Press enter after choosing selection

UMS Concert Program, Wednesday Nov. 06 To 19: University Musical Society: Fall 2002 - Wednesday Nov. 06 To 19 --

Download PDF
Rights Held By
University Musical Society
OCR Text

Season: Fall 2002
University Of Michigan, Ann Arbor

ums presentation
University Musical Society
of the University of Michigan
Fall 2002 Season
university musical society
University of Michigan Ann Arbor
UMS leadership 2 Letters from the Presidents
4 Letter from the Chair
5 Corporate LeadersFoundations
11 Profiles
14 UMS Board of Directors
14 UMS Senate
14 Advisory Committee
15 UMS Staff
15 UMS Teacher Advisory Committee
UMSservices 17 General Information
18 Tickets
19 Group Tickets
19 Discounted Student Tickets
19 Gift Certificates
21 The UMS Card
UMSannals 23 UMS History
25 UMS Choral Union
26 VenuesBurton Memorial Tower
UMSexperience 29 The 0203 UMS Season
35 Education & Audience Development
37 Restaurant & Lodging Packages
39 UMS Preferred Restaurant Program
43 UMS Delicious Experiences
UMSsupport 45 Advisory Committee
45 Sponsorship & Advertising
47 Internships & College Work-Study
47 Ushers
48 Support
56 UMS Advertisers
Front Coven Cleveland Orchestra. Grupo Corpo (lose Luis Pedcrnciras). Caelano Veloso (Anthony Barboza), Cantiga dc Santa Maria. Back Coven Bohboi Ballet: Swan Lake, Myung-Vhun Chung {Vivianne Purdom), Hcrbic Hancock (Nilin Vadukul). Inside feck Coven Canligas dc Santa Maria. Anouar Brahem (Monccf Fchri). Bolshoi Ballet: Swan Lake
The University of Michigan (UM) would like to join the University Musical Society (UMS) in welcoming you to the 2002 2003 season. Additionally, we would like to thank you for your support of the performing arts. We are proud of the wonderful partner?ship we have developed with UMS and of our
role as co-sponsor and co-presenter of several events on this season's calendar. These events reflect the artistic beauty and passion that are integral to the human experience. They are also wonderful opportunities
for University of Michigan students and fac?ulty to learn about the creative process and sources of inspiration that motivate artists and scholars.
The current season marks the second resi?dency by the Royal Shakespeare Company of Stratford, England, which performs three plays in March: The Merry Wives of Windsor, Coriolanus, and Salman Rushdie's Midnight's Children. UM and UMS co-presentations are not limited to theater, but also include per?formances by the Vienna Philharmonic, the Bolshoi Ballet, and a special event entitled "Evening at the Apollo," in which the best performing groups from Detroit and Ann Arbor are given a chance to compete for a slot at Harlem's Apollo Theater Amateur Night, where Ella Fitzgerald, Sarah Vaughn, Billie Holiday, and other legends of 20th-
century American music got their big breaks. As befits the educational missions of both the University and UMS, we should also recognize the co-sponsorship of educational program?ming involving, among others, the Abbey Theatre of Ireland, Grupo Corpo, Sekou Sundiata and creative co-sponsorship of presentations by the Hubbard Street Dance Company and the well-known female a cap-pella group Sweet Honey in the Rock.
Most significantly, I would like to thank the faculty and staff of UM and UMS for their hard work and dedication to making this partnership a success. UMS staff, in particular, work with the University's faculty and students to create learning opportunities for our campus, and in the case of the larger residencies, for the greater community.
The University of Michigan is pleased to support the University Musical Society during its 0203 season. We share the goal of making our co-presentations the type of academic and cultural events that benefit the broadest possible constituency.
Mary Sue Coleman
President, University of Michigan
Thank you for joining us for this UMS performance. We appreciate your support of the performing arts and of UMS, and we hope we'll see you at more of our programs this season. Check the complete listing of UMS's 20022003 events beginning on page 29 and on our website at
We welcome UM President Mary Sue Coleman to the southeast Michigan com?munity and to membership on the UMS Board of Directors. The university from which President Coleman came to Michigan
has a distinguished record in its support of creative artists. During the Millennium season alone, while Dr. Coleman was president, the University of Iowa's Hancher Auditorium premiered over 20 new works in music, dance, and theater, all of them commissioned by Hancher. This unprecedented level of support of creative artists by a university presenting organization captured the attention of the performing arts field worldwide and reinforced the idea that research in the performing arts is as important and as valid to a great university as is research in other fields. We thank Dr. Coleman and her predecessors Lee C. Bollinger and B. Joseph White for the extra?ordinary level of UM support for the second residency of the Royal Shakespeare Company March 1-16 and of eight other projects this season that offer special value to the University's mission of teaching, research, and service.
This season offers some special challenges for UMS with the closing of Hill Auditorium for restoration and renovation. With your understanding and support, we know we will
overcome these difficulties and have a success?ful season. As we await our reopening concert scheduled for January 2004, UMS is creating special opportunities for our patrons to see and hear world-renowned artists in outstand?ing venues in Detroit, Ypsilanti, and Ann Arbor. You won't want to miss the first southeast Michigan presentations of the Bolshoi Ballet November 20-24 or the February 27 return of the Vienna Philharmonic for the first time in the region since 1988. For many of our Detroit performances, UMS is offering transportation by luxury coach to our Ann Arbor patrons. And we urge you to bring the whole family to UMS's first event in Crisler Arena when the Boston Pops performs its Holiday Concert on December 8.
Yes, things will be different this season. The UMS staff is determined to do everything we can to make this season run as smoothly as possible for you and our other patrons. Please let us know if you have any questions or problems. Call our ticket office at 734.764.2538, now led by Ticket Services Manager Nicole Paoletti, successor to Michael Gowing, who retired August 30. You should also feel free to get in touch with me about anything related to UMS. If you don't see me in the lobby at our performances, you can send me an email message at or call me at 734.647.1174.
Very best wishes,
Kenneth C. Fischer UMS President
It is a pleasure to welcome you to this performance of the UMS 0203 season. With world-renowned performers, new community partnerships, and ever-expanding educational activities, our 124th season continues our commitment to artistic and educational excellence and our dedication to our audiences and extended com?munity. We are delighted that you are here to share in the excitement of the live performing arts.
As we enjoy this performance, we want to recognize and thank the many generous supporters who help make this extraordinary season possible. As you know, the price of your ticket does not cover our costs of presenting this performance. To bridge the gap, we must rely on the generosity of our many individual, corporate, govern?mental and foundation donors. In supporting UMS, they have pub?licly recognized the importance of the arts in our community and helped create new educational opportunities for students and adults of all ages and backgrounds.
So, as you read through the program book and take pleasure in this performance, please join me in thanking our many generous contributors. They are playing an important role in the artistic life of our community, and we are truly grateful for their support.
Beverley Geltner
Chair, UMS Board of Directors
John M. Rintamaki
Group Vice President, Chief of Staff, Ford Motor Company
"At Ford Motor Company, we believe the arts educate, inspire and bridge differences among cultures. They present for us all a common language and enhance our knowledge of each other and the world. We continue to support the University Musical Society and its programs that through the arts bring forth the human spirit of creativity and originality."
David Canter
Senior Vice President, Pfizer, Inc. "The science of discovering new medicines is a lot like the art of music: To make it all come together, you need a diverse collection of very brilliant people. What you really want are people with world-class talent--and to get those people, you have to offer them a special place to live and work. UMS is one of the things that makes Ann Arbor quite special. In fact, if one were making a list of the things that define the quality of life here, UMS would be at or near the very top. Pfizer is honored to be among UMS's patrons."
Douglass R. Fox
President, Ann Arbor Automotive "We at Ann Arbor Automotive are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
William M. Broucek
President and CEO, Bank of Ann Arbor "Bank of Ann Arbor is pleased to contribute to the rich?ness of life in our community by our sponsorship of the 20022003 UMS season. We look forward to many remarkable performances over the year. By your atten?dance you are joining with us in support of this vibrant organization. Thank you."
Jorge A. Solis
Senior Vice President, Bank One, Michigan 'Bank One is honored to be a partner with the University Musical Society's proud tradition of musical excellence and artistic diversity."
Habte Dadi
Manager, Blue Nile Restaurant 'At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organization that provides such an important service to Ann Arbor."
Greg Josefowicz
President and CEO, Borders Group, Inc. "As a supporter of the University Musical Society, Borders Group is pleased to help strengthen our com?munity's commitment to and appreciation for artistic expression in its many forms."
Carl Brauer
Owner, Brauer Investments
"Music is a gift from God to enrich our lives. Therefore, I enthusiastically support the University Musical Society in bringing great music to our community."
Len Niehoff
Shareholder, Butzel Long
"UMS has achieved an international reputation for excellence in presentation, education, and most recently creation and commissioning. Butzel Long is honored to support UMS, its distinctive and diverse mission, and its important work."
David G. Loesel
President, T.M.L. Ventures, Inc.
"Cafe Marie's support of the University Musical Society Youth Program is an honor and a privilege. Together we will enrich and empower our community's youth to carry forward into future generations this fine tradition of artistic talents."
Clayton Wilhite
Managing Partner, CFI Group, Inc.
'We're pleased to be in the group of community businesses which supports UMS Arts and Education. We encourage those who have yet to participate to join us. Doing so feels good."
Richard A. Collister
Executive Vice President, Comerica Incorporated President, Comerica Charitable Foundation "The University Musical Society is renowned for its rich history and leadership in the performing arts. Comerica understands the nurturing role UMS plays in our commu?nity. We are grateful to UMS for coordinating this 124th grand season of magnificent live performances."
W. Frank Fountain
President, DaimlerChrysler Corporation Fund "DaimlerChrysler is committed to nurturing strong and vibrant communities through its support of the arts. We are pleased to partner with UMS in its effort to promote the cultural and economic vitality of our community."
Fred Shell
Vice President, Corporate and Government Affairs, DTE Energy
"Plato said, 'Music and rhythm find their way into the secret places of the soul.' The DTE Energy Foundation congratulates UMS for touching so many hearts and souls by inspiring, educating and enriching the lives of those in our community."
Edward Surovell
President, Edward Surovell Realtors
"It is an honor for Edward Surovell Realtors to support the distinguished University Musical Society. For over a century it has been a national leader in arts presentation, and we encourage others to contribute to UMS's future."
Leo Legatski
President, Elastizell Corporation of America "The University Musical Society is a leading presenter of artistic groups--music, dance and theater. Please support their efforts in the development of new works, which they combine with educational workshops in the region."
Rick M. Robertson
Michigan District President, KeyBank
"KeyBank is a proud supporter of the performing arts and we commend the University Musical Society on its contributions to the cultural excellence it brings to the community."
Jan Barney Newman
Michigan Regional Director, Learning Express "Learning Express-Michigan is committed to promoting toys that excite imaginations of children. It is therefore with pleasure that we support the stimulating and diverse presentations of UMS that educate and enrich the entire community."
Eugene "Trip" Bosart
Senior Managing Director, McDonald Investments, Inc. "McDonald Investments is delighted to partner with the University Musical Society and bring world class talent and performances to audiences throughout southeastern Michigan."
Albert M. Berriz
President and CEO, McKinley Associates, Inc. "The success of UMS is based on a commitment to present a diverse mix of quality cultural performances. McKinley is proud to support this tradition of excel?lence which enhances and strengthens our community."
Erik H. Serr
Principal, Miller, Canfield, Paddock & Stone, P.L.C. "As 2002 marked Miller Canfield's 150th anniversary, we salute and appreciate the University Musical Society for presenting wonderful cultural events to our community for more than 120 years. Miller Canfield is proud to support such an inspiring organization."
Robert J. Malek
Community President, National City Bank "A commitment to quality is the main reason we are a proud supporter of the University Musical Society's efforts to bring the finest artists and special events to our community."
Joe Sesi
President, Sesi Lincoln Mercury Volvo Mazda "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury Volvo Mazda team is delighted to sponsor such a fine organization."
Thomas B. McMullen
President, Thomas B. McMullen Co., Inc. "I used to feel that a UM-Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS pro?vides the best in educational entertainment."
Sharon L. Beardman
Regional Vice President, TIAA-CREF Individual and Institutional Services, Inc.
"TIAA-CREF works with the employees of the perform?ing arts community to help them build financial security, so that money doesn't get in the way of the art. We are proud to be associated with the great tradition of the University Musical Society."
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.
FOUNDATION AND GOVERNMENT SUPPORT UMS gratefully acknowledges the support of the following foundations and government agencies.
$100,000 and above Doris Duke Charitable
FoundationJazzNet The Ford Foundation Michigan Council for Arts and
Cultural Affairs The Power Foundation Wallace-Reader's Digest Funds
$50,000 99,999 Community Foundation for Southeastern Michigan
$10,000 49,999
Association of Performing Arts
PresentersArts Partners National Endowment for the Arts New England Foundation for the Arts
$1,000 9,999
Arts Midwest
Gelman Educational Foundation
Heartland Arts Fund
The Lebensfeld Foundation
Mid-America Arts Alliance
Montague Foundation
(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
Barbara Everitt Bryant Kathleen G. Charla Mary Sue Coleman Jill A. Corr Hal Davis Sally Stegeman
David Featherman Debbie Herbert
Toni Hoover Gloria James Kerry Helen B. Love Barbara Meadows Lester P. Monts Alberto Nacif Jan Barney Newman Gilbert S. Omenn Randall Pittman Philip H. Power Rossi Ray-Taylor
Judy Dow Rumelhart Maya Savarino Herbert Sloan Timothy P. Slottow Jorge A. Solis Peter Sparling Clayton Wilhite Karen Wolff
(former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Lee C. Bollinger Paul C. Boylan Carl A. Brauer Allen P. Britton Letitia J. Byrd Leon S. Cohan Peter B. Corr Jon Cosovich Douglas Crary Ronald M. Cresswell Robert F. DiRomualdo
James J. Duderstadt David J. Flowers William S. Hann Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Kay Hunt Stuart A. Isaac Thomas E. Kauper David B. Kennedy Richard L. Kennedy Thomas C. Kinnear F. Bruce Kulp Leo A. Legatski Earl Lewis
Patrick B. Long Judythe H. Maugh Paul W. McCracken Rebecca McGowan Shirley C. Neuman Len Niehoff Joe E. O'Neal John D. Paul John Psarouthakis Gail W. Rector 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
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 Silverman Maria Simonte Loretta Skewes Cynny Spencer Wendy Woods
Administration Finance
Kenneth C. Fischer,
President Lisa Herbert,
Special Projects Director Elizabeth E. Jahn,
Assistant to the
President John B. Kennard, Jr.,
Director of
Administration Chandrika Patel, Senior
Accountant John Peckham,
Information Systems
Choral Union
Thomas Sheets,
Conductor Jason Harris, Assistant
Conductor Andrew Kuster, Associate
Conductor Kathleen Operhall,
Manager Donald Bryant,
Conductor Emeritus
Susan McCIanahan,
Director Mary Dwyer, Manager of
Corporate Support William P. Maddix,
Development Assistant Lisa Michiko Murray,
Manager of Foundation
and Government
Grants M. Joanne Navarre,
Manager of Individual
Support Lisa Rozek, Assistant to
the Director of
Development J. Thad Schork,
Development Officer
EducationAudience Development
Ben Johnson, Director Erin Dahl, Youth
Education Assistant Kristin Fontichiaro,
Youth Education
Manager Dichondra Johnson,
Manager Warren Williams,
Sara Billmann, Director
Susan Bozell, Marketing
Manager Gulshirin Dubash,
Public Relations
Manager Kirsten Karlen,
Promotion Coordinator
Michael J. Kondziolka,
Director Emily Avers, Production
Administrative Director Christine Field,
Production Assistant Jasper Gilbert, Technical
Director Jeffrey Golde, Production
and Programming
Assistant Susan A. Hamilton,
Artist Services
Coordinator Mark Jacobson,
Programming Manager Bruce Oshaben, Head
Ticket Office
Nicole Paoletti, Manager Angela Clock, Associate Sally A. Cushing,
Associate Laurel Hufano, Group
Sales Coordinator Robert W. Hubbard,
Work-Study Aubrey Alter April Chisholm Kindra Coleman Jamie Freedman Lakshmi Kilaru Dawn Low Claire Molloy Fred Peterbark Rosie Richards Jennie Salmon Corey Triplett Sean Walls
Shirley Bartov Vineeta Bhandari Carla Dirlikov Jennifer Gates Milena Grubor Lindsay Mueller Sameer Patel
President Emeritus Gail W. Rector
Fran Ampey Kitty Angus Alana Barter Joseph Batts Linda Batts Kathleen Baxter Elaine Bennett Lynda Berg Yvctte Blackburn Barbara Boyce Letitia Byrd
Doug Cooper Nancy Cooper Gail Davis Barnes Ann Deckert Gail Dybdahl Keisha Ferguson Doreen Fryling Yulonda Gill-Morgan Brenda Gluth Louise Gruppen Vickey Holley Foster
Linda Jones Deborah Katz Deb Kirkland Rosalie Koenig Sue Kohfeldt David Leach Rebecca Logie Dan Long Laura Machida Ed Manning Kim Mobley
Ken Monash Eunice Moore Denise Murray Michelle Peet Rossi Ray-Taylor Gayle Richardson Victoria Scott Rondeau Katy Ryan Nancy Schewe Karen Schulte Derek Shelton
Joan Singer Sue Sinta Grace Sweeney Sandy Trosien Melinda Trout Sally Vandeven Barbara Wallgren leanne Weinch
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 for Ann Arbor events is available in the Liberty Square (formerly Tally Hall), Church Street, Maynard Street, Thayer Street, Fletcher Street and Fourth Avenue structures for a minimal fee. Parking for Detroit events
is available in the Orchestra Hall lot, Detroit Opera House garage and People Mover lots for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. UMS members at the Principal level and above receive 10 complimentary parking passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for per?formances in the 0203 Choral Union series. Cars may be dropped off in front of the per?formance venues beginning one hour prior to performance. There is a $10 fee for this service. UMS members at the Producer level and above are invited to use this service at no charge.
For up-to-date parking information, please see the UMS website at
Refreshments are served in the lobby during intermissions of events in the Power Center, Detroit Opera House and Orchestra Hall, and are available in the Michigan Theater. Refresh?ments are not allowed in the seating areas.
Smoking Areas
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
In Person
The UMS Ticket Office and the University Productions Ticket Office have merged! Patrons are now able to purchase tickets for UMS events and School of Music events with just one phone call.
As a result of this transition, the walk-up window is conveniently located at the League Ticket Office, on the north end of the Michigan League building at 911 North University Avenue. The Ticket Office phone number and mailing ad?dress will remain the same.
Mon-Fri: 10am-6pm Sat: 10am-lpm
ByPhone 734.764.2538
Outside the 734 area code, call toll-free 800.221.1229
By Fax 734.647.1171
By Internet
By Mail
UMS Ticket Office
Burton Memorial Tower
881 North University Avenue
Ann Arbor, MI 48109-1011
Performance hall ticket offices open 90 minutes prior to each performance.
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the Ticket Office. Refunds are not available; however, you will be given a receipt for an income tax deduc?tion. Please note that ticket returns do not count toward UMS membership.
The group sales program has grown incred?ibly in recent years, and our success is a direct result of the wonderful leaders who organize their friends, families, congrega?tions, students, and co-workers and bring them to one of our events.
Last season over 10,000 people came to UMS events as part of a group, and they saved over $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 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.
Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than eighty events throughout our season, wrapped and delivered with your personal message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's
and Father's Days, or even as a
housewarming present when new friends move to town.
In an effort to help reduce distracting noises and enhance the theater-going experience, Pfizer Inc is providing compli?mentary HallsO Mentho LyptusO cough suppressant tablets to patrons attending UMS performances throughout our 0203 season.
UMS and the following businesses thank you for your generous support by pro?viding you with discounted products and services through the UMS Card, a privilege for subscribers and donors of $100 or more. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe
Ann Arbor Art Center
Ann Arbor Automotive
Back Alley Gourmet
The Blue Nile
Restaurant Bodywise Therapeutic
Massage Cafe Marie Dough Boys Bakery Gandy Dancer Great Harvest John's Pack and Ship Kerrytown Bistro King's Keyboard
Le Dog
Michigan Car Services,
Inc. and Airport
Sedan, LTD Nicola's Books, Little
Professor Book Co. Paesano's Restaurant Randy Parrish Fine
Framing Ritz Camera One Hour
Photo Shaman Drum
Bookshop Washington Street
Join the thousands of savvy people who log onto each month!
Why should you log onto
Tickets Forget about waiting in long ticket lines--order your tickets to UMS performances online! And now you'll know your specific seat location before you buy online.
Cyber$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.
UMS annals
Through an uncompromising commitment to Presentation, Education, and the Creation of new work, the University Musical Society (UMS) serves Michigan audiences by bringing to our community an ongoing series of world-class artists, who represent the diverse spectrum of today's vig?orous and exciting live performing arts world. Over its 123 years, strong leadership coupled with a devoted community has placed UMS in a league of internationally-recognized performing arts presenters. Indeed, Musical America selected UMS as one of the five most influential arts presenters in the United States in 1999. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, balanced by a com?mitment to dynamic and creative visions of where the performing arts will take us in this millennium. Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first performance of Handel's Messiah was in December of 1879, and this glorious oratorio has since been per?formed by the UMS Choral Union annually.
As a great number of Choral Union members also belonged to the University, the University Musical Society was established in December 1880. UMS included the Choral Union and University Orchestra, and throughout the year presented a series of concerts featuring local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts--internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theatre. Through educational endeavors, commissioning of new works, youth programs, artist residencies and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction and innovation. UMS now hosts approximately 90 perform?ances and more than 150 educational events each season. UMS has flourished with the support of a generous community that this year gathers in 11 diverse venues in Ann Arbor, Ypsilanti, and Detroit.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organ?ization that supports itself from ticket sales, corporate and individual contributions, foundation and government grants, special project support from UM, and endowment income.
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 ofGerontius, the Berlioz Requiem and other masterworks to its repertoire.
The Choral Union will open its upcom?ing season with performances of Mahler's Symphony No. 3 with the DSO, followed by a performance of Beethoven's Symphony No. 9 with the Ann Arbor Symphony Orchestra. In December the chorus will present its 124th series of annual performances of Messiah, using the rarely-heard Mozart revision of Handel's great work. The Choral Union's sea?son will conclude in March with a pair of magnificent French choral works: Honegger's King David, accompanied by members of the Greater Lansing Symphony Orchestra, and Durufle's mystical Requiem, accompanied by organist Janice Beck.
