UMS Concert Program, Friday Dec. 06 To 14: University Musical Society: Fall 2002 - Friday Dec. 06 To 14 --
Season: Fall 2002
University Of Michigan, Ann Arbor
University Musical Society
of the University of Michigan
Fall 2002 Season
FALL 2002 SEASON
university musical society
University of Michigan Ann Arbor
U MS leadership
Letters from the Presidents i
Letter from the Chair
UMS Board of Directors
Advisory Committee j
UMS Teacher Advisory Committee
Discounted Student Tickets
The UMS Card .
UMS History .??-.?-?
UMS Choral Union VenuesBurton Memorial Tower
The 0203 UMS Season Education & Audience Development Restaurant & Lodging Packages UMS Preferred Restaurant Program
UMS Delicious Experiences
Sponsorship & Advertising
Internships & College Work-Study
r Irahem (Mntccf Fchri). IWUhi Billet: Sinn Uit
FROM THE UM PRESIDENT
he University of Michigan (UM) would like to join the University Musical Society (UMS) in welcoming you to the 2002 2003 season. Additionally, we would like to thank you for your support of the performing arts. We are proud of the wonderful partner?ship we have developed with UMS and of our
role as co-sponsor and co-presenter of several events on this season's calendar. These events reflect the artistic beauty and passion that are integral to the human experience. They are
for University of Michigan students and fac?ulty to learn about the creative process and sources of inspiration that motivate artists and scholars. f
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, Coriolamis, 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
FROM THE UMS PRESIDENT,
hank you for joining us for this UMS performance. We appreciate your support of the performing arts and of UMS, and we hope we'll see you at more of our programs this season. Check the complete listing of UMS's 20022003 events beginning on page 29 and on our website at www.ums.org.
We welcome UM President Mary Sue Coleman to the southeast Michigan com?munity and to membership on the UMS Board of Directors. The university from which President Coleman came to Michigan
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. j And we urge you to bring the whole family to jp 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 email@example.com or call me at 734.647.1174.
Very best wishes,
Kenneth C. Fischer UMS President
FROM THE CHAIR'
i t is a pleasure to welcome you to this performance of the UMS 0203 season. With world-renowned performers, new community
i 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
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.
Chair, UMS Board of Directors
CORPORATE LEADERS FOUNDATIONS
John M. Rintamaki
Group Vice President, Chief of Staff, Ford Motor Company
"At Ford Motor Company, we believe the arts educate, inspire and bridge differences among cultures. They present for us all a common language and enhance our knowledge of each other and the world. We continue to support the University Musical Society and its programs that through the arts bring forth the human spirit of creativity and originality." jm&zmp?imBaB$$Os.
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 JU.
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."
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." ;
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."
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."
Managing Partner, CFI Group, Inc.
'We're pleased to be in the group of community businesses which supports UMS Arts and Education. We encourage those who have yet to participate to join us. Doing so feels good." , ----------------------------------------
Richard A. Collister
Executive Vice President, Comerica Incorporated President, Comerica Charitable Foundation 'The University Musical Society is renowned for its rich history and leadership in the performing arts. Comerica understands the nurturing role UMS plays in our commu?nity. We are grateful to UMS for coordinating this 124th grand season of magnificent live performances."
W. Frank Fountain
President, DaimlerChrysler Corporation Fund "DaimlerChrysler is committed to nurturing strong and vibrant communities through its support of the arts. We are pleased to partner with UMS in its effort to promote the cultural and economic vitality of our community." ;-----------------
Fred Shell ? ,
Vice President, Corporate and Government Affairs, 1 DTE Energy
"Plato said, 'Music and rhythm find their way into the secret places of the soul.' The DTE Energy Foundation congratulates UMS for touching so many hearts and souls by inspiring, educating and enriching the lives of those in our community."
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 wmmmm
President, Elastizell Corporation of America "!i
'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."
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 the13 art. We are proud to be associated with the great tradition of the University Musical Society."
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 musicolos
from the University of Pennsylvania in 1989. Since 1990 he has served as Program Annotator of The Cleveland Orchestra and has also taught music history at Kent State, John Carroll, and Case Western Reserve Universities. He is the editor of Bartok and His World, a collection of essays and documents published by Princeton University Press (1995). He has also contributed two articles to the Cambridge Music Handbook series and has lectured at musicological conferences in the US and Europe.
UMS gratefully acknowledges the support of the following foundations and government agencies.
$100,000 and above ;
Doris Duke Charitable
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
Association of Performing Arts
PresentersArts Partners National Endowment for the Arts New England Foundation for the Arts
Gelman Educational Foundation
Heartland Arts Fund
The Lebensfeld Foundation
Mid-America Arts Alliance ______????-''
Montague Foundation THE MOSAIC FOUNDATION
(of R. and P. Heydon) 1 Sams Ann Arbor Fund Rosalie EdwardsVibrant Ann Arbor Fund
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
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 i Thomas E. Kauper David B. Kennedy ; Richard L. Kennedy : Thomas C. Kinnear F. Bruce Kulp Leo A. Legatski Earl Lewis
Patrick B. Lon 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
UNIVERSITY MUSICAL SOCIETY
of the University of Michigan
UMS BOARD OF DIRECTORS
Sara B. Frank, Chair Louise Townley,
Vice-Chair Sue Schroeder,
Secret a ryTreasu rer Raquel Agranoff Barbara Bach Lois Baru !
