards the golden flower he descends,
alights,
And drinks so much love from the rosy cup That he dies, not knowing if he could have
drained it!
On your pure lips, oh my beloved, My soul likewise would have wanted to die Of the first kiss, which has perfumed it.
En Sourdine
Gabriel Faure (Paul Verlaine)
Calmes dans le demi-jour Que les branches hautes font, Pen?trons bien notre amour De ce silence profond. Melons nos ames, nos coeurs Et nos sens extasies, Parmi les vagues langueurs Des pins et des arbousiers. Ferme tes yeux a demi, Croise tes bras sur ton sein, Et de ton coeur endormi Chasse a jamais tout dessein. Laissons-nous persuader Au souffle berceur et doux Qui vient, a tes pieds, rider Les ondes des gazons roux. Et quand, solennel, le soir Des chenes noirs tombera Voix de notre desespoir, Le rossignol chantera.
Psyche
Emile Paladilhe (Pierre Corneille)
Je suis jaloux, Psyche, de toute la nature!
Les rayons du soleil vous baisent
! trop souvent,
[Vos cheveux soufrrent trop les caresses
du vent.
Quand il les flatte, j'en murmure! L'air meme que vous respirez Avec trop de plaisir passe sur
votre bouche.
Votre habit de trop pres vous touche! Votre habit de trop pres vous touche! Et shot que vous soupirez Je ne sais quoi
qui m'effarouche Craint, parmi vos soupirs,
des soupirs egares!
Serene in the twilight
Created by the high branches,
Let our love be imbued
With this profound silence.
Let us blend our souls, our hearts,
And our enraptured senses,
Amidst the faint languor
Of the pines and arbutus.
Half-close your eyes,
Cross your arms on your breast,
And from your weary heart
Drive away forever all plans.
Let us surrender
To the soft and rocking breath
Which comes to your feet and ripples
The waves of the russet lawn.
And when, solemnly, the night
Shall descend from the black oaks,
The voice of our despair,
The nightingale, shall sing.
Psyche
I am jealous, Psyche, of all of nature! The rays of the sun kiss you
too often, Your hair suffers the caresses of
the wind too much,
And when the breeze touches you, I protest. The very air you breathe Passes over your mouth with
too much pleasure. Your gown touches you too closely! Your gown touches you too closely! And the moment you sigh, something
within me Fears that some of your sighs are meant
For someone else!
Ill
Otherwise
Ricky Ian Gordon (fane Kenyon)
I got out of bed on two strong legs.
It might have been otherwise.
I ate cereal, sweet milk, ripe, flawless peach.
It might have been otherwise.
I took the dog uphill to the birch wood.
All morning I did the work I love.
At noon I lay down with my mate.
It might have been otherwise.
We ate dinner together at a table with
silver candlesticks It might have been otherwise. I slept in a bed in a room with paintings
on the walls
And planned another day just like this day. But one day, I know it will be otherwise.
Let Evening Come
Gordon (Kenyon)
Let the light of late afternoon shine
through chinks in the barn, moving up the bales as the sun
moves down. Let the cricket take up chafing as a woman
takes up her needles and her yarn. Let evening come. Let dew collect on the hoe abandoned
in long grass. Let the stars appear and the moon disclose
her silver horn.
Let the fox go back to its sandy den. Let the wind die down. Let the shed go black inside. Let evening come. To the bottle in the ditch, to the scoop
in the oats, to air in the lung Let evening come.
Let it come, as it will, and don't be afraid. God does not leave us comfortless,
so let evening come. Let evening come.
IV Farruca
Joaquin Turina
(Ramon de Campoamor)
Esta tu imagen, que admiro, tan pegada a mi deseo, que si al espejo me miro, en vez de verme te veo. Ah!
No vengas, falso contento, llamando a mi corazon, pues traes en la ilusion envuelto el remordimiento. Ah!
Ah, marcho a la luz de la luna de su sombra tan en pos, que no hacen mas sombra que una siendo nuestros cuerpos dos.
Nani, Nani
Joaquin Rodrigo
(adapted by Victoria Kamhi)
Nani, nani, nani, Nani quere el hijo, el hijo de la madre, de chico se haga grande.
Ay, ay, durmite, mi alma, durmite, mi vida, que tu padre viene, con mucha alegria.
Ay, avrimex la puerta, avrimex mi dama, avrimex! que vengo muy cansado de arar las huertas.
Ay, la puerta yo vos avro, que venix cansado, y verex durmido al hijo en la cuna.
Farruca
Your beloved image
So enslaves me
That when I gaze into the mirror
Tis yours alone I see.