The Choral Union's 0102 season includ?ed performances of Messiah, Ives's Symphony No. 4 with Michael Tilson Thomas and the San Francisco Symphony Orchestra and Brahms's Ein deutsches Requiem with Thomas Sheets conducting the Ann Arbor Symphony Orchestra, all in Hill Auditorium. To conclude its 123rd season, the Choral Union joined the DSO and Neeme Jarvi in three critically acclaimed performances of Beethoven's Missa Solemnis.
During the 20002001 season, the UMS Choral Union appeared in two series with the DSO. The season culminated in a perform?ance of Berlioz's Requiem with the Greater Lansing Symphony Orchestra, along with tenor Stanford Olsen and members of the UM School of Music Symphony Band in Hill Auditorium.
The Choral Union is a talent pool capa?ble of performing choral music of every genre. In addition to choral masterworks, the Choral Union has performed Gershwin's Porgy and Bess with the Birmingham-Bloomfield Symphony Orchestra, and other musical theatre favorites with Erich Kunzel and the DSO at Meadowbrook. The 72-voice Concert Choir drawn from the full chorus has performed Durufle's Requiem, the Langlais Messe Solennelle, and the Mozart Requiem. Recent programs by the Choral Union's 36-voice Chamber Chorale include "Creativity in Later Life," a program of late works by nine composers of all historical periods; a joint appearance with the Gabrieli Consort and Players; a performance of Bach's Magnificat, and a recent joint performance with the Tallis Scholars.
Participation in the Choral Union remains open to all by audition. Composed of singers from Michigan, Ohio and Canada, members of the Choral Union share one common passion--a love of the choral art. For more information about membership in the UMS Choral Union, e-mail or call 734.763.8997.
With the 18-month closing of Hill Auditorium for renovations, the 0203 UMS season will include performances by the world's celebrated music, theater and dance artists in 11 venues in three cities: Ann Arbor, Ypsilanti and Detroit.
Ann Arbor Venues
Hill Auditorium
The 18-month, $38.6-million dollar reno?vation to Hill Auditorium began on May 13, 2002 under the direction of Albert Kahn Associates, Inc., and historic preservation architects Quinn EvansArchitects. Hill was first opened to Michigan audiences in 1913 and this current renovation project will update all of its infrastructure systems and restore much of the interior decor to its original splendor.
Exterior renovations will rebuild brick paving and stone retaining walls, restore the south entrance plaza, rework the west barrier-free ramp and loading dock, and improve the landscaping which surrounds the building.
Interior renovations will create additional restrooms, improve audience circulation by providing elevators, replace main-floor seating to increase patron comfort, introduce barrier-free seating and stage access, replace audio?visual systems, and completely replace all mechanical and electrical infrastructure sys?tems for heating, ventilation, and air condi?tioning.
Upon reopening in January 2004, Hill Auditorium will decrease in seating capacity from 4,169 to 3,710.
Crisler Arena
Crisler Arena, home to the Michigan Wolverine basketball teams, stands as a tribute to the great Herbert O. "Fritz" Crisler, Michigan's third all-time winning football coach. Crisler served 10 years as Michigan's football coach (1938-1947) and 27 years as athletic director (1941-1968) of the University. The arena was designed by Dan Dworksky under the architectural firm of K.C. Black & C.L. Dworsky and opened in 1968. The event facility has a capacity of 13,609.
While serving as a site of Big Ten Conference championship events, Crisler has also played host to popular acts such as Pearl Jam, Bill Cosby, the Grateful Dead, and even Elvis Presley during his final concert tour.
Lydia Mendelssohn Theatre
Notwithstanding an isolated effort to estab?lish a chamber music series by faculty and students in 1938, UMS regularly began presenting artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theatre for the 100th May Festival's Cabaret Ball. The superlative Mendelssohn Theatre has been the home of the UMS Song Recital series for the past eight years.
Michigan Theater
The historic Michigan Theater opened January 5,1928 at the peak of the vaude?villemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ. At its opening the theater was acclaimed as the best of its kind in the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation.
In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addi?tion, which also included expanded restroom facilities for the historic theater. The gracious facade and entry vestibule was restored in 2000, and balcony restorations have been completed.
Power Center for the Performing Arts
The Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities was mentioned "a new theatre." The Powers were immediately inter?ested, realizing that state and federal government were unlikely to provide financial support for the construction of a new theatre.
No seat in the Power Center is more than 72 feet from the stage. The lobby of the Power Center features two hand-woven tap?estries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
Rackham Auditorium
Sixty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including Univer?sity Hall (the precursor to Hill Auditorium), Hill Auditorium, and Newberry Hall, the cur?rent home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of human history and human thought, died in 1933, his will established the Horace H. Rackham and Mary A. Rackham Fund, which subsequently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School, which
houses the 1,129-seat Rackham Auditorium, but also to establish a $4-million endowment to further the development of graduate studies.
St. Francis of Assisi Catholic Church
In 1950, Father Leon Kennedy was appoint?ed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and on March 19,1969 John Cardinal Dearden dedi?cated the new St. Francis of Assisi Church. Father James McDougal was appointed pastor in 1997.
St. Francis of Assisi Catholic Church has grown from 248 families when it first started in 1950 to more than 2,800 today. The present church seats 900 people and has ample free parking. In 1994 St. Francis purchased a splen?did three manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and con?templation of sacred a cappella choral music and early music ensembles.
Ypsilanti Venues
EMU Convocation Center
An exciting new era in EMU athletics was set in motion in the fall of 1998 with the opening of the $29.6-million Convocation Center. The Barton-Malow Company along with the architectural firm Rossetti Associates of BirminghamThe Argos Group began con?struction on the campus facility in 1996. The Convocation Center opened its doors on December 9, 1998 with a maximum seating capacity of 9,510 for center-stage entertain?ment events.
Pease Auditorium
Built in 1914, Pease Auditorium was reno?vated in 1995. Earlier this year, the resto?ration of the AeolianSkinner pipe organ was completed and the interior of the auditorium was refurbished. Pease Auditorium can seat up to a total of 1,541 concertgoers.
Detroit Venues Detroit Opera House
The Detroit Opera House opened in April of 1996 following an extensive renovation by Michigan Opera Theatre. Boasting a 75,000-square-foot stage house (the largest stage between New York and Chicago), an orchestra pit large enough to accommodate 100 musicians and an acoustical virtue to rival the world's great opera houses, the 2,735-seat facility has rapidly become one of the most viable and coveted theatres in the nation. As the home of Michigan Opera Theatre's grand opera season and dance series, and through quality programming, partnerships and educational initiatives, the Detroit Opera House plays a vital role in enriching the lives of the community.
Orchestra Hall
Orchestra Hall was dedicated in 1919 as the new home of the Detroit Symphony Orchestra. In 1939, after the depression, the orchestra moved to the Masonic Temple Theatre and the facility was renamed the Paradise Theatre. The Paradise became one of the nation's most famous stages for African-American Jazz musicians (1941-1951).
In the late 1950s, the building was aban?doned and fell into disrepair. In 1964, it was headed for the wrecking ball, but local citizens rallied to save the great concert hall. DSO musicians and volunteers founded Save Orchestra Hall, Inc., to marshal citizen sup?port for the retention and restoration of the building to its former architectural grandeur.
In September 1989 the DSO returned to Orchestra Hall, now its permanent home, capping a multi-million-dollar restoration effort.
In 1996, the Detroit Symphony Orchestra launched Orchestra Place, an ISO-million development project on eight acres of land surrounding Orchestra Hall.
Burton Memorial Tower
Seen from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor land?marks. Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet. UMS administrative offices returned to our familiar home at Burton Memorial Tower in August 2001, following a year of significant renovations to the University landmark.
This upcoming season marks the second year of the merger of the UMS Ticket Office and the University Productions Ticket Office. Due to this new partnership, the UMS walk-up ticket window is now conveniently located at the Michigan League Ticket Office, on the north end of the Michigan League building at 911 North University Avenue. The UMS Ticket Office phone number and mailing address remains the same.
University Musical Society
of the University of Michigan 2002 Fall Season
Event Program Book Wednesday, November 6 through Tuesday, November 19, 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.
Herbie Hancock Quartet 5
Wednesday, November 6, 8:00 pm Michigan Theater Ann Arbor
Cantigas de Santa Maria 9
Thursday, November 7, 8:00 pm
St. Francis of Assisi Catholic Church Ann Arbor
Caetano Veloso 17
Friday, November 15, 8:00 pm Michigan Theater Ann Arbor
Gidon Kremer, Sabine Meyer, Oleg Maisenberg 19
Sunday, November 17, 4:00 pm Rackham Auditorium Ann Arbor
Orchestre Philharmonique de Radio France 29
Tuesday, November 19, 8:00 pm Orchestra Hall Detroit
"Dear U!MS Matrons,
Thank you for joining us at this UMS performance. We appreciate your support of the per?forming 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 0203 events beginning on page 29 of the glossy pages of your program book and on our website at
The performance you are attending today is NOT "just another concert." I am proud to say that the artists we are presenting to you this season are specially chosen because they offer UNIQUE points of view about their craft and the music they are showcasing.
In the past month, we have heard The Cleveland Orchestra perform HK Gruber's Frankenstein!!, the Venice Baroque Orchestra perform the music of their city's soul mate Antonio Vivaldi, and the Takacs Quartet play Beethoven...and we have witnessed Medea in the hands of Fiona Shaw and Deborah Warner. These memorable live performance experiences are unique in the vast world of culture...and they represent exactly what UMS hopes to make a part of your life.
Now...I am happy to report that the tradition continues with all the performance offerings covered in this edition of the UMS Program Book:
Herbie Hancock musical innovator extraordinaire returns to Ann Arbor's Michigan Theater, this time with his new quartet featuring Gary Thomas, Scott Colley, and Terri Lyne Carrington.
Cantigas de Santa Maria a concert of sacred music from 13th-century Spain and North Africa when Alfonso X ruled over a nation of diverse religions and cultures -Jewish, Muslim and Christian. The performers include the Boston Camerata, Camerata Mediterranea and L'Orchestre Abdelkrim Rais from Fez, Morrocco.
Caetano Veloso the revolutionary grandfather of Brazilian song!
Violinist Gidon Kremer once again returns to Ann Arbor with a compelling pro?gram of chamber music in the Rackham Auditorium.
Orchestre Philharmonique de Radio France under the direction of Myung-Whun Chung offers us the rare experience of hearing Olivier Messiaen's Turangalila-symphonie...a true masterpiece of the 20th century. Chung is one of a few experts of this staggeringly complex and enigmatic repertoire which he studied and perfected with Messiaen over the final decade of his life. Fasten your seatbelts!
If there's anything you would like to share with me about your experience with UMS, no matter what it is, drop me a note or send me an e-mail at
Best wishes,
Michael J. Kondziolka
UMS Director of Programming
UMS Educational
UMS Educational Events through Tuesday, November 19,2002
All UMS educational activities are free and open to the public unless otherwise noted ($). Please visit for complete details and updates.
Herbie Hancock Quartet
Saxophone Master Class by Gary Thomas
Wednesday, November 6, 2:30 pm, UM School of Music, Stearns Building, Cady Room, 2005 Baits, Ann Arbor
Cantigas de Santa Maria
Pre-concert Presentation by Joel Cohen
Cantigas de Santa Maria Music Director Joel Cohen will give a short preliminary talk on the cultural and musical climate of medieval Spain, and on the Cantigas manuscripts. He will give some historical and musical background on the Cantigas, including a description of Alfonso and his court, and how the Cantigas relate to other repertoire of the period.
Thursday, November 7, 7 pm, St. Francis ofAssisi Catholic Church, Parish Activities Center (next door to Chapel), Ann Arbor
Gidon Kremer, Sabine Meyer, Oleg Masienberg
PREP: "Bart6k: Performer in Michigan; Composer in New York"
Led by Ellwood Derr, UM Professor of Music Sunday, November 17,3 pm, Michigan League, Vandenberg Room, 2nd Floor, 911 N. University Ave., Ann Arbor
McKinley Associates
Herbie Hancock Quartet
Herbie Hancock, Piano Gary Thomas, Saxophones Scott Colley, Bass Terri Lyne Carrington, Drums
Program Wednesday Evening, November 6 at 8:00
Michigan Theater Ann Arbor
Tonight's program will be announced from the stage by the artists.
24th 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 McKinley Associates.
Presented with support from JazzNet, a program of the Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation and the National Endowment for the Arts.
Additional support provided by media sponsors WEMU 89.1 FM and WDET 101.9 FM.
Special thanks to Ellen Rowe and the UM School of Music Jazz and Improvisation Division for their involvement in this residency.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Large print programs are available upon request.
Herbie Hancock is a true icon of modern music. His explorations have transcended limitations and genres, and at the same time he has maintained his unmistak?able voice. Mr. Hancock's success at expand?ing the possibilities of musical thought has placed him in the annals of this century's visionaries. He has attained an enviable bal?ance of commercial and artistic success, arriving at the point in his career where he ventures into every new project motivated purely by the desire to expand the bound?aries of his creativity.
No stranger to career accolades, Herbie won the 1987 Academy Award for his soundtrack to the film Round Midnight. He has won eight Grammy Awards in the past two decades, including three for his 1998 album Gershwin's World. Underlying these awards is the fact that there are few artists in the entire music industry who have gained more respect and cast more influence than Herbie Hancock. As the immortal Miles Davis said in his autobiography: "Herbie was the step after Bud Powell and Thelonious Monk, and I haven't heard anybody yet who has come after him."
Born in Chicago in 1940, Hancock was a child piano prodigy who performed a Mozart piano concerto with the Chicago Symphony Orchestra at the age of 11. He began playing jazz in high school, initially influenced by Oscar Peterson and Bill Evans. Also at this time, an additional passion for electronic science began to develop. As a result, he took a double major in music and electrical engineering at Grinnell College. In 1960, at age 20, Herbie was discov?ered by trumpeter Donald Byrd, who asked him to join his group. Mr. Byrd also intro?duced Herbie to Alfred Lion of Blue Note Records; and after two years of session work with the likes of Phil Woods and Oliver Nelson, he signed to the legendary label as a solo artist. His 1963 debut album, Takin' Off,
was an immediate success, producing "Watermelon Man," an instant hit at jazz and R&B radio.
Also in 1963, Hancock received the call that was to change his life and fix his place in jazz history. He was invited to join the Miles Davis Quintet. During his five years, with Davis, Hancock and his colleagues thrilled audiences and recorded classic after classic, including albums like ESP, Nefertiti, and Sorcerer. Most jazz critics and fans regard this group, which also included Wayne Shorter (tenor sax), Ron Carter (bass), and Tony Williams (drums) as the greatest small jazz group of the 1960s. Even after he left, Miles's group, Herbie continued to appear on Davis's groundbreaking recordings In A Silent Way and Bitches Brew, which heralded the birth of jazz-fusion.
Simultaneously with his work for Miles, Hancock's own solo career blossomed on Blue Note with even more classics like Maiden Voyage, Empyrean Isles, and Speak Like A Child. In 1966, he composed the score to Michelangelo Antonioni's film, Blow Up. This led to a successful career in feature film and television music, including Bill Cosby's Emmy-winning Hey, Hey, Hey, It's Fat Albert, and later, Death Wish, Colors, Jo Jo Dancer Your Life Is Calling, Action Jackson, Harlem Nights, and his Oscar-win?ning score to Round Midnight.
After leaving the Miles Davis Quintet in 1968, he moved full-time into electronic jazz-funk. In 1973, Headhunters, his second recording with Columbia Records, became jazz's first platinum album. Discontent to travel just one creative path, he also stayed close to acoustic jazz in the 1970s, recording and performing with VSOP (a reunification of the 1960s Miles Davis Quintet, with Freddie Hubbard substituting for Davis), Chick Corea and Oscar Peterson.
The crowning achievement of Herbie Hancock's Verve years thus far has been Gershwin's World. Recorded and released in
1998, the album brought artists from all over the musical spectrum together in a cel?ebration of George Gershwin and his entire artistic milieu. Herbie's collaborators included Joni Mitchell, Stevie Wonder, Kathleen Battle, the Orpheus Chamber Orchestra, Wayne Shorter and Chick Corea. Gershwin's World won three Grammies in
1999, including "Best Traditional Jazz Album" and "Best R&B Vocal Performance" for Stevie Wonder's "St. Louis Blues."
A lover of education and technology, Mr. Hancock founded the Rhythm Of Life Foundation in 1996. Since 1991, he has been the Distinguished Artist in Residence at Jazz Aspen Snowmass in Colorado, a non-profit organization devoted to the preservation and performance of jazz and American music. He also serves as a member of the Board of Trustees of the Thelonious Monk Institute of Jazz, the foremost international organization devoted to the development of jazz performance and education worldwide. As he enters his fifth decade of professional life, Herbie Hancock remains where he has always been: at the forefront of world cul?ture, technology and music.
Tonight's performance marks Herbie Hancock's second appearance under UMS auspices. He made his UMS debut in a duet performance with saxophonist and composer Wayne Shorter in November 2000 in Michigan Theater.
Office of the Senior Vice Provost for Academic Affairs
Cantigas de Santa Maria
Joel Cohen, Director
Mohammed Briouel, Guest Co-Director
The Boston Camerata and members of Camerata Mediterranea
Joel Cohen, Director and SHARQ Arab-American Ensemble
Karim Mohammed, Director
Vocal Soloists
Hayet Ayad Anne Azema Equidad Bares Lynn Torgove
Mohammed Briouel, Violin and Viola
Joel Cohen, Lauta
Hazel Brooks, Vielle
Shira Kammen, Vielle
Kareem Roustom, Oud
Boujoumaa Razgui, Violin and Percussion
Karim Nagi Mohammed, Percussion
Thursday Evening, November 7 at 8:00
St. Francis of Assisi Catholic Church Ann Arbor
Songs of Mystic Spain
Christians, Muslims, and Jews at the court of Alfonso the Wise, King of Castille (1221-1284)
Benvennas mayo (Cantiga 406)
Ms. Bares Loemos muit'a virgen (Cantiga 370)
Ms. Ayad Como somos per consello (Cantiga 119)
Women's Voices
Seventh Taouchia (Noubat Hijaz Lauchaki) Instruments
Sola fusti senlleira (Cantiga 90) Ms. Bares
Mui gran dereit (Cantiga 52) Ms. Bares
Taouchia (Naubat Gribt Lahcine) Instruments
Tod' ome deve dar loor (Cantiga 230) Ms. Ayad
Quen entender quiser (Cantiga 130) Ms. Torgrove
Gran Dereit (Cantiga 56) Ms. Azema
Kouli Lmalihti (Mizane Darj Arak Al Ajam) Instruments
Santa Maria leva (Cantiga 320) Ms. Torgrove
Santa Maria loei (Cantiga 200) Ms. Bares, Ms. Ayad
Nobre don e muy precado (Cantiga 417) Ms. Az?ma, Ms. Torgrove
Sanaa "Kad Nilto Hibbi" (Mizane Bacit Gribt Lahcine) Voices and Instruments
A Santa Maria dadas (Cantiga 140) Mr. Razgui
Sanaa "Allah hoo Yalamo" (Mizane Koddam Rasd Addayl) Mr. Razgui
Por nos Virgen Madre (Cantiga 250) Ms. Azema
Ahot ketana (Abraham, Cantor of Gerona) Mr. Cohen
Tant aos Peccadores (Cantiga 315) Women's Voices
25th Performance of the 124th Season
Eighth Annual Divine Expressions Series
Co-presented with the Office of the Senior Vice Provost for Academic Affairs.
This performance is made possible in part by a grant from the Association of Performing Arts Presenters Arts Partners Program, which is underwritten by the Wallace-Reader's Digest Funds and Doris Duke Charitable Foundation.
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Large print programs are available upon request.
Mystic Spain
What are the Cantigas
High among the many achievements of the Spanish King Alfonso X, called "El Sabio" -the Wise (1221-1284), is the superb collec?tion of more than 400 sacred songs to the Virgin Mary, the celebrated Cantigas de Santa Maria. King Alfonso's cantigas are the most important examples of vernacular song from the Spanish Middle Ages; more than that, they are a summit of medieval Christian spirituality. They are preserved in several large and elaborate manuscripts pre?pared at the royal court, and while it is doubtful that the King composed all of the songs personally, it is clear that he was closely involved, emotionally and materially, in their compilation.
Espaiia es differente
And yet, while the theological and literary center of these pieces miracle ballads in their majority, interspersed with songs of praise to the Virgin is intensely Christian, any attempt to perform them anew needs to take into account the special, polycultural situation of medieval Spain. The Spanish context of the 13th century was unmistak?ably mixed, with strong Muslim and Judaic influences present everywhere. Alfonso's court was a reflection of the general situa?tion during this period. Calling himself "King of the three religions," the liberal-minded Alfonso surrounded himself with scholars and artists of all faiths. The illumi?nated miniatures in the most elaborate of the cantigas manuscripts bear witness to intense cross-cultural interaction: musicians in typically Christian, Islamic, and Jewish garb are shown performing their instru?ments; light-skinned and dark-skinned musicians making music together. And many of the instruments depicted in these miniatures, while now rare or extinct in
Europe, are still current in the Muslim world of North Africa.
It is for these reasons that our perfor?mances of Alfonso's cantigas attempt to integrate certain musical elements, and musicians, whose points of reference lie outside the mainstream of Western classical music.
A cross-cultural experiment
While we can never be sure exactly how the musicians at King Alfonso's court might have interpreted these songs, we have every?thing to gain in our hypothetical recon?struction by calling on musical traditions currently outside, but once closely related to, European musical practice. Accordingly, we have asked an outstanding ensemble of current Moroccan masters to supply accom?paniments to the vocal lines set out in the manuscript pages, using the instruments they currently employ in their own reper?toire. These instruments are, in many cases
(lute, percussion) virtually the same as those shown in the medieval manuscript, or, in the case of the Moroccan violin and alto, closely related thereto.