Judi Batay-Csorba ?' Kathleen Benton Mimi Bogdasarian Jennifer Boyce Victoria Buckler
Elly Rose Cooper
Mary Ann Daane
Sally Stegeman DiCarlo
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
Kenneth C. Fischer,
President Lisa Herbert,
Special Projects Director Elizabeth E. Jahn,
Assistant to the
President John B. Kennard, Jr.,
Administration Chandrika Patel, Senior
Accountant John Peckham,
Conductor Jason Harris, Assistant
Conductor Andrew Kuster, Associate
Conductor Kathleen Operhall,
Manager Donald Bryant,
Director Mary Dwyer, Manager of
Corporate Support William P. Maddix,
Development Assistant Lisa Michiko Murray,
Manager of Foundation
Gram's M. Joanne Navarre,
Manager of Individual
Support Lisa Rozek, Assistant to
the Director of
Development J. Thad Schork,
Ben Johnson, Director Erin Dahl, Youth
Education Assistant Kristin Fontichiaro,
Manager Dichondra Johnson,
Manager Warren Williams,
Sara Billmann, Director Susan Bozell, Marketing
Manager Gulshirin Dubash,
Kirsten Karlen, '
Promotion Coordinator ?
Programming Production ?
Michael J. Kondziolka, j
Emily Avers, Production
Administrative Director Christine Field, :
Production Assistant Jasper Gilbert, Technical ,
Director Jeffrey Golde, Production
Assistant Susan A. Hamilton,
Coordinator Mark Jacobson,
Programming Manager Bruce Oshaben, Head
Nicole Paoletti, Manager Angela Clock, Associate Sally A. Cushing,
Associate Laurel Hufano, Group
Sales Coordinator Robert W. Hubbard,
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 i Lindsay Mueller j Sameer Patel
President Emeritus S Gail W. Rector rO
UMS TEACHER ADVISORY COMMITTEE
Fran Ampey Kitty Angus Alana Barter Joseph Batts Linda Batts Kathleen Baxter Elaine Bennett Lynda Berg Yvette Blackburn Barbara Boyce Letitia Byrd
Doug Cooper Nancy Cooper Gail Davis Barnes Ann Deckert Gail Dybdahl Keisha Ferguson Doreen Fryling Yulonda Gill-Morgan Brenda Gluth Louise Gruppen Vickey Holley Foster
Linda (ones 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
U MS services
Barrier-Free Entrances f.
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 www.ums.org.
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.
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
The UMS Ticket Office and the University Productions Ticket Office have merged! Patrons are now able to purchase tickets for UMS events and School of Music events with just one phone call.
As a result of this transition, the walk-up window is conveniently located at the League Ticket Office, on the north end of the Michigan League building at 911 North University Avenue. The Ticket Office phone number and mailing ad?dress will remain the same.
Mon-Fri: 10am-6pm Sat: 10am-lpm
By Phone 734.764.2538
Outside the 734 area code, call toll-free 800.221.1229
By Fax 734.647.1171
By Internet WWW.UmS.Org
UMS Ticket Office
Burton Memorial Tower
881 North University Avenue
Ann Arbor, MI 48109-1011
Performance hall ticket offices open 90 minutes prior to each performance.
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the Ticket Office. Refunds are not available; however, you will be given a receipt for an income tax deduc?tion. Please note that ticket returns do not count toward UMS membership.
he group sales program has grown incred?ibly in recent years, and our success is a direct result of the wonderful leaders who organize their friends, families, congrega?tions, students, and co-workers and bring them to one of our events.
Last season over 10,000 people came to UMS events as part of a group, and they saved over $50,000 on some of the most popular events in our season. Don't miss our current season, featuring world-renowned artists such as Altan, the Boston Pops, Audra McDonald, Herbie Hancock, and many more, including our special Brazil Series, all at special group rates!
Imagine yourself surrounded by ten or more of your closest pals as they thank you for getting great seats to the hottest shows in town. It's as easy as picking up the phone and calling Laurel Hufano, Group Sales Coordinator, at 734.763.3100. Don't wait--rally your friends and reserve your seats today! .i,
OUNTED STUDENT TICKETS
Did you know Since 1990, students have purchased over 122,000 tickets and have saved more than $1.8 million through special UMS student programs! UMS's commitment to affordable student tickets has permitted thousands to see some of the most impor?tant, impressive and influential artists from around the world. For the 0203 season, stu?dents may purchase discounted tickets to UMS events in three ways:
1. Each semester, UMS holds a Half-Price Student Ticket Sale, at which students can purchase tickets for all UMS events for 50 off the published price. This extremely popu?lar event draws hundreds of students every fall--last year, students saved nearly $100,000 by purchasing tickets at the Half-Price
Student Ticket Sale! Be sure to get there early as some performances have limited numbers of discounted tickets available, j
2. Students may purchase up to two $10 Rush Tickets the day of the performance at the UMS Ticket Office, or 50 off at the door, subject to availability.
3. Students may purchase the UMS Card, a pre-paid punch card that allows students to pay up front ($50 for 5 punches, $100 for 11 punches) and use the card to purchase Rush Tickets during the 0203 season. Incoming freshman and transfer students can purchase the UMS Card with the added perk of buying Rush Tickets two weeks in advance, subject to availability.
ooking for that perfect meaningful gift ? that speaks volumes about your taste Tired of giving flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than eighty events throughout our season, wrapped and delivered with your personal message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's
and Father s Days, or even as a
housewarming present when new friends move to town.