Do not buoy up my hopes
With falsehoods which enslave my heart,
For remorse lurks
In illusions you awaken.
I wander alone in the moonlight, So closely pursued by your shadow That we make but one shadow Though there are two of us.
Nani, Nani
Nani, nani, nani, Nani wants my child, The son of his mother, Who will grow up one day.
Ah, sleep my love, sleep my life, In your cradle, For your father is coming, Bringing much joy.
Ah, open the door to me, open quickly my lady! Open to me! I am very tired from working in the fields.
Ah, I will open the door to you since you are tired. And you will see your son asleep in his cradle.
Rilke Songs
Peter Lieberson (Rainer Maria Rilke)
O ihr Zartlichen
O ihr Zartlichen, tretet zuweilen In den Atem, der euch nicht meint, Lafit ihn an euren Wangen sich teilen, Hinter euch zittert er, wieder vereint.
O ihr Seligen, o ihr Heilen, Die ihr der Anfang der Herzen scheint, Bogen der Pfeile und Ziele von Pfeilen, Ewiger gliinzt euer Lacheln verweint.
Ftirchtet euch nicht zu leiden, die Schwere, Gebt'sie zuriick an der Erde Gewicht; Schwer sind die Berge, schwer sind die Meere.
Selbst die als Kinder ihr pflanztet,
die Baume, Wurden zu schwer langst;
ihr triiget sie nicht. Aber die Lufte ... aber die Raume...
Atmen, du unsichtbares Gedicht!
Atmen, du unsichtbares Gedicht!
Immerfort um das eigene
Sein rein eingetauschter Weltraum.
Gegengewicht,
In dem ich mich rhythmisch ereigne.
Einzige Welle, deren Allmahliches Meer ich bin; Sparsamstes du von alien mOglichen
Meeren, Raumgewinn.
O you tender ones
O you tender ones, walk now and then Into the breath that blows coldly past, Upon your cheeks let it tremble and part; Behind you it will tremble together again.
O you blessed ones, you who are whole, You who seem the beginning of hearts, Bows for the arrows and arrows' targets-Tear-bright, your lips more eternally smile.
Don't be afraid to suffer; return That heaviness to the earth's own weight; Heavy are the mountains, heavy the seas.
Even the small trees you planted
as children Have long since become too heavy;
you could not carry them now. But the winds...but the spaces...
Breathing: you invisible poem!
Breathing: you invisible poem! Complete interchange of our own essence with world-space. You counterweight in which I rhythmically happen.
Single wave-motion whose
gradual sea I am;
you, most inclusive of all our possible
space grown warm.
Wieviele von diesen Stellen der Raume
waren schon
Innen in mir Manche Winde Sind wie mein Sohn.
Erkennst du mich, Luft, du, voll noch einst
meiniger Orte Du, einmal glatte Rinde, Rundung und Blatt meiner Worte.
WolledieWandlung
Wolle die Wandlung. O sei fur die
Flamme begeistert, drin sich ein Ding dir entzieht,
das mit Verwandlungen prunkt; jener entwerfende Geist, welcher
das Irdische meistert, liebt in dem Schwung der Figur
nichts wie den wendenden Punkt.
Was sich ins Bleiben verschliefit,
schon ists das Erstarrte; wahnt es sich sicher im Schutz des
unscheinbaren Grau's Warte, ein Hartestes warnt aus der
Feme das Harte. Wehe-: abwesender Hammer holt aus!
Wer sich als Quelle ergieSt, den erkennt die Erkennung;
und sic ftihrt ihn entziickt durch das heiter Geschafme,
das mit Anfang oft schliefit und mit Ende beginnt.
Jeder gltickliche Raum ist Kind oder
Enkel von Trennung, den die staunend durchgehn.
Und die verwandelte Daphne will, seit sie lorbeern ftihlt,
daG du dich wandelst in Wind.
How many regions in space have
already been
inside me. There are winds that seem like my wandering son.
Do you recognize me, air, full of places
I once absorbed You who were the smooth bark, roundness, and leaf of my words.
Will Transformation
Will transformation. Oh be
inspired for the flame in which a Thing disappears and bursts
into something else; the spirit of re-creation which masters
this earthly form loves most the pivoting point where you are
no longer yourself.
What tightens into survival
is already inert; how safe is it really in its
inconspicuous gray from far off a far greater hardness
warns what is hard, and the absent hammer is lifted high!
He who pours himself out like a stream is acknowledged at last by Knowledge;
and she leads him enchanted through the harmonious country
that finishes often with starting, and with ending begins.