Furthermore, the possible relationship between Arabic musical art and the music of medieval Spain goes far beyond the ques?tion of instrumental morphology. The clas?sical Arabic music of North Africa is called Andalusian music, and its contemporary practitioners are conscious of perpetuating a system of musical thought and practice that is traced back to the Muslim courts of medieval Spain. Four hundred years after the "reunification" of Spain under a Christian Kingdom, the once-closely-related traditions of Christian and Muslim Spain have, inevitably, grown apart. But what is astonishing to the occidental student of Arabic classical music is how much the cur?rent tradition contains that is self-evidently very ancient. The modes of Andalusian music as currently practiced in Morocco are very similar to those employed in the European Middle Ages. The exotic micro-tones associated with oriental music in the Western imagination are absent from this classically-codified musical system. The scales are composed, like Gregorian chant, of tones and semitones arranged in different patterns according to the mode. Thus, the practitioner of Arabo-Andalusian repertoire can assimilate the melodies of the cantigas to his own instrument or voice with little disruption, and even with delectation. And, as we happily discovered during the weeks of preparatory collaboration, many melodic motifs, formulas and patterns found in the cantigas are still employed in Arabo-Andalusian music.
How were the Cantigas sung
Unlike the musical accompaniments, which are not noted in the Cantigas manuscript and which need to be re-imagined anew, the melodies are clearly set out in the medieval source. While the intervallic relationships and (to a somewhat lesser extent) the rhythms are clearly exposed in the original notation, the questions of stylistic nuance and interpretation are not. In fact, given the heterogeneous makeup of King Alfonso's court (the King himself was half German!), a broad range of options and singing styles may have been available, as it is today in vital and diverse crossroads centers like New York or Marseilles. We have therefore recruited accomplished vocal soloists from a variety of backgrounds. All of our singers have Mediterranean roots Occitanian, Spanish, Kabyll, Arabic, and Judeo-Berber -and all the women soloists have sung canti?gas and other medieval repertoires prior to coming together for this project. But we have tried, while creating a unitary frame?work, to allow for and encourage the diver?sity inherent both in our selection of soloists and (we believe) in the song reper?toire itself.
The preparation of these cantigas has been a large undertaking, as exhilarating and passionate in its human interactions as it has been on the scholarly and musical front. In proceeding as we have done, have we reproduced the music of Alfonso's 13th-century court in every detail No, for that task is clearly impossible for us, or for any?one else. On the other hand, have we per?haps come closer to the spirit of the cantigas, and to that extraordinary, humane, and convivial moment of our collective past Such is our wish as we send this beau?tiful music forth into the world, and to you.
Program note by Joel Cohen.
The Boston Camerata has been fas?cinating and charming audiences around the world for over four decades. Under the direction of Joel Cohen, the Camerata is inter?nationally praised for its consistently unique programming and superb execution. Founded in 1954, the Boston Camerata was associated with the Boston Museum of Fine Arts until 1974, when the ensemble began touring overseas and building an interna?tional presence. The Camerata's numerous teaching, research, recording and concert projects have brought their work to audi?ences throughout Europe, Singapore, Israel, Japan, Mexico and Canada. In the US, the Camerata has participated in the early music festivals at Berkeley, Boston and San Antonio. The ensemble continues to tour the US extensively and undertook its first Scandinavian tour in 1996 and its first Austrian tour in 1998.
The many recordings of the Boston Camerata have been distributed worldwide on the Erato, Glissando, Harmonia Mundi, Nonesuch and Telefunken labels. These recordings have garnered extensive recogni?tion, including a number of international awards. The Camerata's 1989 recording Tristan et Iseult, based on original sources of the medieval Tristan and Iseult legend, won the Grand Prix du Disque of the Academie Charles Cros, Paris. Their 1993 release of Jean Gilles' Requiem became a bestseller in Europe. The 1996 release of music by John Dowland, Farewell, Unkind: Songs and Dances, was nominated for the French Grand Prix des Discophiles. In 1997, Angels: Voices of Eternity was nominated for National Public Radio's Performance Today Award. The Camerata Mediterranea release Cantigas de Santa Maria was awarded the Edison Prize in the Netherlands in Spring 2000. Other recent recorded programs include Douce Beaute, a collection of 17th-century French love songs, Liberty Tree, an
anthology of early American secular music and What Then Is Love: An Elizabethan Songbook, highlighting England's golden age of poetry and song.
In collaboration with the Shakers of Sabbathday Lake, Maine, Joel Cohen and the Camerata released Simple Gifts, a historic chronicle of Shaker music in America. In the 19992000 season, this unique program was presented on the Great Performers Series at Lincoln Center and in Chicago. A second recording of Shaker songs, The Golden Harvest, was released to critical acclaim in Fall 2000. Tonight's performance of the Boston Camerata is part of a historic US tour of the Cantigas de Santa Maria with Mohammed Briouel, director of the Andalusian Orchestra of Fez, and members of the Camerata Mediterranea and SHARQ Arab-American Ensemble.
The Camerata's popular Christmas pro?grams continue to delight audiences across the US. The Boston Camerata's many media appearances include a nationally syndicated radio series in the US and appearances on British, French, Dutch, German, Swiss, Norwegian, Swedish, and Canadian radio as well as French television and American Public Television.
This evening's performance marks the Boston Camerata and Joel Cohen's UMS debuts.
The European-based sister ensemble to the Boston Camerata, Camerata Mediterranea, was founded in 1990 by Joel Cohen with assistance from the late Michel Garcin of Erato Records and the Festival Mediter?ranean. The "Cam Med's" mission is to explore the early music repertoires of the Mediterranean basin, employing musicians with personal, musical, and linguistic roots in the geographic area of study and perfor?mance. Earlier projects by Camerata Mediterranea, centered around the music and poetry of the Provencal troubadours, toured France, Italy, Spain, Morocco, and the US. The ensemble's first two CDs won critical press honors in France and England (Gramophone Editor's Choice).
This evening's performance marks Camerata Mediterranean UMS debut.
Led for many years by the great Abdelkrim Rais, L'orchestre Abdelkrim Rais is now led by the late master's chief disciple, Mohammed Briouel. Based in Fez, Morocco, the ensemble is one of that coun?try's most eminent practitioners of the cen?turies-old Arabo-Andalusian, classical Spanish repertoire that has been passed down in North Africa, by oral tradition, since the 15th century. Mr. Briouel is also director of the Conservatoire de Musique of Fez and the author of published transcrip?tions of Arabo-Andalusian naouba music. His group has toured the world in recent seasons, including stops in the Far East and the US, and has made numerous commer?cial recordings in Morocco and France.
This evening's performance marks Mohammed Briouel's UMS debut.
Hazel Brooks studied violin at the Hochschule fur Musik und Theater in Leipzig and baroque violin at the Guildhall School of Music and Drama in London. Here, she discovered both her love of medieval music and of the vielle. Hazel won various prizes including the Christopher Kite Prize 1997 and the Bankers Trust Pyramid Award 1998. She was a finalist in the York International Early Music Competition 1999 and the International Young Artists' Presentation 2000 in Antwerp. Hazel is a founder of the ensemble Concanentes, which has since gained international recog?nition. She is also a member of the Netherlands-based ensemble Trist'alegre. She works with soprano Faye Newton in the duo Trobairitz, which specializes in the music of the troubadours and trouveres. Hazel is also active as a baroque violinist in orchestras and as a soloist. She made her London Purcell Room debut in April 2000 and has just recorded her first solo CD.
A native Egyptian who specializes in classical Arabic percussion, Karim Nagi Mohammed learned Arabic percussion from the two essential teachers of the classical Arabic style, Mohammed Al-Araby (Cairo Conservatory and "Firqat Musiqa Arabiyya," the National Orchestra of Egypt) and Michel Merhege Baqlouq (the Fairuz ensemble and the Beirut Conservatory of Music). He learned Arabic music theory and performance from Simon Shaheen, Midhat il-Rashidi (Abdel Halim Hafez ensemble) and Dr. Alfred Gamil (Cairo Conservatory). He also produces the highly successful Arabesque Mondays series at Club Passim, Cambridge, Massachusetts. Karim currently teaches Arabic Hand Percussion at the New England Conservatory of Music and is a frequent guest lecturer on Arabic Music and Culture at many schools and universities. Mr. Mohammed is the founding member of the SHARQ Arabic Music Ensemble, based in Boston, Massachusetts.
Boujoumaa Razgui is a native Moroccan and a multi-instrumentalist who performs on violin, kamancheh (lap fiddle), nay (end blown bamboo flute), oud (fretless lute), gambri (Moroccan bass lute) and all types of percussion. He is equally at ease with Andalusian repertoire, Nuba, Gnawa, Arabic Sharqi and fusion styles such as Rai. Mr. Razgui is the founding member and featured performer for the Jouk al-Barabil North African Ensemble at Harvard University. He tours with Atlas Soul and is a member of the SHARQ Arabic Music Ensemble.
A native Syrian who performs on the oud (Arabic fretless lute), Kareem Roustom is well versed in classical Arabic styles including Muwashahaat, Samai'iat, Adwar and Qudud. He studied Arabic music from Dr. Jihad Racy (UCLA) and Dr. Nabil Azzam. Mr. Roustom is also an accomplished guitarist and a com?poser of Western music and film scores. He has a BA in Jazz Performance from the University of Massachusetts Lowell and has studied with both Charlie Banacos and Michael Gandolfini. He has won various awards such as the Peter Carpenter Award from BMI and the Subito Grant from the American Composers Forum. Mr. Roustom currently teaches Theory and Performance of Arabic Music at the New England Conservatory of Music. He is a member of the SHARQ Arabic Music Ensemble.
Transcriptions and arrangements of the Cantigas: Joel Cohen (S.A.CE.M.)
Literary and philological consultant: Pierre Bee Production coordinators: Neil Davidson, Jacqueline Faiman Legal counsel: Tom Carey, Nicole Zawarski
Special thanks to: Anne Azema.Victoria de Menil, John Grimes, Catherine von Mutius, Kay Kaufman Shelemay, Olav Chris Henriksen and Adrian Touw.
Caetano Veloso
Jaques Morelenbaum, Cello Pedro Sa, Bass
Josino Eduardo Santos, Percussion Eduardo Josino Santos, Percussion Junior, Percussion Marcio Vitor, Percussion Cezinha, Drums Davi Moraes, Guitar
Program Friday Evening, November 15 at 8:00
Michigan Theater Ann Arbor
7S[gttes Do 7S[grte Tour
Nights of the North Tour
Individual song selections will be announced by the artists from the stage.
26th 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 Borders Group, Inc.
Presented with support from JazzNet, a program of the Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation and the National Endowment for the Arts.
Additional support provided by media sponsors WEMU 89.1 FM and WDET 101.9 FM.
Caetano Veloso appears by arrangement with International Music Network.
Large print programs are available upon request. of the greatest songwriters of the century." Jon Pareles, New York Times
Born in Santo Amaro, Bahia, in 1942, Caetano Veloso began his professional musical career in 1965 in Sao Paulo. In his first compositions he drew on the bossa novas of Joao Gilberto, but rapidly began to develop his own distinctive style. Absorbing musical and aesthetic ideas from sources as diverse as The Beatles, concrete poetry, the French Dadaists and the Brazilian mod?ernist poets of the 1920s, Caetano, together with Gilberto Gil, Gal Costa, his sister Maria Bethania, and a number of other poets and intellectuals, founded a movement called Tropicalismo. By experimenting with new
sounds and words, adding electric guitars to their bands and utilizing the imagery of modern poetry, Caetano became a musical revolutionary.
This short-lived movement, founded in 1968, ended abruptly when Caetano and Gil were sent into exile and lived in London. Now
universally credited with redefining what is known as Brazilian music, it laid the groundwork for a renaissance of Brazilian popular music both at home and abroad. Caetano and Gil returned to Brazil in 1972 and
found that Tropicalismo had remained intact and their audience had continued to grow. Although Tropicalismo set the tone for Caetano's career, his music has evolved greatly over the years. Incorporating elements of rock, reggae, fado, tango, samba canao, baiao and rap with lyrics containing some of the best poetry in a musical tradition rich in verse Caetano's music is sometimes tradi?tional, sometimes contemporary, often
hybrid. At once an astute social commentator and balladeer of highly emotive love songs, Caetano is one of the most respected poets in the Portuguese language. Indeed he is one of only a handful of artists who has resolved how to be musically modern and still unde?niably Brazilian.
Veloso followed his 1999 Grammy Award-winning Nonesuch release Livro, an album which garnered widespread critical acclaim in the US and brought with it his first-ever US tour, with the score for the Carlos Diegues film Orfeu.
In Spring 2001, Nonesuch released Noites do Norte (Nights of the North), a meditation
on themes of race, slavery and Brazil's quest for a national identity. Caetano's current release is Omaggio a Federico e Giulietta, a live recording made in 1997 in Rimini, in honor of two masters of Italian cinema, Federico Fellini and Giulietta Masina.
Caetano's long-awaited memoir, Tropical Truth: A Story of Music and Revolution in Brazil, has been published by Knopf this Fall, alongside the Nonesuch release of a new two-CD set, Live in Bahia, and the cur?rent month-long national tour, signaling a period of unprecedented activity in the US.
Tonight's performance marks Caetano Veloso's UMS debut.
Touring Crew
Andre Stefenon Botto, Light Engineer
Wlademiro Furquim Da Silva, "Vava," Sound Engineer
Flavio Ricardo Menezes Rego, Sound Engineer
Jorge Luiz Pereira Ribeiro, Roadie
Amilcar De Oliveira Cruz, Roadie
Tour Management
Gilda De Queiros Mattoso, Public Relations Joao Franklin Araujo Cavalcanti, Tour Manager Deborah Cohen, Road Manager
Gidon Kremer violin Sabine Meyer, clarinet Oleg Maisenberg, Piano
Sunday Afternoon, November 17 at 4:00 Rackham Auditorium Ann Arbor
Claude Debussy
Premiere rapsodie
Ms. Meyer, Mr. Maisenberg
Maurice Ravel
Allegretto Blues: Moderato Perpetuum mobile: Allegro
Mr. Kremer, Mr. Maisenberg
Igor Stravinsky
Suite from L'Histoire du soldat (The Soldier's Tale) The Soldier's March The Soldier's Violin
Three Dances (Tango Waltz Ragtime) The Devil's Dance
Ms. Meyer, Mr. Kremer, Mr. Maisenberg
Alban Berg
Four Pieces, Op. 5
Sehr langsam Sehr rasch Langsam
Ms. Meyer, Mr. Maisenberg
Arnold Schoenberg Phantasie, Op. 47
Mr. Kremer, Mr. Maisenberg
Anton Webern
Four Pieces, Op. 7
Sehr langsam
Sehr langsam
Mr. Kremer, Mr. Maisenberg
Bela Bartok
"Contrasts," Sz. Ill
Verbunkos (Webertanz)
Sehr schnell
Ms. Meyer, Mr. Kremer, Mr. Maisenberg
27th Performance of the 124th Season
40th Annual Chamber Arts Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is presented with support from the William R. Kinney Endowment Fund.
Additional support provided by media sponsor WGTE 91.3 FM.
Special thanks to Ellwood Derr for leading this evening's Pre-performance Educational Presentation (PREP).
Mr. Kremer appears by arrangement with ICM Artists, Ltd.
Ms. Meyer appears by arrangement with creative partners in music.america.
Mr. Maisenberg appears by arrangement with Kunstleragentur Dr. Raab und Dr. Bohm.
Large print programs are available upon request.
Premiere rapsodie
Claude Debussy
Born August 22, 1862 in Saint Germain-en-
Laye, France Died March 25, 1918 in Paris
In his introduction to the score of Debussy's Clarinet Rhapsody, Graham Mackie has written:
In February 1909, Debussy was elected a member of the Conseil Superieur of the Paris Conservatoire and, in this capacity, was called on to serve on the jury at internal competi?tions. He was invited to write two test pieces for the 1910 clarinet contest; one for the interpretation class, the other [called simply Petite piece] for the sight-reading test...
Debussy obviously did not relish the prospect of adjudicating for on 8 July 1910 he wrote to his publisher, Jacques Durand: "On Sunday, (spare me a thought!) I will be hearing the Rhapsody for Clarinet in B-flat eleven times; I'll tell you about it if I'm still alive." The following week, on 15 July, he wrote again: "The clarinet contest was quite outstanding and, judging from the expression on the faces of my colleagues, the Rhapsody was a success! ...One of the competitors, Vandercruyssen, played it from memory with great musicianship. As for the others, their playing was accurate but mediocre."
The word "rhapsody," originally meaning the recitation of excerpts from a longer epic poem, was taken up in Romantic music as a name for a virtuosic composition with no strict formal structure. Yet sometimes (as in the case of some of Liszt's "Hungarian Rhapsodies") a musical sequence was adopted in which a slower, lyrical section was followed by a faster, more brilliant one. This is the sequence that Debussy chose as the basis of his composition; there is a slow and dream?like first melody whose main notes are from the pentatonic scale (the black keys of the piano); after a short interlude in a medium
tempo, we hear the melody of the fast sec?tion {Scherzando) which, in contrast, makes ample use of chromatic half-steps. After a brief recall of the first theme, the second one returns to close the piece.
Debussy subsequently orchestrated this Rhapsody, which is now more frequently heard in that concerto-like form.
Maurice Ravel
Born March 7, 1875 in Ciboure, Basses-Pyrenees, France Died December 28, 1937 in Paris
It is not universally known that Ravel wrote not one but two violin sonatas. An early sonata in one movement, from Ravel's stu?dent days, was long forgotten and published for the first time in 1975, the centenary year of the composer's birth. Yet although this work has now been available for a quarter of a century, everyone still refers to the familiar masterpiece from 1927 as "the" Ravel sonata for violin and piano.
Incidentally, these two works mark the beginning and the end, respectively, of Ravel's chamber-music output. They were also played for the first time by the same violinist, Georges Enescu in 1897 a 16-year-old prodigy and Ravel's fellow student at the Paris Conservatoire, and in 1927 a celebrated violinist and composer dividing his time between his native Romania and the French capital.
Enescu's most famous violin student, Yehudi Menuhin, was present as a boy of 11 when Ravel first showed Enescu his new sonata in 1927. As Menuhin later recalled in his autobiography Unfinished Journey, he was having a lesson with his teacher when,
Maurice Ravel suddenly burst into our midst, the ink still drying on a piano-and-
violin sonata which he had brought along... Enescu, chivalrous man as he was, craved my indulgence...then, with Ravel at the piano, sight-read the complex work, pausing now and then for elucidation. Ravel would have let matters rest there, but Enescu sug?gested that they have one more run-through, whereupon he laid the manuscript aside and played the entire work from memory.
The sonata became universally famous (and, in some quarters, infamous) for its central movement, "Blues." Certainly no one had ever included a blues in a violin sonata before, and Ravel didn't endear himself to conservative critics by this move. Yet he had been fascinated by jazz and blues for the better part of a decade and, unlike the con?servative critics, he did not think that American vernacular music was incompati?ble with the European classical tradition. A few years before the sonata, he had composed the opera L'enfant et les sortileges (The Child and the Enchantments), in which the teapot sang a ragtime and the china cup a foxtrot. In the "Blues" movement of the sonata Ravel gave a perfect rendition of the typical melodic and harmonic turns of the blues, while at the same time remaining French through and through a real stylistic miracle.
But the jazz influence is by no means restricted to this movement. The opening "Allegretto," which opens a graceful melody played by the piano's right hand, without accompaniment, contains a second motif, in which a single note is repeated in a striking rhythmic pattern. One commentator described this as "a mischievously percussive little figure from the same ragtime back?ground as Debussy's Minstrels" The devel?opment of these two distinct musical ideas is kept fairly simple throughout. Towards the end of the movement a soaring violin melody is superimposed on the materials heard previously, to help return the music to the idyllic state of the beginning.
On the other side of the "Blues" move?ment is a finale in perpetual motion that brings back some motifs from earlier move?ments such as the ragtime-like figure from the "Allegretto" and one of the characteristic licks from the "Blues." The uninterrupted sixteenth-notes of the violin start in a restricted melodic range, but they soon expand to include wider and wider arpeg?gios and higher and higher positions on the instrument. The energy constantly increases all the way to the end.
Suite from L'histoire du soldat
Igor Stravinsky
Born June 17, 1882 in Oranienbaum,
near St. Petersburg Died April 6, 1971 in New York
During the years of World War I, Stravinsky lived in Switzerland, unable to continue the large-scale projects that had catapulted him to world fame as the composer of the three great ballets Firebird, Petrushka and The Rite of Spring. Instead, he decided to write a short piece of musical theater that would not require large performing forces, would be easy to produce and to take on tour. He enlisted the help of Swiss novelist C.F. Ramuz, and together they created Chistoire du soldat (The Soldier's Tale), a work that did not fit any existing formal category. It was conceived as a combination of narra?tion, pantomime, dance, and music, exclud?ing singing. Stravinsky was inspired by some Russian folk tales from Afanasyev's classic collection, but he and Ramuz emphasized the universal (rather than specifically Russian) aspects of the story.
The Soldier (who also happens to be an excellent fiddler) is on his way home when he meets the Devil, disguised as an old man. The old man prevails upon the soldier to
surrender his violin, in exchange for a magic book that will bring him all the wealth in the world. The Soldier acquires the wealth, only to become quickly disillusioned. He loses his fortune, but recovers his violin after getting the Devil drunk during a card game. The Soldier cures a sick Princess with the sound of his violin, but loses the last round as the Devil takes hold of him just as he is about to reach his home village.
Stravinsky extracted two suites from L'histoire: one in nine movements for the original instrumentation (violin, double bass, clarinet, bassoon, cornet, trombone, and percussion) and another, in five movements, for clarinet, violin, and piano. This afternoon, we will listen to four of the five movements, with the third omitted. The latter version was made for Werner Reinhart, a wealthy supporter of Stravinsky who was also an excellent clarinet player. The entire work was dedicated to him, as were Stravinsky's Three Pieces for Solo Clarinet (1919).
Four Pieces, Op. 5
Alban Berg
Born February 9, 1885 in Vienna Died December 24, 1935 in Vienna
What made the Second Viennese School a "school" was not the fact that Alban Berg and Anton Webern studied with Arnold Schoenberg. The decisive factor was that long after the formal teacher-student rela?tionships had ended in 1908, the three com?posers remained close, showing one another their new works, constantly exchanging ideas, and in general, moving along parallel artistic paths. Both atonality and serialism -the school's principal innovations had yet to be developed at the time when the two younger composers took lessons from Schoenberg; it is significant that Berg and
Webern chose to follow their mentor's lead even when they were no longer his students.