In an effort to help reduce distracting noises and enhance the theater-going '. experience, Pfizer Inc is providing compli?mentary HallsO Mentho LyptusO cough suppressant tablets to patrons attending UMS performances throughout our 0203
MS and the following businesses thank you for your generous support by pro?viding you with discounted products and services through the UMS Card, a privilege for subscribers and donors of $100 or more. Patronize these businesses often and enjoy the quality products and services they provide.
Ann Arbor Art Center
Ann Arbor Automotive
Back Alley Gourmet
The Blue Nile'
Restaurant Bodywise Therapeutic
Massage Cafe Marie Dough Boys Bakery Gandy Dancer Great Harvest John's Pack and Ship Kerrytown Bistro King's Keyboard
Michigan Car Services,
Inc. and Airport
Sedan, LTD Nicola's Books, Little
Professor Book Co. Paesano's Restaurant Randy Parrish Fine
Framing Ritz Camera One Hour
Photo Shaman Drum
Bookshop Washington Street
oin the thousands of savvy people who log onto www.ums.org each month!
Why should you log onto www.ums.org
Tickets Forget about waiting in long ticket lines--order your tickets to UMS performances online! And now you'll know your specific seat location before you buy online.
Cyber$avers Special weekly discounts appearing every Tuesday, only available by ordering over the Web.
Information Wondering about UMS's history, event logistics, or volunteer opportunities Find all this and more.
Program Notes and Artist Bios Your online source for performance programs and in-depth artist information. Learn about the artists and repertoire before you enter the hall!
Sound Clips Listen to recordings from UMS performers online before the concert.
Education Events Up-to-date information detailing educational opportunities surrounding each UMS performance.
Development Events Current infor?mation on UMS Special Events and activities outside of the concert hall. Find details on how to support UMS and the arts online!
BRAVO! Cookbook Order your UMS hardcover coffee-table cookbook featur?ing more than 250 recipes from UMS artists, alumni and friends, as well as historic photos from the UMS archives.
Choral Union Audition information and performance schedules for the UMS Choral Union.
1 hrough an uncompromising commitment to Presentation, Education, and the Creation of new work, the University Musical Society (UMS) serves Michigan audiences by bringing to our community an ongoing series of world-class artists, who represent the diverse spectrum of today's vig?orous and exciting live performing arts world. Over its 123 years, strong leadership coupled with a devoted community has placed UMS in a league of internationally-recognized performing arts presenters. Indeed, Musical America selected UMS as one of the five most influential arts presenters in the United States in 1999. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, balanced by a com?mitment to dynamic and creative visions of where the performing arts will take us in this millennium. Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first performance of Handel's Messiah was in December of 1879, and this glorious oratorio has since been per?formed by the UMS Choral Union annually.
As a great number of Choral Union members also belonged to the University, the University Musical Society was established in December 1880. UMS included the Choral Union and University Orchestra, and throughout the year presented a series of concerts featuring local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts--internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theatre. Through educational endeavors, commissioning of new works, youth programs, artist residencies and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction and innovation. UMS now hosts approximately 90 perform?ances and more than 150 educational events each season. UMS has flourished with the support of a generous community that this year gathers in 11 diverse venues in Ann Arbor, Ypsilanti, and Detroit.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organ?ization that supports itself from ticket sales, corporate and individual contributions, foundation and government grants, special project support from UM, and endowment
Throughout its 123-year history, the UMS Choral Union has performed with many of the world's distinguished orchestras and conductors.
Based in Ann Arbor under the aegis of the University Musical Society, the 150-voice Choral Union is known for its definitive per?formances of large-scale works for chorus and orchestra. Nine years ago, the Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra (DSO). Among other works, the chorus has joined the DSO in Orchestra Hall and at Meadowbrook for sub?scription performances of Stravinsky's Symphony of Psalms, John Adams's Harmonium, Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe and Brahms's Ein deutsches Requiem, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
In 1995, the Choral Union began accept?ing invitations to appear with other major regional orchestras, and soon added Britten's War Requiem, Elgar's The Dream of Gerontius, the Berlioz Requiem and other masterworks to its repertoire.
The Choral Union will open its upcom?ing season with performances of Mahler's Symphony No. 3 with the DSO, followed by a performance of Beethoven's Symphony No. 9 with the Ann Arbor Symphony Orchestra. In December the chorus will present its 124th series of annual performances of Messiah, using the rarely-heard Mozart revision of Handel's great work. The Choral Union's sea?son will conclude in March with a pair of magnificent French choral works: Honegger's King David, accompanied by members of the Greater Lansing Symphony Orchestra, and Durufle's mystical Requiem, accompanied by organist Janice Beck.
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 firstname.lastname@example.org 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
he 18-month, $38.6-nfHTi
vation to Hill Auditorium began on May il3,2002 under the direction of Albert Kahri ssociates, Inc., and historic preservation ; architects Quinn EvansArchitects. Hill was first opened to Michigan audiences in 1913 and this current renovation project will updat
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 Testrooms, improve audience circulation by providing elevators, replace main-floor seating rto 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.
risler Arena, home to the Michigan Wolverine basketball teams, stands as a tribute to the great Herbert O. "Fritz" Crisler, Michigan's third all-time winning football coach. Crisler served 10 years as Michigan's football coach (1938-1947) and 27 years as athletic director (1941 -1968) of the University. The arena was designed by Dan Dworksky under the architectural firm of K.C. Black & C.L. Dworsky and opened in 1968. The event facility has a capacity of 13,609.