Every fortunate space that the two of them pass through, astonished,
is a child or grandchild of parting. And the transfigured Daphne,
as she feels herself become laurel, wants you to change into wind.
Blumenmuskel
Blumenmuskel, der der Anemone Wiesenmorgen nach und nach erschliefit, bis in ihren Schoofi das polyphone Licht der lauten Himmel sich ergiefit,
in den stillen BlUtenstern gespannter Muskel des unendlichen Empfangs, manchmal so von Fulle ubermannter, dafi der Ruhewink des Untergangs
kaum vermag die weitzuruckgeschnellten Blatterrander dir zuriickzugeben: du, EntschluG und Kraft von wieviel Wei ten!
Wir Gewaltsamen, wir wahren langer. Aber wann, in welchem aller Leben, sind wir endlich often und Empfanger
Stiller Freund
Stiller Freund der vielen Fernen, fuhle, Wie dein Atem noch den Raum vermehrt. Im Gebalk der finstern Glockenstuhle Lafi dich lauten. Das, was an dir zehrt,
Wird ein Starkes fiber
dieser Nahrung.
Geh in der Verwandlung aus und ein. Was ist deine leidendste
Erfahrung Ist dir Trinken bitter, werde Wein.
Sei in dieser Nacht aus ObermaG Zauberkraft am Kreuzweg deiner Sinne, Ihrer seltsamen Begegnung Sinn.
Und wenn dich das Irdische
vergafi,
Zu der stillen Erde sag: Ich rinne. Zu dem raschen Wasser sprich: Ich bin.
Flower-muscle
Flower-muscle that slowly opens back The anemone to another meadow-dawn; Until her womb can feel the polyphonic Light of the sonorous heavens pouring down;
Muscle of an infinite acceptance, Stretched within the silent blossom-star, At times so overpowered with abundance That sunset's signal for repose is barely
able to return your too far hurled back petals for the darkness to revive: You, strength and purpose of how many worlds!
We violent ones remain a little longer. Ah but when, in which of all our lives, Shall we at last be open and receivers.
Silent Friend
Silent friend of many distances, feel How your breath enlarges all of space. Let your presence ring out like a bell Into the night. What feeds upon your face
Grows mighty from the
nourishment thus offered. Move through transformation, out and in. What is the deepest loss that you have
suffered If drinking is bitter, change yourself to wine.
In this immeasurable darkness, be the power That rounds your senses in their magic ring, The sense of their mysterious encounter.
And if the earthly no longer knows
your name,
Whisper to the silent earth: I'm flowing. To the flashing water say: I am.
Orquestra de Sao Paulo
John Neschling, Artistic Director and Conductor Roberto Minczuk, Co-Artistic Director
First Violins
Claudio Cruz, Concertmaster Yehezkel Yerushalmi,
Concertmaster1 Yuriy Rakevich, Principal Igor Sarudiansky,
Assistant principal Anca Gavris Andreas Uhlemann Cesar A. Miranda Gheorghe Voicu Heitor Lotti Irina Kodin Katia Spassova Matthew Thorpe Paulo Cesar Paschoal Soraya Landim Collacico Svetlana Tereshkova Cynthia Jean Miller2 Ivan Quintana2
Second Violins
Lev Veksler, Acting principal Adrian Petrutiu,
Acting assistant principal Alexei Chashnikov Anca Bold Anzhela Zhereha Cristian Sandu Dimitri Atanassov Florian Cristea Inna Meltser Lea Kalil Sung-Eun Cho Tatiana Vinogradova Carolina Kliemann2 Marcio Sanches Nunes2 Paulo Calligopoulos2
Violas
Horacio Schaefer, Principal Luminita Marin, Principal Maria Angelica Cameron,
Assistant principal Peter Pas, Assistant principal Boris Tonkov David Marques Silva Olga Machoukova Svetlana Bogatyreva Vladimir Klementiev Adriano de Castro Meyer2 Andri Sanches Nunes2 Galina Rakhimova2
Cellos
Alceu Reis, Principal' Wolfram Koessel, Principal} Heloisa Torres Meirelles,
Assistant principal Iris Regev, Assistant principal Adriana Holtz Braulio Marques Lima Douglas Kier Jin-Joo Doh Kirill Bogatyrev Maria Luisa Cameron Marialbi Trisolio Regina Vasconcellos
Ana Valeria Poles, Principal Max Ebert Filho,
Assistant principal Alexandre Silva Rosa Almir Amarante Ribeiro Claudio Torezan Jefferson Collacico Ney Carvalho Anselmo Melosi2 Walter Schinke2
Harp
Lioubov Klevtsova, Principal
Flutes
Bridget Bolliger, Principal' Jorge de La Vega, Principal' Marcelo Barboza1 Jos? Ananias Souza Lopes
Piccolo
Fabiola Alves
Oboes
Arcddio Minczuk, Principal Joel Gisiger, Principal Peter Apps
English Horn
Natan Albuquerque Jr.