Miniature form, as seen in Schoenberg's Six Little Piano Pieces, Op. 19, Webern's Four Pieces for Violin and Piano, Op. 7, or Berg's Four Pieces for Clarinet and Piano, Op. 5, was something all three composers were, to varying degrees, preoccupied with in the years after 1910. The goal of establishing new structural relationships among the tones (eventually resulting in the twelve-tone sys?tem) demanded, during this critical phase of the composers' evolution, the writing of works that were extremely brief. The sym?metrical eight-bar phrases of classical music seemed redundant; continuations already implied in a beginning did not need to be spelled out. In a miniature work, each and every note was crucial, and each had a structural significance all its own. Entire sonata movements could sometimes be compressed into the space of a few measures. And conversely, as Schoenberg said of another of Webern's miniatures, the Six Bagatelles for String Quartet, Op. 9: "A single gesture can become a whole novel, a single breath can express happiness in its totality."
Berg made his only contribution to atonal "miniaturism" with his clarinet pieces of 1913. (They were not performed until 1919, at a concert of Schoenberg's newly-founded Society for Private Musical Performances in Vienna.) The work makes use of Schoenberg's concept of the "emanci?pation of dissonance" (i.e. a harmonic lan?guage in which dissonances are no longer subject to classical rules of resolution). Accordingly, dissonant chords, made up of perfect and augmented fourths, can occupy a central position formerly reserved to triads.
The four movements an opening in moderate tempo, a slow piece, a quasi-scherzo (with a slower "mini-trio") and a complex, mysterious finale vaguely recall the outlines of a four-movement sonata cycle. Yet the emphasis is not on motivic
development (i.e. on getting from point A to point B) but rather on savoring each indi?vidual sound or motif as a self-contained event. At the same time, melody is never jet?tisoned: the piece abounds in singing lines for the clarinet, and, since all sonorities are made equal, Berg doesn't hesitate to use the traditional, very consonant major third prominently at several points in the piece.
Phantasie, Op. 47
Arnold Schoenberg
Born September 13, 1874 in Vienna Died July 13, 1951 in Los Angeles
By the time the master wrote his Violin Phantasy, both his star pupils were dead, and Schoenberg had become an emigre, "driven into Paradise," as he himself put it in one of his lectures. The American years were a personal and artistic struggle. The composer was in his sixties but had a wife and three young children to support. He taught composition at the University of California until the age of 70, and he wrote a number of works in a more accessible tonal idiom. At the same time, ever con?scious of his historic role as the creator of a new musical system, he continued to write twelve-tone music, despite the unpopularity of that idiom among concert audiences.
In the Phantasy for violin, written at the age of 75, Schoenberg's creative powers are undiminished, and the flow of ideas is as abundant as ever. As in his earlier twelve-tone works, serialism is just a technique that gives that flow of ideas a firm shape; it enables the composer to transcend the 19th century while preserving its commitment to expres?sivity. In fact, the first measure of the violin part is marked "passionato," measure five "dolce" and measure 25 "furioso" typically Romantic instructions, applied here to a
violin line constructed according to a new musical grammar.
The work consists of a sequence of short sections (variations on the material of the tone row), in turn dramatic, lyrical, playful and serious. Schoenberg first wrote out the virtuosic violin part filled with double-stops and harmonics as if he were composing a solo piece. He added the piano part later, but it is not simply an "accompa?niment," as he claimed: it contains its own idiomatic effects such as arpeggios, tremo?los, and massive chord progressions, accord?ing to the expressive demands of the music. Highly concentrated in form (though not as extremely aphoristic as the miniatures of the early 1910s), the Phantasy is, in a way, the summary of 50 years of compositional activity. It remained Schoenberg's last instrumental piece, followed only by a few shorter choral compositions.
Four Pieces, Op. 7
Anton Webern
Born December 3, 1883 in Vienna Died September 15, 1945 in Mittersill, near Salzburg
Instrumental technique for its own sake was always the farthest thing from Webern's mind. His art is characterized by extreme introspection, emotions calibrated with unmatched precision, and a search for new relationships among tones based on what Webern saw as the ineluctable consequence of music's evolution. Virtuosity would seem much too mundane a concern for an avant-gardist who abhorred all ostentation. And yet, a work like Four Pieces for Violin and Piano calls for two players whose mastery of their instruments is absolute. Of course, the difficulties are not of the same kind one might encounter in Paganini or
Rachmaninoff. Yet almost every note in the violin carries a special instruction: "on the fingerboard," "sul pontkelld" (near the bridge), "col legno" (with the wood of the bow), etc. Plucked notes and harmonies not only abound but are heard in fast alterna?tion in a way demanding a perfect control of the instrument. The subtle dynamic shad-ings and rhythmic intricacies in the piano part likewise require a consummate tech?nique and uncommon sensitivity.
Of the three Viennese composers, Webern stayed with miniature form the longest: the Six Bagatelles for String Quartet, Op. 9, the Five Pieces for Orchestra, Op. 10, and the Three Pieces for Cello and Piano, Op. 11, are all extremely brief.
The violin pieces are arranged in a slow-fast-slow-fast pattern, although the second piece contains numerous tempo changes, bringing the volatile spirit of the music into sharper relief. The work is rich in dynamic and textural contrasts. It begins with soft, muted violin harmonics, works its way up to a powerful dramatic climax in No. 2, and ends with one of Webern's favorite performance instructions: wie ein Hauch as an almost inaudible breath.
"Contrasts," Sz. Ill
B&a Bart6k
Born March 25, 1881 in Nagyszeirtmiklos,
Hungary (now Sinnicolau Mare, Romania) Died September 26, 1945 in New York
In 1938, the famous violinist Joseph Szigeti, who frequently performed sonata recitals with Bela Bartok, suggested to Benny Goodman that he commission a work from the Hungarian composer for violin and clar?inet with piano accompaniment. The result was Contrasts, Bart6k's only chamber work involving a wind instrument. The initial
agreement with Goodman (who paid Bartok a fee of $300) called for a piece in two movements (slow-fast) after the pattern of the two violin rhapsodies (which, like Debussy's Clarinet Rhapsody, followed a tra?dition established by Liszt). It is in that two-movement form that the work was first heard in public, in New York on January 9, 1939, with pianist Endre Petri standing in for the composer. The original title was Rhapsody Two Dances. The middle move?ment was already written but temporarily withheld by Bartok.
The first movement is called "Verbunkos," after a dance genre that had a decisive influence on all forms of Hungarian music in the 19th century. (The name comes from the German Werbung [recruit?ing], since, according to tradition, this dance was used at gatherings where young men were recruited for the army.) In turning to the verbunkos, Bartok was reclaiming a tra?dition that he had cultivated in his early works but then publicly repudiated, only to return to it in several works written during the last decade of his life. The movement is based on two themes. The first melody has the typical dotted pattern of the original verbunkos dance, while the second relates to the folk-music idiom of the violin rhap?sodies. There is a brilliant clarinet cadenza at the end.
The second movement ("Piheno" or "Relaxation") opens with a theme whose melodic material is highly chromatic and whose meter is constantly changing. Despite these "modern" traits, the melody was clearly inspired by Hungarian folksong. The music becomes more agitated in the brief second section, while the third contains a near-literal quotation from Bart6k's piano piece "From the Island of Bali," from Mkrocosmos. For all their "contrasts," however, all three sections of "Relaxation" are variations on the same descending-ascending idea.
The last movement, "Sebes" (Fast), calls for a scordatura on the violin (the E string is tuned down to E-flat and the G string up to G-sharp). The resulting diminished fifths instead of the expected perfect ones are a "play on tones," as it were, analogous to the plays on words which Bartok loved so much. After the opening measures, the violin switches to another instrument, tuned nor?mally. One of the episodes, in 138 time, exemplifies the so-called "Bulgarian rhythm," which Bartok employed in several of his works. Then it is the violinist's turn to play a cadenza. After a transitional meno mosso (less fast), the tempo speeds up considerably in the final section, and the work ends with a brilliant flourish.
Program notes by Peter Laki.
Of all the world's leading violinists, Gidon Kremer has perhaps had the most unconventional career. Born in Riga, Latvia, he began studying at the age of four with his father and grandfather, who were both distinguished string players. At the age of seven, he entered Riga Music school. At 16 .he was awarded the First Prize of the Latvian Republic and two years later he began his studies with David Oistrakh at the Moscow Conservatory. He went on to win such prestigious awards as the 1967 Queen Elizabeth Competition and the First Prize in both the Paganini and Tchaikovsky International Competitions.
This success launched Gidon Kremer's distinguished career, in the course of which he has established a worldwide reputation as one of the most original and compelling artists of his generation. He has appeared on virtually every major concert stage with the most celebrated orchestras of Europe and America. He has also collaborated with many distinguished conductors, including
Leonard Bernstein, Herbert von Karajan, Christoph Eschenbach, Nikolaus Harnoncourt, Lorin Maazel, Riccardo Muti, Zubin Mehta, James Levine, Valery Gergiev, Claudio Abbado and Sir Neville Marriner.
Gidon Kremer's repertoire is unusually extensive, encompassing the entire standard classical and romantic violin works, as well as music by 20th-century masters Henze, Berg and Stockhausen. He has also champi?oned the works of living Russian and Eastern European composers and has performed many important new compositions; several of them dedicated to him. He has become associated with such diverse composers as Alfred Schnittke, Arvo Part, Giya Kancheli, Sofia Gubaidulina, Valentin Silvestrov, Luigi Nono, Aribert Reimann, Peteris Vasks, John Adams and Astor Piazzolla, bringing their music to audiences in a way that respects tradition yet remains contemporary. It would be fair to say that no other soloist of his international stature has done as much for contemporary composers in the past 30 years.
An exceptionally prolific recording artist, Gidon Kremer has made more than
100 albums, many of which brought him prestigious international awards and prizes in recognition of his exceptional interpreta?tive powers. These include the Grand prix du Disque, the Deutscher Schallplattenpreis, the Ernst-von-Siemens Musikpreis, the Bundesverdienstkreuz, the Premio dell' Accademia Musicale Chigiana, the Triumph Prize 2000 (Moscow) and in 2001, the Unesco Prize. In February 2002 he and the Kremerata Baltica were awarded a Grammy for their latest Nonesuch recording, After Mozart, in the category of "Best Small Ensemble Performance."
In 1981 Mr. Kremer founded Lockenhaus, an intimate chamber music festival that continues to take place every summer in Austria. For two years, in 1997-1998, Mr. Kremer took over artistic leader?ship of the Gstaad Festival from its founder, Sir Yehudi Menuhin. In 1997 he founded the Kremerata Baltica chamber orchestra to fos?ter outstanding young musicians from the three Baltic States. Since then, Mr. Kremer has been touring extensively with the orchestra, appearing at many of the world's most prestigious festivals and concert halls. He has recorded a number of CDs with the orchestra for Teldec and Nonesuch. In 2002 Gidon Kremer will become the artistic leader of a new festival in Basel, Switzerland "les museiques."
Gidon Kremer plays a Guanerius del Gesii "ex-David," dating from 1730. He is also the author of three books, published in German, which reflect his artistic pursuits.
This afternoon's performance marks Gidon Kremer's seventh appearance under UMS auspices. Mr. Kremer made his UMS debut on April 28, 1983 as soloist with the Philadelphia Orchestra under the baton of Maestro Riccardo Muti.
Sabine Meyer is regarded as one of the most outstanding clarinet soloists of our time. After studying with Otto Hermann in Stuttgart and Hans Dainzer in Hanover, Ms. Meyer first became a member of the Bavarian Radio Symphony Orchestra in Munich and subsequently played with the Berlin Philharmonic as principal clarinetist and the ensemble's first female member. Since then she has given several concerts in all the important musical centers of Europe, Brazil, Israel, Canada, Africa, Australia, Japan and the US. She has also performed with numerous prominent orchestras, including the Chicago Symphony, the London Philharmonic, the NHK Symphony Orchestra Japan, Orchestre de la Suisse Romande, Berlin Philharmonic and the radio symphonies of Vienna, Basel, Warsaw, Prague and Budapest.
In September 2000, she was Artist-in-Residence at the Lucern Festival, performing a wide variety of music, including the world premiere of Toshio Hosokawa's Metamor?phosis, performed with the Chamber Orchestra of Europe under conductor Heinz Holliger.
Ms. Meyer is also a committed chamber music player and has performed with Barbara Hendricks, Bruno Canino, Aloys Kontarsky, Heinrich Schiff, Gidon Kremer, the Alban Berg Quartet, the Hagen Quartet and the Vienna String Sextet.
In 1983, she founded Trio di Clarone with her husband, Reiner Wehle, and broth?er, Wolfgang Meyer. The Trio performs tra?ditional to contemporary works, inviting musicians and artists to collaborate with them on special projects. Their most recent crossover project was Bach 2000, a collabo?ration with jazz clarinetist Michael Riessier. In 1988, she founded Blaserensemble, a col?laboration between leading woodwind soloists from different countries. This ensemble regularly performs internationally
with a varied repertoire, ranging from clas?sical to the avant-garde.
Sabine Meyer has led master classes in Germany, Austria, Italy, Japan and the US and was awarded the ECHO prize for "Artist of the Year" for her exemplary recordings of the Stamitz concertos with the Academy of St. Martin-in-the-Fields and Iona Brown.
This afternoon's performance marks Sabine Meyer's UMS debut.
Born in Odessa, Russia, Oleg Maisenberg began piano lessons at the age of five with his mother and completed his studies at the Gnessin Institute in Moscow. In 1967 he won Second Prize at the Inter?national Schubert Competition in Vienna; in the same year he won First Prize at the Music of the 20th-century Competition.
In 1981 he emigrated to Vienna. He has appeared with the Israel Philharmonic, the Philadelphia Orchestra, the London Symphony Orchestra, the Vienna Symphony, and the Berlin Philharmonic, and has per?formed under the batons of Christoph von Dohnanyi, Zubin Mehta, Eugene Ormandy,
Neeme Jarvi, and Nikolaus Harnoncourt.
Devoting much of his time to chamber music, he has collaborated with artists such as Hermann Prey, Robert Holl, Heinz Holliger and Andras Schiff, as well as con?tinuing his relationship with violinist Gidon Kremer, which has existed since his early years in Russia. Mr. Maisenberg has appeared at all the major festivals, including Salzburg, Vienna, Lucerne, Berlin, Florence, Edinburgh and the Sviatoslav Richter Festival in Moscow. He has made several recordings of Schubert, Schumann, Liszt, Rachmaninoff, Stravinsky, Scriabin, Berg, Webern, Schoenberg, Milhaud and others under the Orfeo, Harmonia Mundi, Teldec, Deutsche Gramophon, ECM and Philips labels.
Highlights of his career have included a 12-concert recital series at the Weiner Konzerthaus during the 19941995 season, in which each concert was dedicated to a different composer. This series was later brought out as a commemorative edition on a five-CD set. In 1995, he was named Honorary Member of the Vienna Konzerthaus Society.
This afternoon's performance marks Oleg Maisenberg's UMS debut.
Orchestre Philharmorrique de Radio France
Myung-Whun Chung, Direction
Valerie Hartmann-Claverie, Ondes Martenot Roger Muraro, Piano
Claude Debussy
Olivier Messiaen
Tuesday Evening, November 19 at 8:00 Orchestra Hall Detroit
La mer
De 1' aube a midi sur la mer
Jeux de vagues
Dialogue du vent et de la mer
Turangalila-symphonie (rev. 1990) Introduction Chant d'amour I Turangalila I Chant d'amour II Joie du sang des etoiles Jardin du sommeil d'amour Turangalila II
Developpement de l'amour Turangalila III Final
Ms. Hartmann-Claverie Mr. Muraro
28th 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.
This concert by Orchestre Philharmonique de Radio France is presented with the cooperation of the Detroit Symphony Orchestra.
Orchestre Philharmonique de Radio France appears by arrangement with Columbia Artists Management, Inc.
Large print programs are available upon request.
Forest Health Services presents the 124th Annual Choral Union Series.
Innovation, Spirituality, Mystery
by Peter Laki
To hear a work by Messiaen is to embark on a unique journey. Here was a composer who, at the age of 36, had written a book entitled Technique of My Musical Language and had every right to use the possessive pronoun. He had in fact created a new musical language that was all his own, based on a careful study and ingenious application of ancient Greek and Indian rhythmic theories, as well as a brilliantly original extension of classical harmony. Although some of Messiaen's musical inventions appear in his music from the 1930s and early '40s (especially in Poems for Mi and the Quartet for the End of Time), he had not fully realized everything his theories made possible at that point. Yet nothing was further from Messiaen than writ?ing music "by the book." The new technical means were just that: means that allowed him to express things that had never been conveyed in music before. In later years, he developed other means, essentially to the same end: he became a passionate student of birdsong, trav?eling all over the world to record rare specimens and discovering what to him was a source of pure and transcendent music carrying a profound spiritual message.
It is well known that Messiaen was a devout Roman Catholic all his life. He did not set the traditional Latin liturgy to music, but all his works are imbued with the Catholic faith. (Messiaen served as the organist at the Church of La Trinite in Paris for 60 years.) In the 1930s, Messiaen frequently focused on the Christian interpretation of love, after marrying
his first wife, Claire Delbos and having a son with her. In the song cycle Poemes pour Mi, for which Messiaen wrote both the music and the words, the composer explored the mystical and spiritual connections of the sacrament of marriage. Its sequel, Chants de terre et de del (Songs of Heaven and Earth), celebrated the mystery of new life.
Subsequently, Messiaen engaged in a profound reflection over the medieval leg?end of Tristan and Yseult. Much later, he explained to the French music critic Claude Samuel what this ancient Celtic legend meant to him:
Messiaen: The legend is the symbol of all great loves and for all the great love poems in literature or in music..I've preserved only the idea of a fatal and irresistible love, which, as a rule, leads to death and which, to some extent, invokes death, for it is a love that transcends the body, transcends even the limitations of the mind, and grows to a cosmic scale.
Samuel: Isn't this notion of human love in contradiction with your religious faith
Messiaen: Not at all, because a great love is a reflection a pale reflection, but neverthe?less a reflection of the only genuine love: divine love.
In characteristic fashion, Messiaen left the actual story of Tristan, Yseult, and King Mark out of his concept. ("In no way did I wish to rework Wagner's Tristan und Isolde or Debussy's Pelleas, to mention only the two greatest 'Tristans' in music") Instead, he pro?duced a gigantic triptych of works, and with it, the first great synthesis of his composition?al career, in which the composer's important technical innovations enabled him to repre?sent love on a "cosmic scale." The trilogy opened with another song cycle for voice and piano, Harawi, closed with Cinq Rechants (Five Refrains) for twelve solo voices, and had the monumental Turangalila-symphonie,
for large orchestra, piano and ondes Martenot solos, as its central panel.
Messiaen was always extremely reticent about discussing his personal life. Yet it is known that the beginning of his work on the Tristan legend corresponds with the incurable illness of his first wife. It was around that time that he first met Yvonne Loriod, an exceptionally gifted pianist who was a member of his class at the Conservatoire; however, the composer, unshakably commit?ted to the sacrament of marriage, could express his feelings only in music. (Messiaen and Loriod got married in 1962, three years after Claire Delbos's death.) The composer never spoke in public about the intense suf?fering he must have gone through during the years of his "Tristan" trilogy.
In his later works, such as Chronochromie, Des canyons aux etoiles (From the Canyons to the Stars) or the opera Saint Francois d'Assise, Messiaen avoided the exuberant "Romantic" moments that can still be found in Turangalila, especially in the ecstatic out?bursts of Movements 5 and 10. Yet other movements, particularly "Turangalila I-III," anticipate the multi-layered complexities that were to come. And the piano figurations in Movement 4, marked "like a birdsong," prophesy the new turn Messiaen's style would take after 1950.
The very length and luxuriant orches?tration of Turangalila tell us that we are witnessing an exceptionally ambitious undertaking. Even more importantly, the immense richness and irresistible sweep of the music make it a pivotal work not only in Messiaen's artistic evolution but in the entire history of 20th-century music as well.
La mer Claude Debussy
Born August 22, 1862 in Saint Germain-en-
Laye, France Died March 25, 1918 in Paris
Tonight marks the 20th UMS performance of Debussy's La Mer. The Chicago Symphony Orchestra under the baton of Frederick Stock gave the UMS premiere of the piece on May 9, 1934 in Hill Auditorium.
The great French poet Charles Baudelaire wrote in his Flowers of Evil (Les Fleurs du Mai): "Homme libre, toujours tu cheriras la mer!" (Free spirit, you shall always cherish the sea!). The poem compares the unfath?omable depths of the human soul to the "richesses intimes" (secret riches) of the sea. Another great poet, Paul Verlaine, wrote: "La mer est plus belle que les cathedrales" (The sea is more beautiful than the cathe?drals); like Baudelaire, Verlaine used the sea as a metaphor for human emotions.
These poems are only two among many artistic representations of the sea, a constant preoccupation of painters from Turner to Hokusai to Monet. Debussy admired the works of all these painters and poets. He set -the Verlaine poem to music in 1891, and when the score of La mer was published, he requested that one of Hokusai's prints, "The Hollow of the Wave off Kanagawa," be reproduced as part of the cover design.
Poetic and pictorial sources provided at least as important impulses for La mer as did actual observation of the sea. (In addi?tion, Debussy's private life at the time of composing this work certainly did not lack a certain turbulence. In 1904 he left Lily, his wife of five years, and moved in with Emma Bardac, the wife of a wealthy financier. Lily attempted suicide; in the ensuing scandal many of Debussy's friends broke off rela?tions with him. Debussy and Mme. Bardac had a daughter, whom they named
Chouchou, on October 30,1905--two weeks after the premiere of La mer. The parents got married, after their respective divorces were completed, in January 1908.)
Many of Debussy's orchestral works are cast in three movements: the Three Nocturnes, or the three Images, the second of which (Iberia) is a triptych in itself. But crit?ics have noted that in La mer, Debussy came closer to writing an actual symphony than ever before. This view arose in part from the strong cohesion between the three move?ments: despite their differences in character, they are united by a strong drive from the first minute to the last. The calm sea of the first movement is followed by the "play of the waves," and then by a more agitated "dialogue" between the wind and the sea.'
Debussy's compositional technique in La mer also contributes to our "symphonic" impression of the piece. Rarely did he make such ample use of motivic development as here. More than once, the surge of the waves is suggested by the repetition and transfor?mation of motifs which derive from the classical tradition, although the motifs employed are highly individual and the ways in which they are developed are totally inde?pendent from classical sonata form.
Like a symphony, La mer starts with a slow introduction, with a gradual accelerando leading into the main section. Flutes and clarinets intone the first theme, a pentatonic idea--that is, playable on the black keys of the piano--in parallel fifths. (Parallel fifths had for long time been anathema in music; Puccini had been one of the first to use them in La Boheme, premiered in 1896). A second theme, of great warmth, is introduced by the horns; a third one by the cellos, divided into four groups. The lilting rhythm of this last theme builds up to the movement's climax, after which the tempo becomes slow again, as at the beginning. The horns on one hand, and the flutes and clarinets on the other, repeat their respective themes once more before the movement ends.