While serving as a site of Big Ten Conference championship events, Crisler has also played host to popular acts such as Pearl Jam, Bill Cosby, the Grateful Dead, and even
Elvis Presley during his final concert tour.
Lydia Mendelssohn Theatre
k I otwithstanding an isolated effort to estab?lish a chamber music series by faculty and students in 1938, UMS regularly began presenting artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theatre for the 100th May Festival's Cabaret Ball. The superlative Mendelssohn Theatre has been the home of the UMS Song Recital series for the past eight years.
he historic Michigan Theater opened January 5, 1928 at the peak of the vaude?villemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ. At its opening the theater was acclaimed as the best of its kind in the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation.
In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addi?tion, which also included expanded restroom facilities for the historic theater. The gracious facade and entry vestibule was restored in 2000, and balcony restorations have been completed.
Power Center for the Performing Arts
"he Power Center for the Performing Arts
grew out of a realization that the University of Michigan had no adequate proscenium-stage theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity. (
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities was mentioned "a new theatre." The Powers were immediately inter?ested, realizing that state and federal government were unlikely to provide financial support for the construction of a new theatre.
No seat in the Power Center is more than 72 feet from the stage. The lobby of the Power Center features two hand-woven tap?estries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
'ixty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including Univer?sity Hall (the precursor to Hill Auditorium), Hill Auditorium, and Newberry Hall, the cur?rent home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of human history and human thought, died in 1933, his will established the Horace H. Rackham and Mary A. Rackham Fund, which subsequently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School, which
houses the 1,129-seat Rackham Auditorium, but also to establish a $4-million endowment to further the development of graduate studies.
St. Francis of Assisi Catholic Church
In 1950, Father Leon Kennedy was appoint?ed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and on March 19,1969 John Cardinal Dearden dedi?cated the new St. Francis of Assisi Church. Father James McDougal was appointed pastor in 1997.
St. Francis of Assisi Catholic Church has grown from 248 families when it first started in 1950 to more than 2,800 today. The present church seats 900 people and has ample free parking. In 1994 St. Francis purchased a splen?did three manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and con?templation of sacred a cappella choral music and early music ensembles. '
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.
uilt in 1914, Pease Auditorium was reno?vated in 1995. Earlier this year, the resto?ration of the AeolianSkinner pipe organ was completed and the interior of the auditorium was refurbished. Pease Auditorium can seat up to a total of 1,541 concertgoers.
Detroit Venues sj-
Detroit Opera House
'he Detroit Opera House opened in April , of 1996 following an extensive renovationi 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.
rchestra Hall was dedicated in 1919 as the new home of the Detroit Symphony Orchestra. In 1939, after the depression, the orchestra moved to the Masonic Temple Theatre and the facility was renamed the Paiadise Theatre. The Paradise became one of the nation's most famous stages for African-American Jazz musicians (1941-1951).
In the late 1950s, the building was aban?doned and fell into disrepair. In 1964, it was headed for the wrecking ball, but local citizens rallied to save the great concert hall. DSO musicians and volunteers founded Save Orchestra Hall, Inc., to marshal citizen sup?port for the retention and restoration of the building to its former architectural grandeur.
In September 1989 the DSO returned to Orchestra Hall, now its permanent home, capping a multi-million-dollar restoration effort. i
In 1996, the Detroit Symphony Orchestra launched Orchestra Place, an $80-million development project on eight acres of land surrounding Orchestra Hall. .?,___
Burton Memorial Tower
een from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor land?marks. Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet. UMS administrative offices returned to our familiar home at Burton Memorial Tower in August 2001, following a year of significant renovations to the University landmark.
This upcoming season marks the second year of the merger of the UMS Ticket Office and the University Productions Ticket Office. Due to this new partnership, the UMS walk-up ticket window is now conveniently located at the Michigan League Ticket Office, on the north end of the Michigan League building at 911 North University Avenue. The UMS Ticket Office phone number and mailing address remains the same.
University Musical Society
of the University of Michigan
2002 Fall Season
@@@@Event Program Book Friday, December 6 through Saturday, December 14, 2002
Children of ill ages are welcome it 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. . , . ?"
Handel s Messiah (Mozart edition)
Friday, December 6, 8:00 pm Saturday, December 7, 8:00 pm Michigan Theater Ann Arbor
Emerson String Quartet
Friday, December 13, 8:00 pm Rackham Auditorium Ann Arbor
Saturday, December 14, 8:00 pm Michigan Theater Ann Arbor
ecember marks the end of my service as Chair of the UMS Board of Directors. During the past three years, I have had the extraordinary ? privilege of working with a remarkable group
of colleagues. Together, we committed ourselves not only to continue the 123-year legacy of the University Musical Society, but also to guide its process of transforma?tion from an organization that simply presented the arts, to one that also educates its audiences and engages in the active commissioning of new works of art.
It has been an exhilarating journey. During the 19992000 season, we began to fashion the dream of adding world-class theater to our offerings. Two unique partner?ships--with the University of Michigan and the Royal Shakespeare Company--helped make that dream a reality the following season...and we have all been the beneficiaries!