Clarinets
Edmilson Nery, Principal Ovanir Buosi, Jr., Co-principaP Ligia Nery Marcos Pedroso2
E-flat Clarinet and First Clarinet Sergio Burgani
Bass Clarinet
Nivaldo Orsi
Bassoons
Alexandre Silverio, Principal Gabriel La Rocca, Principal' Francisco Formiga Jamil Bark
Contrabassoon
Claudio de Freitas
Horns
Ozias Arantes, Principal Dante Yenque, Principal Josi Costa Filho Nikolay Alipiev Luciano Amaral Samuel Hamzem Eduardo Minczuk Marcus Bonna'
Trumpets
Fernando Dissenha, Principal Gilberto Siqueira, Principal Antonio Carlos Lopes, Jr. Marcelo Lopes Marcelo Matos
Trombones
Wagner Polistchuk, Principal Carlos Ovejero, Principal' Alex Tartaglia Fernando Chipoletti
Bass Trombone
Darrin C. Milling, Principal
Tuba
Marcos dos Anjos, Jr., Principal
Timpani
Elizabeth Del Grande, Principal John Boudler, Principal Ricardo Bologna, Assistant principal and Percussion
Percussion
Ricardo Righini, First percussion Alfredo Lima Armando Yamada Eduardo GianeseUa
Olga Kopylova, Principal
' Guest artist 1 Substitute ' On sabbatical
Librarian Milton Tadashi
Orchestra Personnel
Alen Biscevic, Manager Xisto O. Alves Pinto, Inspector
Operations
Luiz Nogueira, Manager Cristiane Santos Marcelo Santos Silva
Stage Technicians
Luis Salle, Chief Joio Andrf Blasio
Accompanying Doctor Nicolai Dragos
Banda Mantiqueira
Roberto Bruzadin, Banda Mantiqueira's Manager
Orquestra de Sao Paulo Staff
John Neschling, Artistic and Music Director
Roberto Minczuk, Co-Artistic Director Claudia Toni, Executive Director
Administration
Orchestra Personnel
Alcn Biscevic Manager Cintia Bisconsin Fcrrero, Xisto O. Alves Pinto, Staff
Operations
Luiz Nogueira, Manager Cristiane Santos, Emanuela Pio Guimaraes, Joao Andre Blasio, Luis Salic, Marcclo dos Santos Silva, Moacyr Ligabo Jr., Rosali Lima Zwarg, Staff
Musical Documentation Center Maestro Eleaur de Carvalho Maria Elisa Pasqualini, Manager Alexandra Herbst Matos, Everaldo Ormonde de Oliveira, Ivana Dudnik, Jorge dos Santos Pessoa, Jr., Jose Neves da Silva, Marilda Brandao Velloso, Marina Tarateta Franco dc Oliveira, Maurlcio Ribeiro, Milton Tadashi, Sezinando de Oliveira, Tamiko Shimizu, Thomas Piraja Hansen, Vcronique de Oliveira Lima, Staff
Development
Encida Monaco, Manager
Eliane Toldo, Marcos Fecchio, Nelson
Franco de Oliveira, Ricardo Blay Levisky,
Viviana Morilla, Walter Tabacniks, Staff
Administrative Services Paula Braidato Robbe, Manager Vera Lucia Nunes, Assistant Annye Gabriela Kuntz, Carolina Bianchi, Eduardo Bernardes da Silva, Eliana Aparecida Maurlcio, Flavio dos Santos Moreira, Francisco Castro da Costa, liane da Penha Caldcira, Leticia Muniz Barretto Volasco, Luciane Gomes de Souza, Sandra Aparecida Dias, Tiago Ferreira Farias, Valquimar Rodrigues, Staff
Education Programs Susana Ester Krtiger, .Manager Erika Cerda Dunder, Irene Karaguilla Ficheman, Ricardo Lipas Augusto, Roberta Montoso Martinez, Vanessa Del Valle Magalhaes, Staff
Volunteer Programs
Glenio Vcrgara and Valeria Minczuk,
Coordinators Ana Claudia Marques da Silva, Staff

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