The second movement's trajectory is roughly similar to that of the . A number of brief motifs are introduced by distinct instrumental groups (in this case, the english horn, the oboe, the horns and a solo violin are some of the protagonists). In the first half of the movement, the tempo periodically accelerates and slows down, suggesting the play of the waves. The second half is a single accelerando that reaches a climax, only to fade back into a slower tempo and softer dynamics. The woodwinds evoke some frag?ments from the themes they played earlier, enveloped by the ethereal sounds of the harp and the glockenspiel.
In the last movement, marked Anime et tutnultueux (Animated and tumultuous), the sea gets rather rough at times. For the first time, the melodies are in real contrast with one another, expressing the idea of "dialogue" contained in the title. The languorous lyrical theme of the high woodwinds is pitted against a more angular melody played first by the trumpet, and later by bassoons, horns, and cellos. (This melody has already been heard in the first movement.) Again, the waves get stronger and stronger until the climactic moment, but this time the music does not fade away; the piece ends with a powerful fortissimo.
It is said that Debussy's father wanted the young Achille-Claude to become a sailor. Had this come to pass, La mer probably would never have been written. Debussy's contemporary, Albert Roussel, who had abandoned a career in the French Navy to devote himself to composition, was working on his first symphony at the same time Debussy was composing La mer. But the former seaman had no intentions of cele?brating the sea; instead, he called his work Lepoeme de laforet (The Poem of the Forest).
1 The original titles of the three movements expressed these con?trasts even more sharply. Debussy had planned to call the first movement "Mer belle aux lies Saiiguinaires" (Calm Sea around the Sanguinary Islands [Corsica and Sardinia]), and the last, "Le vent fait darner la mer" (The wind makes the sea dance).
Turangalila-symphonie (rev. 1990) Olivier Messiaen
Born December 10, 1908 in Avignon, France Died April 28, 1992 in Clichy, Hauts-de-Seine
Tonight marks the UMS premiere ofMessiaen's Turangalila-symphonie.
In 1945, the 37-year-old Messiaen received a commission from Serge Koussevitzky for the Boston Symphony Orchestra. Koussevitzky set no deadline for the work, and told the composer: "Choose as many instruments as you desire, write a work as long as you wish and in the style you want."
Messiaen worked on his score for two years, completing it on November 29, 1948. Koussevitzky, scheduled to conduct the first performance, became ill at the last minute and his assistant, Leonard Bernstein, had to take over. The work was extremely well received and soon became one of the most often-performed new scores in the world, in spite of the huge performing forces required and the enormous technical difficulties of the music.
As Messiaen explained, the title Turangalila comes from the 13th-century Indian music theorist Sarndageva, who combined two Sanskrit words to describe one particular rhythmic formula. Lila can mean "play" in a cosmic sense: "the play of creation, of destruction, of reconstruction, the play of life and death" but it also means "love." Turanga "is time that runs, like a galloping horse [and] that flows, like sand in an hourglass...movement and rhythm." The work, then, is a play of love, life, and death expressed through movement and rhythm one might add, a unique vision of love, life and death expressed through a unique approach to movement and rhythm.
Turangalila is the first in a long series of orchestral works by Messiaen containing a
concerto-sized (but not concerto-like) piano solo written for Yvonne Loriod. With this work and the ones that followed it {Reveil des oiseaux, Sept haika'i, and especially Des canyons aux etoiles), Messiaen placed the relationship between the piano and the orchestra on an entirely new footing. An instrument that Messiaen used less frequently but always to great effect is the ondes Martenot (Martenot waves), an electronic instrument invented by Maurice Martenot (1898-1980). The instrument consists of two units, a keyboard and a ribbon con?troller. The New Grove Dictionary of Music further explains:
The keyboard controls the frequency of a variable oscillator; the signal is then ampli?fied and radiated as sound from a loud?speaker.... The right hand plays both the rib?bon and the keyboard, of which each key is capable of slight lateral movement, micro-tonally shifting the pitch and enabling the performer to create a vibrato. Wide glissan-do sweeps and expressive portamentos are achieved by sliding the ribbon laterally by means of a ring for the index finger.... The left-hand controls, accessed from a pull-out drawer, feature switches and potentiometers that govern articulation, dynamics, envelope [the variation of amplitude in time] and timbre.
The ondes Martenot plays a very important role in the work. As Messiaen wrote,
Everyone is aware of it in those moments of paroxysm when it dominates the fortissimo with its expressive and high-pitched voice. But it is also used in the serious and in the sweetly lyric passages, for velvety glissandi, for tone color, and for echo themes. In the sixth movement the theme of love uses two special speakers of the ondes. Finally, I have made extensive use of its metallic quality: for each sound there is a corresponding metallic resonance from within the speaker, giving it a halo of harmonics. Strange, mys?terious, unreal in their sweetness, cruel, lac-
erating, terrifying in their strength, the metallic timbres are without doubt the most beautiful of the instrument.
In addition to the two main solo instruments, the vibraphone', the celesta; and the jew de timbres (glockenspiel1) are prominent in the work, as are a variety of drums, cymbals, gongs, wooden blocks and maracas (rattles). The emphasis on percussive and metallic sounds reflects the profound influence of the Balinese gamelan orchestras on Messiaen. This group of instruments is frequently treated as a separate unit, contrasted with the strings and winds at different points of the work.
Turangalila is in ten movements, forming several interlocking series. The opening and closing movements frame two movements inscribed "Chant d'amour" (Song of Love), three entitled "Turangalila" and three more, each with its own poetic title. The move?ments grouped together under similar head?ings develop certain technical or aesthetic ideas in ever-changing ways, and their alter?nation ensures a great diversity of musical colors. (Color was an extremely important concept to Messiaen, who discussed it at great length with Claude Samuel in a book of interviews that, not coincidentally, is enti?tled Olivier Messiaen: Music and Color.)
Diversity, however, is counterbalanced by unity, thanks to a number of main motifs that pervade the entire work almost like Wagnerian leitmotifs. (In this sense, Messiaen definitely pays tribute to the two great earli?er musical "Tristans," the operas of Wagner and Debussy, both of which use leitmotifs prominently.) Messiaen himself identified and labeled the principal motifs, or "cyclic themes," of the work. The "Introduction" announces two of these: first what the com?poser called the "statue motif," an austere sequence of parallel thirds played by the trombones (Ex. 1), and preceded by charac?teristic glissandos on the ondes Martenot.
Ex. (tl -
The image of a "statue" came from Mozart's Don Giovanni, in which the statue of the Commendatore appears to challenge the Don and send him to hell, but also from a story by Prosper MeYimee (the author of the original Carmen), in which a statue of Venus avenges a wrongdoing in a most hor?rible fashion. Musically, Messiaen traced these parallel thirds to the "Catacombs" from Mussorgsky's Pictures at an Exhibition (orchestrated by Ravel), but he might have mentioned Wagner's Ring of the Nibelung as well, where one of the important leitmotifs consists of sonorities quite similar to these.
The second theme is the "flower" theme, played in the "Introduction" by the woodwinds who are asked to "caress" the short notes (Ex. 2).
This is followed by the first great piano cadenza which incorporates the flower theme, and then by an extended section of complex rhythmic polyphony whose ele?ments are derived from an ancient Indian rhythmic treatise that Messiaen had studied extensively during the 1930s. (Indian music contained many rhythmic patterns that were not based on the halving of durational val?ues as most Western patterns are but involve the addition or subtraction of small units; Messiaen made use of this principle in a great many of his works, creating a distinctly new sense of musical time.) This complex section ends abruptly with a fast glissando
Ex. 83
for piano and woodwinds, cut off by the percussion.
Movement 2, "Chant d'amour I" (Song of Love I) brings, after a rhythmically com?plex introduction, an alternation of a refrain with two episodes. The refrain itself is in two parts: an agitated motif and a striking slow idea played by strings and ondes. It is the first appearance of another "cyclic theme," the motif of love (Ex. 3).
This melody is distinguished by its strong attachment to the tonality of F-sharp Major, colored by special harmonies from Messiaen's system illuminating that tonality from unexpected angles. The fast and slow themes may represent the passionate and the transfigured aspects of love, respectively. One of the episodes is based on the ferocious central part of Messiaen's first great orchestral work, Les Offrandes oubliees (The Forgotten Offerings) of 1930. All the themes are intense?ly developed, until at the point of culmi?nation Ex. 3 appears played fortissimo by the entire orchestra and the ondes. The move?ment closes with a final burst of energy.
Movement 3 is the first of three move?ments labelled "Turangalila," after the Indian rhythmic formula. This "rhythmic study" opens as pure chamber music, with a "dreamy" dialog between clarinet and ondes, with metallic timbre. The trombones soon enter with a powerful theme, juxta?posed with the "gamelan" ensemble led by the piano. After a brief return of the earlier "dreamy" theme, a magical new idea appears, as the sinuous theme of the oboe and flute are complemented by the continu?ous motion of the piano and celesta. Several themes, including the "statue" motif, are then developed simultaneously, before they are cut off by the sudden return of the initial "chamber-music" sonority.
In the opening of Movement 4, "Chant d'amour II," the French musicologist Harry Halbreich, a former Messiaen student and the author of one of the best books on the composer, heard, "somewhat irreverently, an echo of An American in Paris (turned into a Frenchman in Boston)." The similarity is undeniable though only momentary. The theme has an unmistakable scherzo character. Messiaen derived the form of the entire movement as deriving from the scherzo; the jaunty opening idea is opposed to two inter?connected "trio" sections. The first of these has a full scoring dominated by the seductive siren sound of the ondes Martenot. Motivically, it is a variant of the "love" theme. The second "trio" is another lyrical idea played by eight solo strings (seven vio?lins and one cello). Soon the two trios and the jaunty scherzo are all combined, com?plete with some ornamental piano figura?tions, marked prophetically "like a birdsong." At the climactic moment, this complex web of sound is suddenly interrupted by a second piano cadenza that has no thematic connec?tions to the rest of the movement. It is, rather, a personal reaction to what has just happened. As a coda, the three main themes ("flower," "statue" and "love") are reiterated as brief reminders before the ethereal clos?ing arpeggio of the movement.
We reach the work's center of symmetry with two movements of totally opposite character, each a gripping expression of an extreme psychological state. Movement 5, "Joie du sang des etoiles" (Joy of the Blood of the Stars), represents ecstatic joy. It sur?prises by being more clearly tonal and more regular in its meter than any other move?ment. The parallel thirds of the "statue" theme are energized into a wild melody repeated maniacally and passed back and forth between the various sections of the orchestra. The ondes Martenot screams, the orchestra unleashes passionate chromatic passages as the music reaches the peak of
ecstasy. At that moment a new piano caden?za erupts (this time accompanied by the soft roll of the bass drum). The parallel thirds of the "statue" theme are treated with a fury and a sense of abandon that seem to surpass even the preceding orchestral development. And then, a moment of surprise: the tempo suddenly slows down and the statue theme again becomes "statuesque," borne by the powerful blocks of brass sonorities and cul?minating on a clear D-flat Major chord.
The title of the slow Movement 6, "Jardin du sommeil d'amour" (Garden of Love's Sleep), follows the same grammatical construction as the title of the previous movement, to emphasize the relationship of the two, which is one of total contrast. The entire movement is devoted to the tender "love" theme, played by the muted strings and the ondes Martenot in a slow tempo whose tranquility nothing can disturb; the piano adorns the texture with its magical stylized birdsongs. The first flute and first clarinet add sensual melodic flourishes of their own. The occasional strokes of the tri?angle and the temple blocks seem to occur at random intervals, but in reality follow a highly organized pattern in which the dura?tions either increase or decrease by one six?teenth-note value at a time. (The attacks in one of the temple-block parts become grad?ually more frequent, by almost unnoticeable increments, while those of the other temple-block player move further apart.) Hidden patterns such as these contribute more than a little to the sense of ordre, beaute, luxe, calme et volupte that pervades this move?ment. (The French words order, beauty, luxury, calm and intense pleasure are from one of Charles Baudelaire's most famous poems, L'invitation au voyage, which, we may say without exaggeration, was of defin?ing importance to French artists of the last one hundred-plus years.)
Messiaen's commentary to this move?ment is particularly poetic:
The two lovers are wrapped in the sleep of love. A landscape has issued from them. The garden that surrounds them is called Tristan; the garden that surrounds them is called Isolde. This garden is full of shadows and lights, plants and new flowers, and melodious birds of bright colors.... Time slips by, forgotten. The lovers are outside time; let's not wake them.
Alas, the lovers must awaken in Movement 7, "Turangalila II." A piano cadenza opens this movement; it is made up largely of "birdsong" motifs, but instead of singing the lovers to sleep, they now seem to be alerting them to danger. There is some?thing disquieting in the orchestral parts: the painful chromatic descent of the ondes Martenot (later answered symmetrically by a chromatic ascent), the menacing percus?sion solos, an eerie counterpoint with woodwind, the appearance of the "statue" motif and the brutal stroke of the bass drum which abruptly brings the movement to the end all this suggests high drama. Messiaen likened the mood to Edgar Allen Poe's horror story The Pit and the Pendulum, in which a prisoner experiences fright in the extreme. This movement is the shortest of the ten, but it manages to create considerable tension.
Movement 8, "Developpement de l'Amour" (Development of Love), is, in a way, the culmination point of the sympho?ny. As Messian follows his shortest move?ment with his longest, he takes up all his leitmotifs from the previous movements and "develops" them as a classical composer would in a development section; the love of Tristan and Yseult also "develops" in the process, as their love, in Messiaen's words, "grows steadily into infinity." The frequent changes in tempo and texture indicate the full range of conflicting emotions the souls have to traverse. Attacks marked charnel et terrible (carnal and terrible) escalate to a monumental climax where the transcendent love theme is proclaimed in all its majesty.
The final sonorities of the movement, according to Messiaen, suggest "echoing vibrations in the caves of oracles...reso?nances from the languages of beyond...the 'statue theme' leans over the abyss."
Movement 9, "Turangalila III," returns to the chamber-music quality in "Turangalila I," and also recalls the percus?sion solos from "Turangalila II." The wood?winds, the gamelan instruments and, of course, piano and ondes are the main pro?tagonists; the strings enter in the second half of the movement, then only represented by a few solo players, in what is a particularly luminous, shimmering orchestral texture. The percussion continues the complex incremental patterns of the earlier move?ments, but the other instruments eventually settle into a straightforward and quite regu?lar 24, accentuated by a woodwind motif made up of repeated staccato notes. The movement is cut off abruptly in the middle of a major crescendo.
In Movement 10, "Final," the parallel thirds of the "statue theme" lose their men?acing nature for good and are transformed into a dance of joy, a little like in Movement 5 but at a slightly more moderate tempo. Tonality is embraced again: the main melody is clearly in F-sharp Major (which to Messiaen was the most luminescent of all keys). An enormous crescendo leads to the final appearance of the love theme in a very slow tempo culminating in the fortissimo of the entire orchestra with ondes, bringing about the climactic ending of the monu?mental work.
Program notes by Peter Laki.
1 The vibraphone is a set of tuned metal bars arranged similarly to a piano keyboard and amplified by resonators. It also has a vibrating motor that adds a characteristic pulsation, and is struck by mallets.
:The celesta is a keyboard instrument in which the hammers strike metal bars suspended over resonators.
1 Messiaen means a keyboard glockenspiel, that is, a set of tuned metal bars controlled by a keyboard mechanism and played like a piano.
Myung-Whun Chung began his musical career as a pianist, making his debut with the Seoul Philharmonic at the age of seven. In 1974 he won the second prize at the Tchaikovsky piano com?petition in Moscow. After his musical studies at the Mannes School and at The Juilliard School in New York, he became Carlo Maria Giulini's assistant in 1979 at the Los Angeles Philharmonic and two years later he was named Associate Conductor.
He was Music Director of the Saarbriicken Radio Symphony Orchestra from 1984 to 1990, Principal Guest Conductor of the Teatro Comunale of Florence from 1987 to 1992 and Music Director of the Opera de Paris-Bastille from 1989 to 1994. The year 2000 marked his return to Paris as Music Director of the Orchestre Philharmonique de Radio France. His love for Italy has been at the basis of his extensive work in that country for many years, including, since 1997, his appointment as Principal Conductor of the Santa Cecilia Orchestra in Rome. Outside Europe, he has been increasingly committed to musical and social causes in Asia. Music Advisor of the Tokyo Philharmonic Orchestra as from this season, he has also founded the Asia Philharmonic Orchestra, a special project which every year brings together musicians of Asian countries who find through music the means to overcome historical barriers.
He has conducted virtually all the world's leading orchestras, including the Berlin Philharmonic, Concertgebouw, all the major London and Parisian orchestras, Munich Philharmonic, La Scala, Bayerisch Rundfunk, Vienna Philharmonic, Boston Symphony, Chicago Symphony, Metropolitan Opera, Cleveland Orchestra, New York Philharmonic and Philadelphia Orchestra.
An exclusive recording artist for Deutsche Grammophon since 1990, his numerous works have gained many interna?tional awards. His recent releases include a Dvorak series with the Vienna Philharmonic, of which Symphony Nos. 6 and 8 won a Grammophotie award.
He has been the recipient of many hon?ors and prizes for his artistic work, including the Premio Abbiati and the Arturo Toscanini prize in Italy; in 1991, the Association of French Theatres and Music Critics named him "Artist of the Year" and in 1995 he won "Victoire de la Musique."
Deeply sensitive to humanitarian and ecological problems of our age, Myung-Whun Chung has devoted an important part of his life to these causes. In 1994 he launched a series of musical and environ?mental projects in Korea for youth. He has served as Ambassador for the Drug Control Program at the United Nations (UNDCP) since 1992. In 1995, he was named "Man of the Year" by UNESCO and also "Most Distinguished Personality" by the Korean press. In 1996, he received the "Kumkuan," the highest cultural award of the Korean government for his contribution to Korean musical life. Maestro Chung now serves as Honorary Cultural Ambassador for Korea, the first in the Korean government's history.
Tonight's performance marks Myung-Whun Chung's UMS debut.
Valerie Hartmann-Claveriestudied piano, harp, ondes Martenot and chamber music at college followed by further study of the ondes Martenot at the Paris Conservatoire National Superieur de Musique with the esteemed Jeanne Loriod.
In 1973, Ms. Hartmann-Claverie gave her debut concert in Vienna, and now per?forms throughout Europe with prestigious orchestras such as the London Symphony, Berlin Philharmonic, Boston Symphony, New York Philharmonic, Mozarteum Orchestra Salzburg, New Japan Orchestra, BBC Symphony Orchestra London, BBC Symphony Orchestra Manchester, Wiener Symphoniker, Orchestre National de France, and Orchestre Philharmonique de Radio France. She has collaborated with leading conductors such as Seiji Ozawa, Kent Nagano, Kurt Masur, Marek Janowski, Myung-Whun Chung, and Zubin Mehta.
Ms. Hartmann-Claverie participated in the creation of Olivier Messiaen's opera Saint Francois d'Assise and she is considered a premiere interpreter of his work.
Additionally, Ms. Hartmann-Claverie was a member of the Loriod Sextet from its founding in 1974 until 1995, and in 1996 founded the quartet Ondes de Choc. As well as continuing her successful solo career, she teaches the ondes Martenot at the Paris Conservatoire National Superieur de Musique.
Tonight's performance marks Valerie Hartmann-Claverie's UMS debut.
A former student of Yvonne Loriod at the Paris Conservatory, Roger Muraro is considered one the finest performers of Olivier Messiaen's works. He is the recipient of the First Prize of the 1981 International Franz Liszt Competition in Parma, Italy as well as
the Grand Prix of the 1986 International Tchaikovsky Competition in Moscow.
Of Italian origin, Mr. Muraro has col?laborated with leading conductors such as Zubin Mehta, Pinchas Steinberg, Marek Janowski, Valery Gergiev, Yuri Ahronovitch, Marc Soustrot, Myung-Whun Chung, and Kent Nagano and with prestigious orches?tras such as the Philharmonics of Berlin and Vienna, the Gewandhaus of Leipzig, the Orchestre National de France, the Residentie Orkester of The Hague, Orchestre Philharmonique de Radio France, the RSO of Berlin, and the London Philharmonic Orchestra.
In the 0203 season, Mr. Muraro will make his first appearance with the Orchestre de Paris conducted by Yutaka Sado and per?forms as soloist on the current US tour of the Orchestre Philharmonique de Radio France.
Tonight's performance marks Roger Muraro's UMS debut.
The Orchestre Philharmonique de Radio France was founded in 1976 in order to give Radio France, the largest producer of music in France, a tool capable of respond?ing to the needs of a wide variety of pro?grams. The originality of this 138-member orchestra lies in its extreme flexibility. The orchestra can be divided into two or even three ensembles suited to very different repertoires. Thus, the Orchestre Philharmonique is able to present more than 50 different programs each season, ranging from the full symphony orchestra to much smaller instrumental ensembles.
Marek Janowski, who was appointed the orchestra's Music Director in 1989 (having already been its principal guest conductor since 1984), presented his last season with the Orchestre Philharmonique de Radio France
in 1999. The most notable feature of this 16-year collaboration was its intensive work on the Austro-German repertoire, with large-scale cycles devoted to Beethoven (from the complete symphonies to the series of concertante works performed with Francois-Rene Duchable at the Theatre des Champs-EIysees), Schubert (in particular the French premieres of the operas Fierrabras and Des Teufels Lustschloss), Schumann, Brahms, Weber, Wagner (the three complete Ring cycles in 1986,1988 and 1992, the first given in Paris since 1957), Bruckner and the Second Viennese school, culminating in the performance of Arnold Schoenberg's Gurrelieder at the Salle Pleyel on December 12, 1999 with the combined forces of the Orchestre Philharmonique de Radio France and the choirs of Radio France and of Berlin Radio.
At the same time the orchestra has maintained its pioneering tradition, and devotes a considerable part of its repertoire to works of the 20th century. Every year it gives the first performances of around 15 new works, including compositions by John Adams, George Benjamin, Luciano Berio, Elliott Carter, Edison Denisov, Franco Donatoni, Sofia Gubaidulina, Olivier Messiaen and Iannis Xenakis.