It is a delight to tell friends across the country about the various artistic presentations that grace Ann Arbor. "What other town of 100,000," we ask, "can boast the Bolshoi Ballet, the Vienna Philharmonic, the Cleveland Orchestra, the Royal Shakespeare Company with a world-premiere production--in only one season" "No other," we know, for there is no other University Musical Society, and no other University of Michigan, passionate and generous in its support of UMS's mission.
My tenure as Board Chair has been shaped by the examples set by my predecessors. I am deeply grateful for the guidance and support offered by my predecessor, Bruce Kulp, and by two other former chairs--Norm Herbert and Herb Amster. Their wise counsel was earnestly sought and generously given. I am also indebted to the members of the Senate--UMS's former board members--who inspired me by their life-long devotion and loyalty to UMS. Above all, I am grateful for the privilege of serving with my fellow Board members. It has been an honor to work with col?leagues so talented, so rich in knowledge and expertise, and so selfless in their dedication to a strong future for the University Musical Society.
As Board members, we share a deep appreciation for the outstanding leadership of Ken Fischer, President of UMS, and his extraordinary staff. We know that it is the excellence of their work that, year after year, enables UMS to bring us the world's finest artists. We are deeply grateful.
Finally, I extend my warmest congratulations to Prue Rosenthal, my successor. I cannot imagine a more gifted and capable leader of the UMS Board. Our future is in good hands.
Beverley Geltner U
Chair, UMS Board of Directors
Carl and Isabelle Brauer
George Frideric Handel's
UMS Choral Union
Thomas Sheets, Conductor
Janice Chandler, Soprano Bejun Mehta, Countertenor Eric Cutler, Tenor -,
Dean Elzinga, Bass-baritone Edward Parmentier, Fortepiano Janice Beck, Organ
ber 6 at
irday Evening, December 7 at 8:00 chigan Theater Ann Arbor
of the 124th Season
Eighth Annual Favorites Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited. JEKfi
This performance is presented with the generous support of Carl and Isabelle Brauer.
Tune into Michigan Radio, WUOM 97.1 FM, on Christmas Eve, December 24,2002 at 8:00 pm for a special tape-delayed broadcast of this performance.
The positif organ used in this evening's performance is made possible by the Ann Arbor Academy of Early Music.
The fortepiano used in this evening's performance is made possible by Penelope Crawford and the University of Michigan School of Music.
The floral art for this performance is provided by Cherie Rehkopf and '' John Ozga of Fine Flowers, Belleville, Michigan. -?-???'.
Ms. Chandler appears by arrangement with Matthew Sprizzo! Mr. Mehta appears by arrangement with ICM Artists, Ltd. Mr. Cutler appears by arrangement with IMG Artists, New York, N1 Mr. Elzinga appears by arrangement with Matthew Sprizzo.
Large print programs are available upon request.
Isaiah 40:1' Isaiah 40:2
: Isaiah 40:3
Isaiah 40: 4.
Mr.Cutler --,? ? ?.?.. ? ---. ? ? ..,:.-... ;.---.?.:.??..?
Comfort ye, comfort ye my people, saith your God. Speak ye comfortably to Jerusalem, and cry unto her that
her warfare is accomplished, that her iniquity is pardoned. The voice of him that crieth in the wilderness: Prepare ye .. the way of the Lord, make straight in the desert a highway ; for our God.
Every valley shall be exalted, and every hill and mountain ... l made low: the crooked ... straight, and the rough places i plain:
Isaiah 40: 5
Isaiah 40:5 And the glory of the Lord shall be revealed, and all flesh shall
l?li?$R?BSE?&BiKESK see lt together: for the mouth of the Lord hath spoken it.
5 Accompanied recitative Mr. Elzinga
' ?? ? Haggai 2: mmam tnus satn tne Lord of hosts: Yet once,... a little while, and 'mEIs. I will shake the heavens and the earth, the sea and the dry
'' Haggai 2: ZAnd I will shake all nations, and the desire of all nations .
shall come:... I
? Malachi 3:1 ... the Lord, whom ye seek, shall suddenly come to his i
?? ? temple, even the messenger of the covenant, whom ye ? delight in: behold, he shall come, saith the Lord of hosts.
7 Quartet and Chorus
Malachi 3: 3
Air and Chorus
Isaiah 40: 9
Mr. Mehta . ?? ?-..----
But who may abide the day of his coming And who shall stand when he appeareth For he is like a refiner's fire,...
... and he shall purify the sons of Levi,... that they may offer,; unto the Lord an offering in righteousness.
Mr. Mehta -...--
Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel, "Godwith-us.". . -. ? ... .....
O thou that tellest good tidings to Zion, get thee up into the , high mountain; O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not ; afraid; say unto the cities of Judah: Behold your God! ;
Arise, shine; for thy light is come, and the glory of the Lord is risen upon thee. ... ??? ?? ? ,. . . ??-.-..-..
Isaiah 60: 2
12 Quartet and Chorus
Isaiah 9: 6
Luke 2: 8
': Luke 2: 9
17 Arioso Luke 2:13
Luke 2: 14
, Zechariah 9: 9
Mr.Elzinga v. ????-?,---:.?(?-.
For behold,... darkness shall cover the earth, and gross
darkness the people: but the Lord shall arise upon thee,
and His glory shall be seen upon thee. And the Gentiles shall come to thy light, and kings to the
brightness of thy rising.