Myung-Whun Chung was appointed Music Director of the Orchestre in February 2000. The first recordings by Myung-Whun Chung and the Orchestre have just been released, including L'Arbre des songes and Tout un monde lointain by Henri Dutilleux with Renaud Capucon (violin) and Truls Mork (cello), and La Transfiguration de Notre Seigneur Jesus Christ by Olivier Messiaen with pianist Roger Muraro and the Chceur de Radio France, conducted by Myung-Whun Chung. In Fall 2002, Des Canyons aux etoiles by Olivier Messiaen with the pianist Roger Muraro, and Symphony No. 5 by Beethoven were released by DGG.
Recent recordings also include a special presentation box of four CDs of several concert recordings by the Orchestre Philharmonique de Radio France, conduct?ed by Marek Janowski, consisting of works by Schumann, Brahms, Wagner, Bruckner, Strauss, Sibelius, Faure, Debussy and Henri Dutilleux, and a disc-book for children enti?tled Leo, Marie and the Orchestra.
Tonight's performance marks the Orchestre Philharmonique de Radio France's UMS debut.
Please note that a com?plete listing of all UMS Educational activities will now be conveniently located within the concert program section of your program book. All Education activities are also posted on the UMS website at
"Forest Health Services presents the 124th Annual Choral Union series.
Hubbard Street Dance Chicago
Jim Vincent, artistic director
Friday, September 20, 8 p.m.
Saturday, September 21,8 p.m.
Sunday, September 22, 2 p.m.
Power Center
The Friday performance is sponsored
by DTE Energy Foundation.
The Sunday performance is sponsored
by Pfizer.
Media Sponsors WDET 101.9 FM and
Metro Times.
Anouar Brahem Trio Fann Wa Tarab: An Evening of Arabic Music
Anouar Brahem, oud Barbaras Erkose, clarinet Lassad Hosni, bendir & darbouka Sunday, September 22,4 p.m. Lydia Mendelssohn Theatre Presented in partnership with the Arab Community Center for Economic and
Social Services, with special support from the University of Michigan. Media Sponsor WEMU 89.1 FM.
Cullberg Ballet Mats Ek's Swan Lake
Tuesday, October 8, 8 p.m.
Power Center
Funded in part by the National Dance
Project of the New England
Foundation for the Arts.
Media Sponsor Metro Times.
Cleveland Orchestra
Franz Welser-Most, music director Heinz Karl Gruber, baritone
Wednesday, October 9, 8 p.m. Orchestra Hall, Detroit Sponsored by Forest Health Services. Media Sponsor WGTE 91.3 FM.
Tamango and Urban Tap
Friday, October 11,8 p.m.
Saturday, October 12, 2 p.m.
(one-hour family performance)
Saturday, October 12, 8 p.m.
Power Center
The Friday performance is sponsored
by Elastizell.
The Saturday evening performance is
co-presented with the Office of the
Senior Vice Provost for Academic
Presented with support form the
Wallace-Reader's Digest Funds.
Media Sponsors WEMU 89.1 FM and
Metro Times.
Venice Baroque Orchestra
Andrea Marcon, conductor and
harpsichord Giuliano Carmignola, baroque
Sunday, October 13, 7:30 p.m. St. Francis of Assisi Catholic Church Presented with the generous support of Michael Allemang and Beverley and Gerson Geltner
Abbey Theatre of Ireland Euripides' Medea
Featuring Fiona Shaw Deborah Warner, director Thursday, October 17, 8 p.m. Friday, October 18, 8 p.m. Saturday, October 19, 2 p.m.
& 8 p.m.
Sunday, October 20, 2 p.m. Power Center
Presented with support from the Wallace-Reader's Digest Funds and the National Endowment for the Arts. Media Sponsors Michigan Radio and Metro Times.
Takacs Quartet and Garrick Ohlsson, piano
Sunday, October 20, 7 p.m.
Rackham Auditorium
Sponsored by Edward Surovell
Media Sponsor WGTE 91.3 FM.
Lorraine Hunt Lieberson, mezzo-soprano
Robert Tweten, piano Wednesday, October 23, 8 p.m. Lydia Mendelssohn Theatre Sponsored by National City.
Orquestra de Sao Paulo
John Neschling, conductor Sergio and Odair Assad, guitar Wednesday, October 30, 8 p.m. Michigan Theater Media Sponsor WGTE 91.3 FM.
Banda Mantiqueira Brazilian
Big Band
with Orquestra de Sao Paulo
Thursday, October 31,8 p.m.
Michigan Theater
Sponsored by Bank of Ann Arbor.
Additional support provided by
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
Media Sponsors WEMU 89.1 FM and
WDET 101.9 FM.
Cantigas de Santa Maria with The Boston Camerata, Camerata Mediterranea and L'Orchestre Abdelkrim Rais of Fez, Morocco Thursday, November 7, 8 p.m. St. Francis of Assisi Catholic Church Co-presented with the Office of the Senior Vice Provost for Academic Affairs.
Caetano Veloso
Friday, November 15, 8 p.m.
Michigan Theater
Sponsored by Borders.
Additional support provided by JazzNet.
Media Sponsors WEMU 89.1 FM and
WDET 101.9 FM.
Gidon Kremer, violin Sabine Meyer, clarinet Oleg Maisenberg, piano
Sunday, November 17,4 p.m. Rackham Auditorium Media Sponsor WGTE 91.3 FM.
Orchestre Philharmonique de Radio France
Myung-Whun Chung, conductor Roger Muraro, piano Valerie Hartmann-Claverie,
ondes Martenot Tuesday, November 19, 8 p.m. Orchestra Hall Media Sponsor WGTE 91.3 FM.
Bolshoi Ballet Swan Lake
Choreography by Yuri
Grigorovich after
Marius Petipa and Lev Ivanov Wednesday, November 20,7:30 p.m. Thursday, November 21,8 p.m. Friday, November 22, 8 p.m. Saturday, November 23, 2 p.m.
& 8 p.m.
Sunday, November 24, 2 p.m. Detroit Opera House The Bolshoi Ballet is co-presented with the Detroit Opera House and presented
with leadership support from the
University of Michigan.
The Friday performance is sponsored
by McDonald Investments.
The Saturday afternoon performance
is sponsored by the Thomas B.
McMullen Co.
The Saturday evening performance is
sponsored by Bank One.
Handel's Messiah
(Mozart edition)
UMS Choral Union
Ann Arbor Symphony Orchestra
Thomas Sheets, conductor
Friday, December 6, 8 p.m.
Saturday, December 7, 8 p.m.
Michigan Theater
Presented with the generous support of
Carl and Isabelle Brauer.
Boston Pops Esplanade Orchestra Holiday Concert!
Keith Lockhart conductor
Sunday, December 8, 6 p.m.
Crisler Arena
Sponsored by Pfizer.
Media Sponsor WGTE 91.3 FM.
Emerson String Quartet
Friday, December 13, 8 p.m. Rackham Auditorium Presented with the generous support of Ann and Clayton Wilhite. Media Sponsor WGTE 91.3 FM.
A Traditional Gaelic Seasonal
with special guests
Laoise Kelly, harp
Seamus Begley, accordian and vocals
Jim Murray, guitar
Step dancers from Kerry
Saturday, December 14, 8 p.m.
Michigan Theater
Media Sponsor WDET 101.9 FM.
Sweet Honey in the Rock with Toshi Reagon and Big Lovely
Friday, January 10, 8 p.m.
Michigan Theater
Sponsored by Pfizer.
Media Sponsors WEMU 89.1 FM and
WDET 101.9 FM.
Bill T. JonesArnie Zane Dance Company with the
Chamber Music Society of Lincoln Center featuring the Orion String Quartet
Saturday, January 11,8 p.m. Sunday, January 12,4 p.m. Power Center
The Saturday performance is spon?sored by Borders.
The Sunday performance is presented with the generous support of Maurice and Linda Binkow.
Funded in part by the National Dance Project of the New England Foundation for the Arts. Media Sponsors WGTE 91.3 FM, WDET 101.9 FM and Metro Times.
blessing the boats
A solo performance written and conceived by Sekou Sundiata Friday, January 17, 8 p.m. Saturday, January 18, 8 p.m. Sunday, January 19, 2 p.m. Trueblood Theatre This is a Heartland Arts Fund program. Media Sponsor Michigan Radio.
An Evening with Audra McDonald
Audra McDonald and Trio Ted Sperling, music director
and piano
Peter Donovan, bass Dave Ratajczak, drums Sunday, January 19, 7 p.m. Michigan Theater Presented with the generous support of Robert and Pearson Macek. Additional support provided by lazzNet. Media Sponsor WEMU 89.1 FM.
Sekou Sundiata and Band
Monday, January 20, 8 p.m. Michigan Theater Co-presented with the UM Office of Academic Multicultural Initiatives. This is a Heartland Arts Fund program. Media Sponsors WEMU 89.1 FM and Metro Times.
Voices of Brazil featuring Ivan Lins, Ed Motta, Joao Bosco, Leila Pinheiro and Zelia Duncan
Friday, January 31, 8 p.m.
Michigan Theater
Sponsored by Keybank and McDonald
Investments, Inc.
Media Sponsor WEMU 89.1 FM.
Egberto Gismonti
Saturday, February 1, 8 p.m. Michigan Theater Presented with support from JazzNet. Media Sponsor WEMU 89.1 FM.
Michigan Chamber Players
Sunday, February 2,4 p.m. Rackham Auditorium Complimentary Admission
Martha Clarke
Vienna: Lusthaus (revisited)
Martha Clarke, director and
choreographer Richard Peaslee, music Charles L. Mee, text Friday, February 7, 8 p.m. Saturday, February 8, 8 p.m. Power Center
Funded in part by the National Dance Project of the New England Foundation for the Arts. Media Sponsors Michigan Radio and Metro Times.
Ying Quartet
Sunday, February 9,4 p.m. Rackham Auditorium Sponsored by Miller, Canfield, Paddock and Stone, P.L.C. Media Sponsor WGTE 91.3 FM.
Dave Holland Quintet and New York Big Band
Dave Holland, bass Robin Eubanks, trombone Chris Potter, saxophones Steve Nelson, vibraphone &
Billy Kilson, drums Saturday, February 15, 8 p.m. Michigan Theater Presented with support from the Wallace-Reader's Digest Funds. Additional support is provided by JazzNet.
Media Sponsors WEMU 89.1 FM, WDET 101.9 FM and Metro Times. Presented in conjunction with the 2003 UM Jazz Festival.
Eos Orchestra
The Celluloid Copland:
Copland's Music for the Movies
(performed with original films) Jonathan Sheffer, conductor Sunday, February 16,4 p.m. Michigan Theater Sponsored by the CFI Group. Media Sponsor WGTE 91.3 FM.
Vienna Philharmonic
Nikolaus Harnoncourt, conductor
Thursday, February 27, 8 p.m.
Detroit Opera House
This performance is co-presented with
the University of Michigan.
Media Sponsor WGTE 91.3 FM.
Royal Shakespeare Company Shakespeare's The Merry Wives of Windsor
Rachel Kavanaugh, director Saturday, March 1, 7:30 p.m. Wednesday, March 5, 7:30 p.m. Thursday, March 6, 1:30 p.m. Saturday, March 8, 7:30 p.m. Sunday, March 9, 1:30 p.m. Power Center
The Royal Shakespeare Company resi?dency is presented in association with the University Musical Society and the University of Michigan. Sponsored in part by Pfizer. Additional support is provided by The Power Foundation. Media Sponsor Michigan Radio.
Royal Shakespeare Company Shakespeare's Coriolanus
David 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 the University Musical Society and the University of Michigan. Sponsored in part by Pfizer. Additional support is provided by The Power Foundation. Media Sponsor Michigan Radio.
Alban Berg Quartet
Monday, March 3, 8 p.m. Rackham Auditorium Sponsored by Bank of Ann Arbor. Media Sponsor WGTE 91.3 FM.
Stuttgart Chamber Orchestra
Dennis Russell Davies, conductor Catherine Malfitano, soprano Alexander Neander and Wolfram von Bodecker, mimes Thursday, March 6, 8 p.m. Michigan Theater Sponsored by DaimlerChrysler Corporation Fund.
This performance is co-presented with the University of Michigan. Media Sponsor WGTE 91.3 FM.
UMS Choral Union
Wind Ensemble of the Greater Lansing Symphony Orchestra Thomas Sheets, conductor Janice Beck, organ Saturday, March 22, 8 p.m. Pease Auditorium
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.
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
Bach's St. John Passion
Paul McCreesh, music director Saturday, April 19, 8 p.m. Michigan Theater Media Sponsor WGTE 91.3 FM.
The Hilliard Ensemble Morimur
Christoph Poppen, violin Thursday, May 1, 8 p.m. St. Francis of Assisi Catholic Church
The Ford Honors Program
The FORD HONORS PROGRAM is made possible by a generous grant from the Ford Motor Company Fund and benefits the UMS Education Program. Each year, UMS honors a world-renowned artist or ensemble with whom we have maintained a long-standing and significant relationship. In one evening, UMS pays tribute to and presents the artist with the UMS Distinguished Artist Award, and hosts a dinner and party in the artist's honor. Van Cliburn was the first artist so honored, with subse-
quent honorees being Jessye Norman, Garrick Ohlsson, The Canadian Brass, Isaac Stern, MarceL Marceau, and Marilyn Home.
Ford Honors Program Honorees
Van Cliburn
Jessye Norman
Garrick Ohlsson
Canadian Brass
Isaac Stern
Considered one of the top performing arts educational programs in the country, UMS strives to illuminate the performing arts through education and community engagement, offering audiences a multitude of opportunities to make connections and deepen their understanding of the arts.
UMS Community Education Program
The following activities enlighten and inform audiences about the artists, art forms, ideas, and cultures presented by UMS. Details about specific 0203 educational activities will be announced closer to each event. For more information about adult education or community events, please visit the website at, email, or call 734.647.6712.
Artist Interviews
These interviews engage the leading art-makers of our time in conversations about their body of work, their upcoming performance, and the process of creating work for the world stage.
Master Classes
Master classes are unique opportunities to see, hear, and feel the creation of an art form. Through participation andor observation, individuals gain insight into the process of art making and training.
Study Clubs
Led by local experts and educators, UMS Study Clubs offer audiences the opportunity to gain deeper understanding of a particular text, artist, or art form. The study clubs are designed to give a greater appreciation of a specific subject matter within the context of the performance.
Essential Primers
This series is designed for seasoned concert-goers as well as new audiences. Each "primer" is designed to build and deepen basic under?standing about a particular art form.
PREPs and Lectures
Pre-performance talks (PREPs) and lectures prepare audiences for upcoming performances.
Meet the Artists
Immediately following many performances, UMS engages the artist and audience in conversation about the themes and meanings within the performance, as well as the creative process.
A series of events focused on a theme, culture, art form, or artist that may include master classes, films, panels and community engage?ment events. 20022003 Immersions include Abbey Theatre of Ireland: Euripides' Medea and Brazilian Dance and Music.
Many artists remain in Michigan beyond their performances for short periods of time to deepen the connection to communities throughout the region. Artists teach, create, and meet with community groups, university units, and schools while in residence. For the 0203 season, major residencies include the Bolshoi Ballet, Sekou Sundiata, and the Royal Shakespeare Company.
UMS has a special commitment to educat?ing the next generation. A number of programs are offered for K-12 students, educators, and families to further develop understanding and exposure to the arts. For information about the Youth, Teen, and Family Education Program, visit the website at, email, or call 734.615.0122.
Youth Performance Series
Designed to enhance the K-12 curriculum, UMS Youth Performances cover the full spec?trum of world-class dance, music, and theater. Schools attending youth performances receive UMS's nationally recognized study materials that connect the performance to the classroom curriculum. The 20022003 Youth Performance Series features:
Tamango and Urban Tap
Herbie Hancock Quartet
Sweet Honey in the Rock
Voices of Brazil
Sphinx Competition --free! : Kodo
Teachers who wish to be added to the youth performance mailing list should call 734.615.0122 or email,
The Youth Education Program is sponsored by
Teacher Workshop Series
As part of UMS's ongoing effort to incorporate the arts into the classroom, local and national arts educators lead in-depth teacher workshops designed to increase educators' facility to teach through and about the arts. UMS is in partner?ship with the Ann Arbor Public Schools as part of the Kennedy Center's Partners in Education Program. This year's Kennedy Center work?shops are:
Harlem with Kimberli Boyd
Living Pictures: A Theatrical Technique for Learning Across the Curriculum with Sean 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@
First Acts Program
The First Acts Program provides opportunities for students in grades 4-12 to attend select evening and weekend performances with $6 tickets and reimbursed transportation costs. This year's First Acts roster includes Abbey Theatre of Ireland: Euripides' Medea, Orquestra de Sao Paulo, Gidon Kremer and Friends, Bolshoi Ballet: Swan Lake, Orchestre Philharmonique de Radio France, Boston Pops Esplanade Orchestra Holiday Concert, Ying Quartet, Stuttgart Chamber Orchestra, Muzsikas, and Bach Collegium Japan per?forming Bach's St. Matthew Passion.
For more information, please call 734.615.0122 or email
Special Discounts for Teachers and Students to Public Performances
UMS offers group discounts to schools attending evening and weekend performances not offered through the First Acts Program. Please call the Group Sales Coordinator at 734.763.3100 for more information.
The Kennedy Center Partnership
UMS and the Ann Arbor Public Schools are members of the Kennedy Center Partners in Education Program. Selected because of its demonstrated commitment to the improve?ment of education in and through the arts, the partnership team participates in collabo?rative efforts to make the arts integral to edu?cation and creates professional development opportunities for educators.
Family Programming
These one-hour or full-length performances and activities are designed especially for chil?dren and families. UMS provides child-friendly, informational materials prior to family performances.
Celebrate in style with dinner and a show! A delectable meal followed by priority, reserved seating at a performance by world-class artists sets the stage for a truly elegant evening. Add luxury accommodations to the package and make it a perfect getaway. UMS is pleased to announce its cooperative ven?tures with the following local establishments:
The Artful Lodger Bed & Breakfast
1547 Washtenaw Avenue Call 734.769.0653 for reservations Join Ann Arbor's most theatrical host and hostess, Fred & Edith Leavis Bookstein, for a weekend in their massive stone house built in the mid-1800s for UM President Henry Simmons Frieze. This historic house, located just minutes from the performance halls, has been comfortably restored and furnished with contemporary art and performance memorabilia. The Bed & Breakfast for Music and Theater Lovers!
Gratzi Restaurant
326 South Main Street Call 888.456.DINE for reservations Dinner package includes guaranteed reserva?tions for a preor post-performance dinner (any selection from the special package menu plus a non-alcoholic beverage) and reserved "A" seats on the main floor at the performance. Packages are available for select performances.
Vitosha Guest Haus
1917 Washtenaw Avenue
Call 734.741.4969 for reservations
Join proprietors Christian and Kei Constantinov
for afternoon tea, feather duvets and owls in
the rafters in their expansive stone chalet
home. Catering to "scholars, artists and the
world-weary," this historic complex features
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 UMS.
Arbor Brewing Co.
114 East Washington 734.213.1393 Award-winning brewpub featuring a full bar and menu. Casual downtown dining. Smokeless restaurant and bar. Private parties for 25-150.
Bella Ciao Trattoria
118 West Liberty 734.995.2107 Known for discreet dining with an air of casual elegance, providing simple and elaborate regional Italian dishes for you and your guests' pleasure. Reservations accepted.
Blue Nile
221 East Washington Street 734.998.4746 Join us for an authentic dining adventure to be shared and long remembered. Specializing in poultry, beef, lamb and vegetarian specialties. Outstanding wine and beer list.
Cafe Marie
1759 Plymouth Road 734.662.2272 Distinct and delicious breakfast and lunch dishes, creative weekly specials. Fresh-squeezed juice and captivating cappuccinos! A sunny, casual, smoke-free atmosphere. Take out available.
The Chop House
322 South Main Street 888.456.DINE Ann Arbor's newest taste temptation. An elite American Chop House featuring U.S.D.A. prime beef, the finest in Midwestern grain-fed meat, and exceptional premium wines in a refined, elegant setting. Open nightly, call for
D'Amato's Neighborhood Restaurant
102 South First Street 734.623.7400 D'Amato's Italian Restaurant (corner First St. & Huron) is casual dining at its best. Classic and contemporary Italian cuisine. Premium wines by the glass, international design. Piano Bar Thursday-Saturday. 'Four stars' by the Detroit Free Press, 9 out of 10 by the Ann Arbor News, open 7 days, moderate prices.
Just downstairs is Goodnite Grace Jazz & Martini bar featuring talented local jazz groups and the best martinis in town. Never a cover or minimum, always great entertain?ment.
Daniel's on Liberty
326 West Liberty Street 734.663.3278 Located just west of Main Street in the restored Brehm estate. Fine American cuisine with a global fare. Full service catering, bakery, wedding cakes. Private meeting space available.
The Earle
121 West Washington 734.994.0211 French and Italian dining, offering fresh fish, pastas, duck and beef tenderloin accompa?nied by our house-made desserts. Wine Spectator's "Best of Award of Excellence" 1991-2002.
Gandy Dancer
401 Depot Street 734.769.0592
Located in the historic 1886 railroad depot.
Specializing in fresh seafood.
Lunches Monday-Friday 11:30-3:30. Dinners
Monday-Saturday 4:30-10, Sunday 3:30-9.
Award-winning Sunday brunch 10:00-2:00.
Reservations recommended.
326 South Main Street 888.456.DINE Celebrated, award-winning Italian cuisine served with flair and excitement. Sidewalk and balcony seating. Open for lunch and dinner. Reservations accepted.
The Kerrytown Bistro
At the corner of 4th Avenue and Kingsley Street in Kerrytown 734.994.6424 The Kerrytown Bistro specializes in fine French Provincial inspired cuisine, excellent wines and gracious service in a relaxed, inti?mate atmosphere. Hours vary, reservations accepted.
La Dolce Vita
322 South Main Street 734.669.9977 Offering the finest in after-dinner pleasures. Indulge in the delightful sophistication of gourmet desserts, fancy pastries, cheeses, fine wines, ports, sherries, martinis, rare scotches, hand-rolled cigars and much more. Open nightly,
347 South Main Street 888.456.DINE Zestful country Italian cooking, fresh flavors inspired daily. Featuring the best rooftop seating in town. Open for dinner nightly. Reservations accepted, large group space available,
Real Seafood Company
341 South Main Street 888.456.DINE As close to the world's oceans as your taste can travel. Serving delightfully fresh seafood and much more. Open for lunch and dinner. Reservations accepted.