The people that walked in darkness have seen a great light: and they that dwell in the land of the shadow of death, upon them hath the light shined. y
For unto us a child is born, unto us a son is given: and the government shall be upon his shoulder, and his name shall be called Wonderful, Counselor, The Mighty God, The Everlasting Father, The Prince of Peace.
(Pastoral Symphony) ,-? : .??,. ?
. there were ... shepherds abiding in the field, keeping watch over their flock by night.
And, lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid.
Ms. Chandler And the angel said unto them, Fear not: for, behold, I bring
you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Saviour,
which is Christ the Lord.
And suddenly there was with the angel a multitude of the heavenly host praising God and saying,
Glory to God in the highest, and peace on earth, good will toward men. ; " v ,..,-.
Mr. Cutler ? _______ _
Rejoice greatly, O daughter of Zibri; shout, O daughter of
Jerusalem: behold, thy King cometh unto thee: he is the ""?: righteous Saviour,... . and he shall speak peace unto the heathen.
22 Quartet and Chorus
Matthew 11: 30
Ms. Chandler -.v .-.:-.-:. -,--:.,-.
Then shall the eyes of the blind be opened, and the ears of the
Then shall the lame man leap as a hart, and the tongue of the dumb shall sing:...
'? Ms. Chandler !
He shall feed his flock like a shepherd: and he shall gather the
lambs with his arm, and carry them in his bosom, and ...-,. I gently lead those that are with young. -SH,
Come unto Him, all ye that labour and are heavy laden, and
He will give you rest. Take His yoke upon you, and learn of Him, for He is meek'H
and lowly of heart: and ye shall find rest unto your souls.
;: His yoke is easy, and His burden is light. :
24 Air i Isaiah 53:3 '?: ty
1 'Illl II
Isaiah 53: 4 Isaiah 53: 5a
,; Isaiah 53: 5b
Isaiah 53: 6
I.. Behold, the Lamb of God, that taketh away the sin of the. f world!
i Mr.Mehta '_--___,.,,.,.,,, --,,---k,---___ ..,.,.? ?
He was despised and rejected of men; a man of sorrows, and J
acquainted with grief:...
j He gave his back to the smiters, and His cheeks to them that plucked off the hair: He hid not His face from shame and j &.. spitting.. .-,.-..:, ?....-, : ..-' -. J
Surely he hath borne our griefs, and carried our sorrows:.. He was wounded for our transgressions, he was bruised for our iniquities: the chastisement of our peace was upon him,
and with his stripes are we healed.
All we like sheep have gone astray; we have turned every one to his own way; and the Lord hath laid on him the iniquity of us all.
Psalm 22: 7
29 Chorus Psalm 22:8
All they that see him laugh him to scorn: they shoot our their lips, and shake their heads, saying:
He trusted in God that he would deliver him: let him deliver him, if he delight in him.
30 Accompanied recitative Ms. Chandler
Psalm 69: 20 Thy rebuke hath broken his heart; he is full of heaviness: he
looked for some to have pity on him, but there was no man; neither found he any to comfort him.
31 Arioso Ms. Chandler
Lamentations 1: 12 ... Behold and see if there be any sorrow like unto his sorrow...
32 Accompanied recitative Ms. Chandler
Isaiah 53: 8
._. Psalm 16:10
Psalm 24: 7
',-. Psalm 24:8
Hebrews 1: 5
. Isaiah 52:7'
1:. Romans 10:18
... he was cut off out of the land of the living: for the transgressions of thy people was he stricken.
But thou didst not leave his soul in hell; nor didst thou suffer thy Holy One to see corruption.
Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of glory shall come in.
Who is this King of glory The Lord strong and mighty, thej Lord mighty in battle. 1
Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of glory shall come in.
Who is this King of glory The Lord of hosts, he is the King l-?. of glory. .i___.__:__
... unto which of the angels said he at any time, Thou art my .?. son, this day have I begotten thee...
The Lord gave the word: great was the company of the preachers.
ifi Ms. Chandler
How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things ... .
Their sound is gone out into all lands, and their words unto the ends of the world, r ? '"?'?'
Psalm 2: 1
Psalm 2: 3
U Psalm 2:4
Revelation 19: 6
i Revelation 11: 15
t Revelation 19:16
hy do the nations so furiously rage together,... why do the people imagine a vain thing M
he kings of the earth rise up, and the rulers take counsel U together against the Lord and his anointed,... 9
t us break their bonds asunder, and cast away their yokes, from us.
e that dwelleth in heaven shall laugh them to scorn: the Lord ' shall leave them in derision.
Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter's vessel.
"Hallelujah: for the Lord God omnipotent reigneth. 7-
... The kingdom of this world is become the kingdom of our
Lord, and of his Christ; and he shall reign for ever and ever. ... King of Kings, and Lord of Lords.
You are invited'to join the Choral Union in singing the "Hallelujah" chorus. Please leave the music at the door iwhen exiting the auditorium. Thank you.
Job 19: 25
I Cor. 15: 20
Cor. 15: 21
? Cor. 15: 22
f Ms.Chandler ' M
l know that my redeemer liveth, and that he shall stand at the latter day upon the earth. '?