Red Hawk Bar & Grill
316 South State Street 734.994.4004 Neighborhood bar & grill in campus historic district, specializing in creative treatments of traditional favorites. Full bar, with a dozen beers on tap. Lunch and dinner daily. Weekly specials. Smoke-free. No reservations.
314 East Liberty Street 734.662.1111 Seva has provided fresh, imaginative vegetarian cuisine since 1973. All dishes, including desserts, are made in-house daily. Be sure to look over our extensive beverage menu.
Weber's Restaurant
3050 Jackson Avenue 734.665.3636 Weber's casual-to-elegant atmosphere and fine American cuisine features their famous prime ribs of beef, live lobster, aged steaks and jet-fresh seafood.
216 South State Street 734.994.7777 Contemporary American food with Mediterranean & Asian influences. Full bar featuring classic and neo-classic cocktails, thoughtfully chosen wines and an excellent selection of draft beer. Spectacular desserts. Lunch, dinner, Sunday brunch and outside dining. Space for private and semi-private gatherings up to 120. Smoke-free. Reservations encouraged.
Back by popular demand, friends of UMS are hosting a variety of dining events to raise funds for our nationally recognized education programs. Thanks to the generosity of the hosts, all proceeds from these delight?ful dinners go to support these important activities. Treat yourself, give a gift of tickets, or come alone and meet new people! For more information or to receive a brochure, call 734.936.6837.
UMS volunteers are an integral part of the success of our organi?zation. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome you to the UMS family and involve you in our exciting programming and activities. We rely on volunteers for a vast array of activities, including staffing the edu?cation residency activities, assisting in artist services and mailings, escorting students for our popular youth performances and a host of other projects. Call 734.936.6837 to request more information.
The 48-member UMS Advisory Committee serves an important role within UMS. From ushering for our popular Youth Performances to coordinating annual fundraising events, such as the Ford Honors Program gala and "Delicious Experiences" dinners, to marketing Bravo!, UMS's award-winning cookbook, the Committee brings vital volunteer assistance and financial sup?port to our ever-expanding educational pro?grams. If you would like to become involved with this dynamic group, please call 734.936.6837 for more information.
When you advertise in the UMS program book you gain season-long visibility among ticket-buyers while enabling an important tradition of providing audiences with the detailed pro?gram notes, artist biographies, and program descriptions that are so important to perform?ance experience. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book.
As a UMS corporate sponsor, your organiza?tion comes to the attention of an educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treasures, and also receive numerous benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
Enhancing corporate image ? Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic groups
Making highly visible links with arts and education programs
Recognizing employees
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
Internships with UMS provide experience in performing arts administration, mar?keting, publicity, promotion, production and arts education. Semesterand year-long internships are available in many of UMS's departments. For more information, please call 734.615.1444.
Students working for UMS as part of the College Work-Study program gain valu?able experience in all facets of arts manage?ment including concert promotion and marketing, fundraising, arts education, event planning and production. If you are a University of Michigan student who receives work-study financial aid and who is interested in working at UMS, please call 734.615.1444.
Without the dedicated service of UMS's Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing program books and pro?viding that personal touch which sets UMS events above others.
The UMS Usher corps comprises over 400 individuals who volunteer their time to make your concert-going experience more pleasant and efficient. The all-volunteer group attends an orientation and training session each fall or winter. Ushers are responsible for working at every UMS performance in a specific venue for the entire concert season.
If you would like information about becoming a UMS volunteer usher, call the UMS usher hotline at 734.913.9696.
This performance--and all of UMS's nationally recognized artistic and educational pro?grams--would not be possible without the generous support of the community. UMS gratefully acknowledges the following individuals, businesses, foundations and government agencies--and those who wish to remain anonymous--and extends its deepest gratitude for their support. This list includes current donors as of August 7,2002. Every effort has been made to ensure its accuracy. Please call 734.647.1178 with any errors or omissions.
SOLOISTS S25,000 or more
Randall and Mary Pittman Philip and Kathleen Power
MAESTROS $W,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
VIRTUOSI $7,500-$9,999
Maurice and Linda Binkow Leo and Kathy Legatski Prudence and Amnon Rosenthal Edward and Natalie Surovell
CONCERTMASTERS $5,000-57,499
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 S3,500-$4,999
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
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
Jim and Patsy Donahey
Ken and Penny Fischer
John and Esther Floyd
Ilene H. Forsyth
Betty-Ann and Daniel Gilliland
Sue and Carl Gingles
Jeffrey B. Green
Linda and Richard Greene
Carl and Charlene Herstein
Janet Woods Hoobler
John and Patricia Huntington
Keki and Alice Irani
Dorian R. Kim
Paula and Henry Lederman
Marc and Jill Lippman
Judy and Roger Maugh
Charles H. Nave
Mrs. Charles Overberger (Betty)
Jim and Bonnie Reece
John and Dot Reed
Barbara A. Anderson and
John H. Romani Maya Savarino Don and Carol Van Curler Mrs. Francis V.Viola III Don and Toni Walker B. Joseph and Mary White
PRINCIPALS $l,000-$2,499
Dr. and Mrs. Gerald Abrams
Mrs. Gardner Ackley
Jim and Barbara Adams
Bernard and Raquel Agranoff
Jonathan W. T. Ayers
Lesli and Christopher Ballard
Dr. and Mrs. Robert Bartlett
Astrid B. Beck and
David Noel Freedman Ralph P. Beebe Patrick and Maureen Belden Harry and Betty Benford Ruth Ann and Stuart J. Bergstein L. S. Berlin
Suzanne A. and Frederick J. Beutler loan Akers Binkow Elizabeth and Giles G. Bole Howard and Margaret Bond Bob and Sue Bonfield Laurence and Grace Boxer Dale and Nancy Briggs Virginia Sory Brown Jeannine and Robert Buchanan Lawrence and Valerie Bullen Mr. and Mrs. Richard J. Burstcin Letitia J. Byrd Amy and Jim Byrne Betty Byrne
Barbara and Albert Cain lean W. Campbell Michael and Patricia Campbell Thomas and Marilou Capo Edwin and Judith Carlson lean and Kenneth Casey lanet 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 Fcatherman Yi-tsi M. and Albert Feuerwcrker Mrs. Gerald J. Fischer (Beth B.) Ray and Patricia Fitzgerald
Otto and Lourdes E. Gago Marilyn G. Gallatin Bernard and Enid Galler Marilyn Tsao and Steve Gao Charles and Rita Gelman James and Cathie Gibson William and Ruth Gilkey Drs. Sid Gilman and Carol Barbour Richard and Cheryl Ginsburg Paul and Anne Glendon Alvia G. Golden and
Carroll Smith-Rosenberg Frances Greer 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 Krimm Bud and Justine Kulka Ko and Sumiko Kurachi Barbara and Michael Kusisto Jill M. Latta and David S. Bach Ted and Wendy Lawrence Laurie and Robert LaZebnik Peter Lee and Clara Hwang Carolyn and Paul Lichter Evie and Allen Lichter Lawrence and Rebecca Lohr Leslie and Susan Loomans John and Cheryl MacKrell Natalie Matovinovic Chandler and Mary Matthews Margaret W. Maurer Susan McClanahan and
Bill Zimmerman
Joseph McCune and Georgiana Sanders Ted and Barbara Meadows Andy and Candice Mitchell Lester and Jeanne Monts Grant W. Moore Alan and Sheila Morgan Julia S. Morris
Cruse W. and Virginia Patton Moss Eva L. Mueller
Martin Neuliep and Patricia Pancioli M. Haskell and Ian Barney Newman William and Deanna Newman Eulalie Nohrden Marylen and Harold Oberman
Gilbert Omenn and Martha Darling
Mrs. William B. Palmer
William C. Parkinson
Dory and John D. Paul
Margaret and Jack Petersen
Elaine and Bertram Pitt
Eleanor and Peter Pollack
Donald H. Regan and Elizabeth Axelson
Ray and Ginny Reilly
Maria and Rusty Rcstuccia
Kenneth J. Robinson
Mrs. Doris E. Rowan
Dr. Nathaniel H. Rowe
James and Adrienne Rudolph
Craig and Jan Ruff
Alan and Swanna Saltiel
Dick and Norman Sarns
Meeyung and Charles R. Schmitter
Mrs. Richard C. Schneider
Rosalie and David Schottenfeld
Sue Schroeder
Steven R. and Jennifer L. Schwartz
Janet and Michael Shatusky
Helen and George Siedel
Donald C. and Jean M. Smith
Susan M. Smith
Carol and Irving Smokier
Gus and Andrea Stager
Curt and Gus Stager
David and Ann Staiger
James and Nancy Stanley
Michael and Jeannette Bittar Stern
Victor and Marlene Stoeffler
Jan and Nub Turner
Susan B. Ullrich
Joyce A. Urba and David J. Kinsella
Michael L. Van Tassel
Elly Wagner
Florence S. Wagner
John Wagner
Willes and Kathleen Weber
Karl and Karen Weick
Robert O. and Darragh H. Weisman
Angela and Lyndon Welch
Marcy and Scott Westerman
Roy and JoAn Wetzel
Harry C. White and Esther R. Redmount
Max Wicha and Sheila Crowley
Phyllis B. Wright
Paul Yhouse
Ed and Signe Young
Gerald B. and Mary Kay Zelenock
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. Barnett
Mason and Helen Barr
Lois and David Baru
Dr. Wolfgang and Eva Bernhard
Mm Blankley and
Maureen Foley Jane Bloom, MD and
William L Bloom Charles and Linda Borgsdorf David and Sharon Brooks Morton B. and Raya Brown Sue and Noel Buckner Trudy and Jonathan Bulkley Dr. Frances E. Bull H. D. Cameron
Douglas and Marilyn Campbell Bruce and Jean Carlson Jack and Wendy Carman Marshall and Janice Carr Carolyn M. Carty and
Thomas H. Haug Hubert and Ellen Cohen Susan and Arnold Coran Jean Cunningham and
Fawwaz Ulaby Roderick and Mary Ann Daane Delia DiPielro and
lack Wagoner, M.D. Charles and Julia Eisendrath Patricia Enns Ms. Julie A. Erhardt Stefan S. and Ruth S. Fajans Dr. and Mrs. S.M. Farhat Dede and Oscar Feldman Dr. and Mrs. James Ferrara Sidney and Jean Fine Carol Finerman Clare M. Fingerle Guillermo Flores Mr. and Mrs. George W. Ford Phyllis W. Foster Betsy Foxman and
Michael Boehnkc Maxine and Stuart Frankel
Foundation Dr. Ronald Freedman Professor and
Mrs. David M. Gates Drs. Steve Geiringer and
Karen Bantel
Thomas and Barbara Gelehrter Charles and Rita Gelman 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 Hart Jeannine and Gary Hayden Henry R. and Lucia Heinold Mrs.W.A. Hiltner
lohn H.and
Maurita Peterson Holland Drs. Linda Samudson and
Joel Howell
Mr. and Mrs. William Hufford Eileen and Saul Hymans lohn and Grctchen Jackson lean Jacobson Jim and Dale Jerome John Kennedy Dick and Pat King Hermine R. KJingler Philip and Kathryn Klintworth Joseph and Marilynn Kokoszka Lee and Teddi Landes Mr. lohn K. Lawrence Mr. and Mrs. Fernando S. Leon Jacqueline H. Lewis Daniel Little and
Bernadette Lintz E. Daniel and Kay Long Brigitte and Paul Maassen Jeff Mason and Janet Netz Griff and Pat McDonald Dcanna Relyea and
Piotr Michalowski Jeanette and Jack Miller Myrna and Newell Miller Brian and Jacqueline Morton Cyril Moscow Edward C. Nelson Dr. and Mrs. Frederick C. O'Dell Mr. and Mrs. James C. O'Neill Lorraine B. Phillips Roy and Winnifred Pierce Stephen and Bettina Pollock Richard H. and Mary B. Price Wallace and Barbara Prince Mrs. Gardner C. Quarton Mrs. Joseph S. Radom Dr. Jeanne Raisler and Dr.
Jonathan Allen Cohn Rudolph and Sue Reichert Molly Resnik and John Martin H. Robert and Kristin Reynolds Jay and Machree Robinson Peter C. Schaberg and
Norma J. Amrhein Ann and Thomas J. Schriber Erik and Carol Serr Julianne and Michael Shea Thomas and Valerie Yova Sheets Howard and Aliza Shevrin Pat Shure
Frances U. and Scott K. Simonds Irma J. Sklenar Alene and Stephanie Smith Lloyd and Ted St. Antoine lames Steward and Jay Pekala Jim Stewart Jeff Stoller 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 der Velde
Mary Vandcn Belt
Kate and Chris Vaughan
Joyce L. Watson and Martin Warshaw
Robin and Harvey Wax
Phil and Nancy Wedemeyer
Raoul Weisman and Ann Friedman
Dr. Steven W. Werns
Brymer Williams
Max and Mary Wisgerhof
Dean Karen Wolff
David and April Wright
Mr. and Mrs. Roy I. Albert
Helen and David AminofT
David and Katie Andrea
Harlcne and Henry Appelman
Jeff and Deborah Ash
Mr. and Mrs. Arthur I. Ashe, III
Dwight T. Ashley
Dan and Monica Atkins
Eric M. and Nancy Aupperle
Robert L. Baird
Laurence R. and
Barbara K. Baker Lisa and Imi Baker Barbara and Daniel Balbach Paulett Banks John R. Bareham David and Monika Barera Mrs. JereM. Bauer Gary Beckman and Karla Taylor Professor and Mrs. Erling
Blondal Bengtsson Dr. and Mrs. Ronald M. Benson Joan and Rodney Bcntz lames 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. Ccrny Thomas Champagne and
Stephen Savage
Dr. Kyung and Young Cho Kwang and Soon Cho Robert I. Cierzniewski Reginald and Beverly Ciokajlo Brian and Cheryl Clarkson Carolyn and L Thomas Conlin Nan and Bill Conlin Clifford and Laura Craig Merle and Mary Ann Crawford Peter C. and Lindy M. Cubba Richard I. Cunningham Marcia A. Dalbey Dr. and
Mrs. Charles W. Davenport Ed and Ellie Davidson Peter A. and Norma Davis John and Jean Debbink Elena and Nicholas Delbanco Richard and Sue Dempsey Elizabeth Dexter jack and Claudia Dixon Judy and Steve Dobson Heather and Stuart Dombey Dr. Edward F. Domino Thomas and Esther Donahue John Dryden and Diana Raimi Rhetaugh Graves Dumas Swati Dulta
Martin and Rosalie Edwards Dr. Alan S. Eiser Judge and Mrs. S. J. Elden Ethel and Sheldon Ellis Mr. John W. Etsweiler, III Mark and Karen Falahec Elly and Harvey Falit Dr. John W. Farah Drs. Michael and
Bonnie Fauman Karl and Sara Ficgenschuh Dr. fames F. Filgas Susan FilipiakSwing City
Dance Studio Herschel Fink C. Peter and Bcv A. Fischer Gerald B. and
Catherine L Fischer Howard and Margaret Fox Jason I. Fox Lynn A. Frceland Dr. Leon and Marcia Friedman Lela J. Fuester
Mr. and Mrs. William Fulton Harriet and Daniel Fusfeld Chuck and Rita Gelman Deborah and Henry Gerst Elmer G. Gilbert and
LoisM. Verbrugge Matthew and Debra Gildea James and Janet Gilsdorf Maureen and David Ginsburg Albert and Almeda Girod Irwin Goldstein and
Martha Mayo Enid M. Gosling Charles and Janet Goss Jerry M. and Mary K. Gray lil.i and Bob Green Victoria Green and
Matthew Toschlog
Sandra Gregerman
Bill and Louise Gregory
Raymond and Daphne M. Grew
Mark and Susan Griffin
Werner H. Grilk
Dick and Marion Gross
Bob and Jane Grover
Susan and John Halloran
Claribel Halstead
Tom Hammond
Lourdes S. Baslos Hansen
David B. and Colleen M. Hanson
Martin D. and Connie D. Harris
Nina E. Hauser
Kenneth and leanne Heininger
J. Lawrence and Jacqueline
Stearns Henkel Dr. and Mrs. Keith S. Henley Kathy and Rudi Hentschel Louise Hodgson Mr. and Mrs. William B. Holmes lohn I. Hritz, Jr. Jane H. Hughes Dr. and Mrs. Ralph M. Hulctt Jewel F. Hunter Thomas and
Kathryn Huntzicker Robert B. Ingling Margaret and Eugene Ingram Kent and Mary Johnson Paul and Olga Johnson Dr. Marilyn S. Jones Stephen Josephson and
Sally Fink
Douglas and Mary Kahn Dr. and Mrs. Mark S. Kaminski George Kaplan and Mary Haan Arthur A. Kaselemas Professor Martin E. Katz Julie and Phil Kearney James A. Kelly and
Mariam C. Noland lohn B. and Joanne Kennard Frank and Patricia Kennedy Mr. Roland G. Kibler Donald F. and Mary A. Kiel Mrs. Rhea K. Kish Paul and Dana Kissner James 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. Melvyn Korobkin Amy Sheon and Marvin Krislov Bert and Geraldine Kruse David W. Kuchn and
Lisa A. Tedesco Mrs. David A. Lanius Mr. and Mrs. Henry M. Lapeza Ncal and Anne Laurance Beth and George LaVoie Elaine and David Lebenbom Cyril and Ruth Lcder lohn and Theresa Lee Frank Legacki and
Alicia Torres
Mm and Cathy Leonard Carolyn Lepard Donald I. and
Carolyn Dana Lewis Ken and lane Lieberthal Lcons and Vija Licpa Dr. and
Mrs. Richard H. Lincback Rod and Robin Little Vi-Cheng and Hsi-Yen Liu Ronald Longhofer and
Norma McKcnna Richard and Stephanie Lord Christopher and Carla Loving Charles and ludy Lucas Carl J. Lutkehaus Edward and Barbara Lynn Pamela J. MacKintosh Virginia Mahle Latika Mangrulkar Mclvin 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 Adele McCarus Margaret and
Harris McClamroch lames Mclntosh Nancy A. and Robert E. Meader Gerlinda S. Melchiori Ph.D. Ingrid Merikoski Bernice and Herman Merte George R. and Brigitte Merz Henry D. Messer Carl A. House Ms Heidi Meyer Shirley and Bill Meyers Mr. and Mrs. Eugene Miller Sonya R. Miller Edward and Barbara Mills Thomas Mobley William G. and
Edith O. Moller, Ir. Jane and Kenneth Moriarty Thomas and Hcdi Mulford Gerry and Joanne Navarre Frederick C. Neidhardt and
Germaine Chipault Alexander Nelson James G. Nelson and
Katherine M. Johnson Laura Nitzberg and
Thomas Carli Arthur and Lynn Nusbaum Dr. Nicole Obregon Robert and Elizabeth 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 Joe Pearson Karen Tyler Perry C. Anthony and
Marie B. Phillips
Mr. and
Mrs. Frederick R. Pickard Wayne Pickvet and
Bruce Barrett
Frank and Sharon Pignanelli Wayne and Suellen Pinch Richard and Meryl Place Donald and Evonne Plantinga Bill and Diana Pratt Jerry and Lorna Prcscott Larry and Ann Preuss J. Thomas and Kathleen Pustcll Leland and
Elizabeth Quackcnbush Patricia Randle and James Eng Jim 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 Rothwell Sally Rutzky Arnold Sameroff and
Susan McDonough Ina and Terry Sandalow Miriam Sandweiss John and Reda Santinga Michael and Kimm Sarosi Gary and Arlene Saxonhouse Albert J. and Jane L. Sayed Frank J. Schaucrte Richard Black and
Christine Schesky-Black David and Marcia Schmidt Jean 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 Stahle Frank D. Stella Rick and Lia Stevens Stephen and Gaylc Stewart Ellen M. Strand and
Dennis C. Regan Donald and Barbara Sugerman Richard and Diane Sullivan Brian and Lee Talbot Margaret Talburtt and
James Peggs Eva and Sam Taylor
Stcphan Taylor and
Elizabeth Stumbo lames L. and Ann S. Telfer Paul and Jane Thiclking Edwin J. Thomas Bette M. Thompson Dr. and Mrs. Robert F. Todd Patricia and Terril Tompkins Dr. and Mrs. Merlin C. Townley Jim Toy
Bill and Jewell 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 Peter Wcsterman Iris and Fred Whitehouse Leslie Clare Whitfield 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 Youngrcn Mrs. Alexandra Zapata Gail and David Zuk
Tim and Leah Adams
Dr. Dorit Adlcr
Ronald Albucher and Kevin Pfau
Phyllis Allen
Richard and Bettyc Allen
Barbara and Dean Alseth
Forrest Alter
Richard Amdur
Dr. and
Mrs. Charles T. Anderson Joseph and Annette Anderson Mr. and Mrs. David Andrew Jill B.and
Thomas J. Archambeau M.D. Bert and Pat Armstrong Thomas and Mary Armstrong Gaard and Ellen Arneson Jack and Jill Arnold Dr. and Mrs. Allan Ash James and Doris August John and Rosemary Austgen Erik and Linda Lee Austin Ronald and Anna Marie Austin
Advocates, continued