;And though ... worms destroy this body, yet in my flesh
shall I see God. i
For now is Christ risen from the dead,... the first fruits of P them that sleep. ,.?..??.,,!?.?, ,:-,v-
... since by man came death, by man came also the resurr. ction of the dead. "
For as in Adam all die, even so in Christ shall all be made alive.
46 Accompanied recitative Mr. Elzinga
Cor. 15: 51 I Cor. 15: 52
Cor. 15: 52
Cor. 15: 54
Cor. 15: 55 I Cor. 15: 56
. I Cor. 15: 57
Behold, I tell you a mystery; we shall not all sleep, but we shall
all be changed, In a moment, in the twinkling of an eye at the last trumpet:
... the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed.
... then shall be brought to pass the saying that is written, Death is swallowed up in victory.
Mr. Mehta and Mr. Cutler
O death, where is thy sting O grave, where is thy victory The sting of death is sin; and the strength of sin is the law.
But thanks be to God, who giveth us the victory through our Lord Jesus Christ.
51 Accompanied recitative Ms. Chandler
Romans 8:31 If God be for us, who can be against us
Romans 8:33 Who shall lay anything to the charge of God's elect It is
God that justifieth.
Romans 8:34 Who is he that condemneth It is Christ that died, yea
rather, that is risen again, who is ... at the right hand of God, who ... maketh intercession for us.
Revelation 5: 12
. Worthy is the Lamb that was slain and hath redeemed us to God by His blood to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing.
. Blessing, and honour,... glory, and power, be unto Him that sitteth upon the throne, and unto the Lamb for ever and
George Frideric Handel
Born on February 23, 1685 in Hatte, Germany Died on April 14,1759 in London
George Frideric Handel's sacred oratorio Messiah is without question one of the most popular works in the choralorchestral repertoire today. In what has become an indispensable Christmas tradition, amateur and professional musicians in almost every city and town throughout the country per?form this work as a seasonal entertainment,! and are rewarded with the satisfaction of taking part in one of the great communal musical events. g"
Since the first performances in 1742, generations of musicians have adapted Handel's Messiah to suit the changing tastes of fashion and function. The small ensembles' Handel conducted himself had around 20 singers and an equal number of instrumental players, but even before the end of the 18th century much larger ensembles were per: forming the work. By the mid-19th century,; when the appeal of the spectacle sometimes' outweighed the demands of musical integrity, singers and instrumentalists for a single per?formance would often number in the several thousands. But the size of the ensemble wasn't the only variable. Mozart re-orches?trated Handel's score in 1789, adding extra parts for woodwinds to give the orchestral writing richer harmonies and a more varied. timbre. This weekend, UMS will present Mozart's re-orchestrated version of Messiah for the first time in its 124-year performance-history of Handel's work. In addition to Mozart's re-orchestration, Sir Arthur Sullivan and Eugene Goosens likewise made their : own arrangements of the orchestral parts,
updating the work for their respective audi?ences. And in 1993, a popular recording of excerpts from Messiah titled A Soulful Celebration brought together Stevie Wonder, Quincy Jones, Al Jarreau, the Boys Choir of Harlem, and others in a gospel-style inter?pretation of Handel's music. The diversity of performance styles and enthusiastic responses to this oratorio over the centuries testify to its immense popularity.
The oratorio as a musical genre origi?nated during the 17th century in the churches and monasteries of Italy. In the Oratory (a side chapel found in many consecrated buildings), the theatrical presentation of vocal music on a sacred topic was an adjunct to the liturgy of the Church. But by 1700, oratorios were being performed in private chapels and palaces as a form of entertain?ment, and had taken on the now-standard characteristics of a sung drama on sacred texts, without staging or costumes.
Handel composed several oratorios early in his career, including some in Italian Trionfo del Tempo e del Disinganno and La Resurrezione and the later English-lan?guage works Esther, Deborah, and Athalia. But after the collapse of his operatic ventures in London around 1740, Handel devoted himself to the oratorio as a form in which he could combine his flair for dramatic vocal writing and his experience as a composer of sacred, devotional music. With these later oratorios Handel eventually won back the esteem of the London critics, and secured a phenomenal public following that would ensure his future success and reputation.