Shirley and Donald Axon Virginia and Jcrald Bachman Mr. Robert M Bachteal Mark Baerwolf Prof, and Mrs. J. Albert Bailey Joe and Helen Logelin Helena and Richard Baton Maria Kardas Barna Laurie and JefTBarnett Robert and Carolyn Bartle Leslie and Anita Bassett Judith Batay-Csorba Francis J. Bateman Dorothy W. Bauer Charles Baxter
Deborah Bayer and Jon Tyman Kenneth C. Beachlcr James and Margaret Bean Frank and Gail Beaver James M. Beck and
Robert J. McGranaghan Robert Becldey 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 Aleeta Browder Linda Brown and Joel Goldberg Edward and Jeanette Browning Molly and John Brueger John and Nancy Buck Elizabeth Buckner and
Patrick Herbert Marilyn Burhop Barbara H. Busch Joanne Cage
Brian and Margaret Callahan Louis and Janet Callaway
Barb and Skip Campbell Susan Y. Cares Evan and Maria Carew James and lennifer Carpenter Dennis B. and
Margaret W. Carroll John and Patricia Carver Margaret and William Caveney K. M. Chan
Samuel and Roberta Chappell Felix and Ann Chow Catherine Christen Edward and Rebecca Chudacoff Sallie R. Churchill Nancy Cilley
Donald and Astrid Cleveland Mr. Fred W. Cohrs Willis Colburn and Denise Park Michael and Marion T. Collier Ed and Cathy Colone Wayne and Melinda Colquitt M. C. Conroy
Jeff Cooper and Peggy Daub Brian T. and Lynne P. Coughlin Marjorie A. Cramer Richard and Penelope Crawford Mary C. Crichton Mr. and Mrs. James I. Crump Peggy Cudkowicz Townley and Joann Culbertson John and
Carolyn Rundcll Culotta Marcio Da Fonseca Mr. and Mrs. John R. Dale Marylee Dalton Timothy and
Robin Damschroder Mr. and Mrs. Norman Dancy Stephen Darwall and
Rosemarie Hester DarLinda and Robert Dascola Ruth E. Datz Sally and Jack Dauer Mr. and
Mrs. Arthur W. Davidge Mark and Jane Davis State Rep. and
Mrs. Gene De Rossett Dr. and Mrs. Raymond F. Decker Joe and Nan Decker Peter and Deborah Deem Rossana and George DcGrood George and Margaret DeMulh Pamela DeTullio and Stephen
Don and Pam Devine Martha and Ron DiCecco Andrzej and Cynthia Dlugosz Ruth J. Doane Mrs. Ruth P. Dorr-Maffett Bill and Mary Doty Victor and Elizabeth Douvan Roland and Diane Drayson Mary P. Dubois Ronald and Patricia Due Connie R. Dunlap Richard F. Dunn Jean and Russell Dunnaback Anthony and Sarah Earley
Richard and Myrna Edgar Morgan H. and Sara O. Edwards Vcrnon I. and lohanna Ehlers Karen Eisenbrey Chris and Betty Elkins Lawrence Ellenbogen Anthony and Paula Elliott )ulic and Charles Ellis H. Michael and ludilh L. Endres loan and 1 mil 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 Jill Francis Hyman H. Frank Lora Frankcl Lucia and Doug Freeth Richard and Joann Freethy Sophia L. French Joanna and Richard Friedman Marilyn L. Friedman and
Seymour Koenigsberg Susan Froelich and
Richard Ingram Gail Fromes Jerry Frost Ms. Carolyn Frost Joseph E. Fugere and
Marianne C. Mussett Frances and Robert Gamble Karen Gardstrom Joann Gargaro
R. Dennis and Janet M. Garmer Jack J. and Helen Garris C. Louise Garrison Janet and Charles Garvin Tom Gasloli
Wood and Rosemary Geist Michael and
Ina Hancl-Gerdenich W. Scott Gerstenberger and
Elizabeth A. Sweet Leo and Renate Gerulaitis Allan F. Gibbard Paul and Suzanne Gikas Zila and Wayne Gillis Joyce and Fred Ginsberg Mr. and Mrs. Robert Gold Ed and Mona Goldman Mrs. Eszter Gombosi Mitchell and Barbara Goodkin
Sclma and Albert Gorlin William and Jean Gosling Kristin A. Goss Michael L. Gowing Steve and Carol Grafton Christopher and Elaine Graham Helen M. Graves Isaac and Pamela Green Deborah S. Greer Linda Grcgcrson and
Steven Mullaney G. Robinson and Ann Gregory Linda and Roger Grekin Lauretta and Jim Gribble Rita and Hob Grierson William L. and
Martha B. Grimes Laurie Gross
Robin and Stephen Gruber Arthur W. Gulick, M.D. Lorraine Gutierrez and
Robert Peyser
Caroline and Roger Hackett Barbara H. Hammitt Dora E. Hampel Don and Jan Hand Grace H. Hanninen Rachel Brett Harley Stephen G. and
Mary Anna Harper Ed Sarath and Joan Harris Laurclynne D. and
George Harris Susan R. Harris Julie Hartman Anne M. Hcacock Henry and Mary S. Hcaley lames and Ksther Heitler William C Heifer Sivana Heller
Karl Henkel and Phyllis Mann Al and Jolene Hermalin Jeanne Hernandez Ken and Carrie Herr Roger and Dawn Hertz Ronald D. and Barbara J. I lertz Roger P. Hewitt John and Martha Hicks Herb and Dee Hildebrandt Peter G. Hinman and
Elizabeth A. Young James and Ann Marie Hitchcock Frances C. Hoffman Carol and Dieter Hohnke Gad Holland
Kenneth and Joyce Holmes Mrs. Howard Holmes Dave and Susan Horvath Paul A. Hossler Dr. Nancy Houk James and Wendy Fisher House Jeffrey and Allison Housner Gordon Housworth Kenneth and Carol Hovey Mrs.V.C.Hubbs Jude and Ray Hucttcman Harry and Ruth Huff JoAnneW. Hulce Virginia E. Hunt
Edward C. Ingraham
Perry Irish
Sid and Harriet Israel
Judith G. Jackson
Prof, and Mrs. John H. Jackson
David lalm
Elizabeth Jahn
Joachim and Christra Janecke
Nick Janosi
Dean and Leslie Jarrctt
Marilyn G. Jeffs
Frances and Jerome Jelinek
Keith D. and Kathryn II. Jensen
Margaret Jensen
Christopher P. and
Sharon Johnson Mark and Linda lohnson Constance L. Jones Paul R. and Meredyth Jones Mary Kalmes and Larry
Allyn and Sherri Kantor Paul Kantor and Virginia
Weckstrom Kantor Mr. and Mrs. Irving Kao Mr. and Mrs. Wilfred Kaplan Carol and H. Peter Kappus Alex and Phyllis Kato Allan S. Kaufman, M.D. Dennis and Linda Kayes Brian Kelley Richard Kennedy Linda D. and Thomas E. Kenncy George L. Kenyon and
Lucy A. Waskell David I. and JoAnn Z. Keosaian Nancy Keppelman and
Michael Smerza John Kiely
Paul and Leah Kileny leanne Kin Howard King and
Elizabeth Sayre-King Jean and Arnold Klugc Dr. and Mrs. William L. Knapp Rosalie and Ron Kbenig Michael I. Kondziolka Charles and Linda Koopmann Alan and Sandra Kortesoja Dr. and
Mrs. Richard Krachenberg Jean and Dick Kraft Barbara and Ronald Kramer Doris and Don Kraushaar Edward and Lois William G. Kring Alan and Jean Krisch Mr. and Mrs. John Lahiff Tim and Kathy Laing Mr. and Mrs. Seymour Lampert Henry and Alice Landau David and Darlcne Landsittel Carl F. and Ann L. LaRue Fred and Ethel Lee Diane Lehman and
leffrcy Lehman leffrcy Lehman Ann M. Leidy Richard and Barbara Lcile
Dcrick and Diane Lenlers
Richard LeSueur
David E. Levine
Harry and Melissa LeVine
George and Linda Levy
David Lewis
Norman and Mira Lewis
Ralph and Gloria Lewis
Robert and Julie Lewis
Tom and ludy Lewis
Arthur and Karen Lindenberg
Mark Lindlcy and
Sandy Talbott Michael and Debra Lisull Margaret K. Liu and
Diarmaid M. O'Foighil Dr. and Mrs. F. A. Locke Dr. Lennart H. Lofstrom Julie M. Loftin Jane Lombard David Lootens Florence Lopatin Armando Lopez Rosas Barbara R. and Michael Lott Lynn Luckenbach Marjory S. Luther Elizabeth L. Lutton William T. Lyons Walter Allen Maddox Pia Maly Sundgren Pearl Manning
Sheldon and Geraldine Markel Erica and Harry Marsden Irwin and Fran Martin H.L. Mason Wendy Massard Debra Mattison Janet Max Glenn D. Maxwell Carole Mayer Olivia Maynard and
Olof Karlstrom LaRuth C. McAfee Patrick McConncll Neil and Suzanne McGinn Bob and Doris Melling Allen and Marilyn Menlo Lori and Jim Mercier Arthur and Elizabeth Messiter Helen Metzner Don and Lee Meyer Suzanne M. Meyer Leo and Sally Miedler William and loan Mikkclscn Carmen and lack Miller Gerald A. and Carol Ann Miller Bob and Carol Milstein James and Kathleen Mitchiner Elaine Mogerman Olga Ann Moir Mary Jane Molesky Mr. Erivan R. Morales and
Dr. Scigo Nakao Jean Marie Moran and
Stefan V. Chmielewski Arnold and Gail Morawa Robert and Sophie Montis Dr. and Mrs. George W. Morley A. A. Moroun
John and Michelle Morris Rick Motschall lames and Sally Mueller Bernhard and Donna Muller Marci and Katie Mulligan Gavin Eadic and
Barbara Murphy Lora G. Myers Arthur and Dorothy Nesse Shirley Neuman Sharon and Chuck Newman William and Ellen Ncwsom Mr. and Mrs. James K. Newton lull ii and Ann Nicklas Mrs. Marvin Niehuss Richard and Susan Nisbett Christer and Outi Nordman Richard and Caroline Norman Jolanta and Andrzej Nowak Patricia O'Connor Nels R. and Mary H. Olson Paul L. and Shirley M. Olson Kathleen I. Operhall Fred Ormand and
Julia Broxholm David Orr and
Gwynne Jennings Dr. Jon Oscherwitz Mr. and Mrs. James R. Packard Daniel and Laura Palomaki Anthea Papista Donna D. Park Bill and Katie Parker Donna Parmelee and
William Nolting Sarah Parsons Robert and Arlene Paup Drs. R. Paul Drake and
Joyce E. Penner William and Susan Penner Steven and Janet Pepe Mr. Bradford Perkins Susan A. Perry Jeff Javowiaz. and
Ann Marie Petach Douglas Phelps and
Gwendolyn Jessic-Phclps Nancy S. Pickus Robert and Mary Ann Pierce William and Betty Pierce Dr. and Mrs. James Pikulski Robert and Mary Pratt Tony and Dawn Procassini Lisa M. Profera Ernst Pulgram lonathan Putnam Dr. G. Robina Quale-Leach Mr. and Mrs. Mitchell Radcliff Dr. and Mrs. Robert Rapp Maxwell and Marjoric Reade Richard and Patricia Redman Michael J. Redmond Russ and Nancy Reed Dr. and Mrs. lames W. Reese Mr. and Mrs. Stanislav Rehak Mr. and Mrs. Bernard E. Reisman J. and S. Remen Anne and Fred Kemlcy Duanc and Katie Renken
Alice Rhodes Lou and Sheila Rice Walton and Sandra Rice James and Helen Richards Carol P. Richardson Betty Richart Lita Ristine
land K. Robinson, Ph.D. Jim and Kathleen Robinson Rosemary Rochford Jonathan and Anala Rodgers Mary Ann and Willard Rodgers Michael J. and Yelcna M. Romm Edith and Raymond Rose Elizabeth A. Rose Stephen Roscnblum and
Rosalyn Sarver Richard Z. and
Edie W. Rosenfeld Charles W. Ross Lisa Rozek Gladys Rudolph Dr. Glenn R. Ruihley Mitchell and Carole Rycus Joan Sachs Brian Salesin Stephanie Savarino Sarah Savarino Jeri Sawall Drs. Edward and
Virginia Sayles Helga and Jochcn Schacht Mary A. Schievc Courtland and Inga Schmidt Elizabeth L. Schmitt Susan G. Schooner Dietrich and Mary Schulze Shirley Schumacher Peter and Kathleen Scullen Richard A. Seid Frank and Carol Seidl Suzanne Selig Janet Sell
Louis and Sherry Senunas Richard H. Shackson Terry Shade Matthew Shapiro and
Susan Garetz
David and Elvera Shappirio Larry Shear and
George Killoran Ingrid and Cliff Sheldon Bright Shcng Lorraine M. Shcppard Patrick and Carol Sherry Mary Alice Shulman Jan Onder
Douglas and Barbara Siders Dr. Bruce M. Siegan Eldy and Enrique Signori Susan Silagi Morrine Silverman Costella Simmons-Winbush Mildred Simon Michael and Maria Simonte Alice A. Simsar Alan and Eleanor Singer Scott and Joan Singer Donald and Susan Sinta
Advocates, continual
Bernard ). Sivak and
Loretta Polish Beverly N. Slater David E. Smith Don and Dorothy Smith Dr. and Mrs. Michael W. Smith Haldon and Tina Smith Mr. Webster Smith Paul and lulu Smith Susan E. Smith Hugh and Anne Solomon lames A. Somers Dr. Sheldon and
Sydelle Sonkin Errol and Pat Soskolne Becki Spangler and
Peyton Bland Peter Sparling and
John Gutoskey Elizabeth Spencer and
Arthur Schwartz Steve and Cynny Spencer Jim Spevak
Judy and Paul Spradlin Charles E. Sproger Constance D. StankraufT Stephen S. Stanton Stephanie and Chad Stasik Mr. and
Mrs. William C. Stebbins Virginia and Eric Stein William and Georgine Steude Jim and Gayle Stevens Sue A. Stickel John and Beryl Stimson James L. Stoddard Mr. and
Mrs. James Bower Stokoe Bob and Shelly Stoler Benjamin and Mona Stolz Eric and Ines Storhok Mary Stubbins Thomas Stulberg Roger Stutesman Nancy Bielby Sudia Mike and Donna Swank Thomas and Anne Swantek Richard and June Swartz Michael W. Taft and
Catherine N. Herrington Jim and Sally Tamm Larry and Roberta Tankanow Gerald and Susan Tarpley Michael and Ellen Taylor Robert Teicher and
Sharon Gambin James B. Terrill
Denise Thai and David Scobey Carol and Jim Thiry Catherine Thoburn Norman and Elaine Thorpe Michael Thouless and Yi-Li Wu Anna Thurcn Peggy Ticman
Bruce Tobis and Alice Hamele Ronald and Jacqueline Tonks John and Geraldinc Topliss Sarah Trinkaus Kenneth and Sandra Trosien
Roger and Barbara Trunsky Jeff and Lisa Tulin-Silver Michael Udow Mr. Thomas W.Ufer Alvan and Katharine Uhle Paul and Fredda Unangst Bernice G. and
Michael L. Updike Madeleine Vallicr Carl and Sue Van Appledorn Rebecca Van Dyke Bram and Lia van Leer Fred and Carole van Reesema Virginia Vass Sy and Florence Veniar Katherine Verdery Ryan and Ann Verhey-Henke Marie Vogt
Harue and Tsuguyasu Wada Virginia Wait David C. and
Elizabeth A. Walker Jo Ann Ward
Drs. Philip and Maria Warren Lorraine Nadelman and
Sidney Warschausky Arthur and Renata Wasserman Leo Wasserman Mr. and Mrs. Warren Waikins Carol Weber Joan D. Weber
Richard and Madelon Weber Carolyn J. Weigle Donna G. Weisman John, Carol and Ian Welsch John and Joanne Werner Michael and Edwenna Werner Helen Michael West Paul H. Duffy and
Marilyn L. Wheaton Mary Ann Whipple Gilbert and Ruth Whitaker James B. and Mary F. White Thomas F. Wieder William and Cristina Wilcox Sara S. Williams Shelly F. Williams Anne Marie and Robert Willis Donna Winkelman and
Tom Easthope
Sarajane and Jan Winkelman Mark and Kathryn Winterhalter Ira and Amanda Wollner Richard E. and Muriel Wong J. D. and Joyce Woods Ronald and Wendy Woods Stan and Pris Woollams Israel and Fay Woronoff Alfred and Corinne Wu Robert and Betty Wurtz Fran and Ben Wylie John and Mary Jean Yablonky Richard Yarmain James and Gladys Young Mayer and Joan Zald Sarah Zearfoss and
Stephen Hiyama Susan Zcrweck Erik and Lineke Zuiderweg
$100,000 and above
Ford Motor Company Fund Forest Health Services
Corporation University of Michigan Pfizer Global Research and
Development: Ann Arbor
Borders Group, Inc. DaimlcrChrysler
Corporation Fund Office of the Senior Vice
Provost for Academic Affairs TIAA-CREF
Bank of Ann Arbor
Bank One
Brauer Investments
CFI Group
DTE Energy Foundation
McDonald Investments
McKinley Associates
Scsi Lincoln Mercury Volvo
Mazda Thomas B. McMullen Company
Ann Arbor Automotive Butzel Long Attorneys Comerica Incorporated Consumers Energy Dennis Dahlmann Inc. Edward Surovell Realtors Elastizell Corporation of
Learning Express-Michigan MASCO Charitable Trust Miller, Canfield, Paddock and
Stone, P.L.C. National City Bank Pepper Hamilton LLP
Alf Studios Blue Nile Cafe Marie Chase Manhattan Comcast
Holcim (US) Inc. Joseph Curtin Studios Lewis Jewelers ProQuest Company Republic Bank TCF Bank Texaco
Ayse's Courtyard Cafe
Ann Arbor Builders
Ann Arbor Commerce Bank
Bed & Breakfast on Campus
BKR Dupuis & Ryden, P.C.
Burns Park Consulting
Cemex Inc.
Clark Professional Pharmacy
Coffee Express
Dr. Diane Marie Agresta
Edward Brothers, Inc.
Fleishman Hillard Inc.
Galamp Corporation
Garris, Garris, Garris & Garris,
Guardian Industries Malloy Lithographing Michigan Critical Care
Consultants Quinn livansArchitects Rosebud Solutions Seaway Financial
AgencyWayne Milewski SeloShevel Gallery Swedish Women's Educational
Swing City Dance Studio Thalner Electronic
Laboratories Inc.
UMS gratefully acknowledges the support of the following foundations and government agencies:
$100,000 and above
Doris Duke Charitable
FoundationJazzNet The Ford Foundation Michigan Council for Arts and
Cultural Affairs The Power Foundation Wallace-Reader's Digest Funds
Community Foundation for Southeastern Michigan
Association of Performing Arts
Presenters Arts Partners
Program National Endowment for
the Arts New England Foundation for the
Arts National Dance Project
Arts Midwest Gelman Educational
Foundation Heartland Arts Fund Mid-America Arts Alliance The Lcbcnsfeld Foundation Montague Foundation THE MOSAIC FOUNDATION
(ofR. and P. Heydon) Sarns Ann Arbor Fund Vibrant of Ann Arbor
SW0-S999 Erb Foundation
Contributions have been received in honor andor memory of the following individuals:
Alice B. Crawford
Alice Kelsey Dunn
Michael 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 Rothstein
Eric H. Rothstein
Ned Shure
Dora Maria Sonderhoff
Wolfgang F. Stolper
Diana Stone Peters
Isaac Thomas
Francis V. Viola III
Horace Warren
Carl H. Wilmot
Peter Holderness Woods
Elizabeth Yhouse
The Burton Tower Society recog?nizes and honors those very spe?cial friends who have included UMS in their estate plans. UMS is grateful for this important support, which will continue the great traditions of artistic excel?lence, educational opportunities and community partnerships in future years.
Carol and Herb Amster
Dr. and Mrs. David G.
Mr. Neil P. Anderson Catherine S. Arcure Mr. Hilbert 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
Beverlcy and Gerson Geltner lohn and Martha Hicks Mr. and Mrs. Richard Ives Marilyn Jeffs Thomas C. and Constance M.
Charlotte McGeoch Michael G. McGuire Dr. Eva Mueller Len and Nancy Niehoff Dr. and Mrs. Frederick C.
Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Mr. and Mrs. Jack W. Ricketts Mr. 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. VMS 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
NEA Matching Fund Palmer Endowment Fund Mary R. Romig-deYoung
Music Appreciation Fund Charles A. Sink Memorial
Fund Catherine S. ArcureHerbert E.
Sloan Endowment Fund University Musical Society
Endowment Fund
A-l Rentals, Inc.
Raquel and Bernard AgranolT
Amadeus Cafe
Ann Arbor Automotive
Ann Arbor Art Center
Ann Arbor Women's City Club
Arbor Brewing Co.
Ashley Mews
The Back Alley Gourmet
Bella Ciao Trattoria
Kathy Benton and
Robert Brown Bivouac
The Blue Nile Restaurant Bodywise Therapeutic Massage Borders Book and Music Cafe Marie Bill and Nan Conlin Hugh and Elly Rose Cooper Cousins Heritage Inn Roderick and Mary Ann Daane D'Amato's Italian Restaurant Daniel's on Liberty David Smith Photography Peter and Norma Davis Robert Derkacz The Display Group
Dough Boys Bakery
The Earle
?Catherine and I unii.m Farrell
Ken and Penny Fischer
Food Art
The Gandy Dancer
Beverley and Gerson Geltner
Great Harvest Bread Company
Linda and Richard Greene
Nina Hauscr
John's Pack & Ship
Steve and Mercy Kaslc
Kerrytown Bistro
King's Keyboard House
Ray Lance
George and Beth Lavoie
Leopold Bros, of Ann Arbor
Richard LeSueur
Mainstrect Ventures
Ernest and Jeanne Merlanti
John Metzger
Michigan Car Services, Inc.
and Airport Sedan, LTD Robert and Melinda Morris Nicola's Books, Little Professor
Book Co.
Paesano's Restaurant Pfizer Global Research and
Development: Ann Arbor
Randy Parrish Fine Framing Red Hawk Bar & Grill Regrets Only Rightside Cellar Ritz Camera One Hour Photo Don and Judy Dow Rumclhart Maya Savarino Penny and Paul Schreiber Seva
Shaman Drum Bookshop Dr. Elaine R. Soller Washington Street Gallery Weber's Restaurant Zanzibar
20 Alden B. Dow Home
& Studio
42 Ann Arbor Builders 44 Ann Arbor Symphony
Orchestra 38 Automated Resource
Management, Inc. 12 Bank of Ann Arbor 44 Bellanina Day Spa 42 Beresh Jewelers 22 Bodman, Longley and
Dahling, LLP 18 Butzel Long 24 Chelsea Musical
22 Comerica, Inc. 38 Dobson McOmber 12 Edward Surovell
20 Forest Health Services 22 Fraleigh's Nursery 47 Glacier Hills 40 Howard Cooper
Import Center 38 Huron Valley Tennis
38 IATSE Local 395 38 Journeys International 44 Key Bank 18 King's Keyboard
42 Land Architects 13 Lewis Jewelers 22 Littlefield & Sons
Furniture Service 40 Miller, Canfield,
Paddock & Stone 56 Mundus and Mundus 24 National City Bank--
Private Investment
Advisors 20 Q Ltd. 56 Red Hawk Bar and
GrillZanzibar 42 Rudolf Steiner School
of Ann Arbor
24 Sweetwaters Caft 42 Ufer&Co. 38 UM Museum of Art 16 UM School of Music 32 University Commons Blue Hill Development 34 WDET 32 WEMU 24 WGTE 10 WKAR C WUOM

Download PDF