In the past, one composer's revision of another composer's music was considered a form of tribute and homage rather than grounds for litigation. In 1789, a performance of Handel's Messiah was to have a radical effect on the course of the oratorio's great history. Baron Gottfreid van Swieten, an ardent fan of Handel, commissioned Mozart to fill out some of the accompaniments in
the oratorio. A great admirer of Handel himself, Mozart took the work and restruc?tured it to make the entire oratorio tighter with respect to time and more elaborate and grand with respect to instrumentation. The main changes in instrumentation were made in the wind section by adding two flutes, two oboes, two clarinets, two bassoons, two horns and three trumpets, as well as dispensing with the keyboard continuo. The entire work was also translated into German. This week?end's performances will be sung in English, but that will be the only feature that will not be in accordance with Mozart's reworked piece. Other notable changes include the aria "If God Be For Us," which was made into an i accompanied recitative composed by Mozart himself, as well as the aria "Rejoice Greatly," which is sung by a tenor rather than a mezzo-soprano, contralto or countertenor. The Mozart edition of Handel's masterpiece was published by Breitkopf and Hartel in 1803. at The text for Messiah was selected and compiled from the Authorized (King James) Version of the Bible by Charles Jennens, an aristocrat and musicianpoet of modest tal?ent and exceptional ego. With Messiah, Jennens seems to have outdone himself in compiling a libretto with profound thematic coherence and an acute sensitivity to the inherent musical structure. With the finished libretto in his possession, Handel began set?ting it to music on 22 August 1741, and completed it 24 days later. He was certainly working at white-hot speed, but this didn't necessarily indicate he was in the throes of devotional fervor, as legend has often stated. Handel composed many of his works in haste, and immediately after completing Messiah he wrote his next oratorio, Samson, in a similarly brief time-span. '
j The swiftness with which Handel com; posed Messiah can be partially explained by j the musical borrowings from his own earlier compositions. For example, the melodies used in the two choruses "And He shall purify"
and "His yoke is easy" were taken from an Italian chamber duet Handel had written earlier in 1741, "Quelfior che all' alba ride'' Another secular duet, "No, di voi non vo' fidarmi" provided material for the famous chorus "For unto us a Child is born," and the delightful "All we like sheep" borrows its wandering melismas from the same duet. A madrigal from 1712,"Se tu non lasci amore" was transformed into a duet-chorus pair for the end of the oratorio, "O Death, where is thy sting," and "But thanks be to God." In each instance, however, Handel does more than simply provide new words to old tunes. There is considerable re-composition, and any frivolity that remains from the light-hearted secular models is more than com?pensated for by the new material Handel masterfully worked into each chorus.
Over-enthusiastic "Handelists" in the 19th century perpetuated all sorts of legends regarding the composition of Messiah. An often-repeated story relates how Handel's servant found him sobbing with emotion while writing the famous "Hallelujah Chorus," and the composer claiming, "I did think I did see all Heaven before me and the great God Himself." Supposedly Handel often left his meals untouched during this compositional period, in an apparent display of devotional fasting and monastic self-denial. Present-day historians more familiar with Handel's life and religious views tend to downplay these stories. It's been suggested that if Handel did indeed have visions of ? Heaven while he composed Messiah, then it was only in the same manner in which he visualized the Roman pantheon of gods H while he composed his opera Semele. Handel's religious faith was sincere, but tended to be practical rather than mystical.
Handel was also not a native Englishspeaker, and examples of awkward texta setting in Messiah demonstrate some idiosyncrasies in his English declamation. He set the word "were" as if it had two syllables,
and "surely" with three syllables. Tn the bass aria, "The trumpet shall sound," Handel originally declaimed "incorruptible" with ' emphasis on the second and fourth syllables. While these can be corrected by the editor of the score or the singer in performance, sometimes Handel placed rhythmic accents on the wrong words entirely. Yet they are so familiar to us now that we don't hear them as unusual: "For unto us a Child is born," or "Come unto Him, ye that are heavy laden." f The first public performance of Messiah took place in Dublin, Ireland, on 13 April 1742. As this was to be a benefit performance for charity, the ladies were asked not to wear hoop dresses, and the men to leave their ; swords at home, in order to accommodate more people in the hall. Messiah was an unqualified success in Dublin; Handel had ; worked for months preparing his chorus and orchestra, and brought in some of the finest solo singers from England. The alto soloist in particular sang so affectingly that , after one aria an audience member exclaimed from his chair, "Woman, for this, be all thy i sins forgiven." But when Handel took Messiah', to London the following season, it received aj chilly reception. Even though King George ij II attended the first performance at Covent ' Garden Theatre (and, it is claimed, initiated the tradition of standing for the "Hallelujah Chorus"), London audiences found its con. templative texts lacking in drama and narra-j tive action, and it closed after only three j_ performances. Some clergy considered the theatre in general a den of iniquity and cer?tainly no place for a work on such a sacred f topic (Handel couldn't win when it was ? scheduled to be performed in Westminster j Abbey, other members of the clergy declared; it sacrilege for a public entertainment to take 1 place in a consecrated church). And Jennens, 1 the librettist, wasn't entirely pleased with what Handel had done to his texts. After initially voicing his thorough disappointment with the work, Jennens later declared Handel's .? composition "a fine Entertainment, tho' not j
near so good as he might and ought to have done." It wasn't until 1750, when another performance for charity was staged at the Foundling Hospital in London, that English audiences took Messiah to their hearts, and yearly performances at the hospital from that time on established the lasting popularity of both the work and its composer. Upon Handel's death in 1759, he willed his score and parts for Messiah to the Foundling Hospital in a charitable gesture of gratitude.
The tradition of performing Messiah at Christmas began later in the 18th century. Although the work was occasionally per?formed during Advent in Dublin, the oratorio was usually regarded in England as an enter?tainment for the penitential season of Lent, when performances of opera were banned. Messiah's extended musical focus on Christ's redeeming sacrifice also makes it particular?ly suitable for Passion Week and Holy Week, the periods when it was usually performed during Handel's lifetime. But in 1791, the Cascilian Society of London began its annual Christmas performances, and in 1818 the Handel and Haydn Society of Boston gave the work's first complete performance in the US on Christmas Day establishing a tradi?tion that continues to the present. The University Musical Society is a direct result of this tradition. In 1879, a group of local university and townspeople gathered together to study Handel's Messiah; this group assumed the name "The Choral Union" and, in 1880, the members of the Choral Union established the University Musical Society.
Following the pattern of Italian baroque opera, Messiah is divided into three parts. The first is concerned with prophecies of the Messiah's coming, drawing heavily from messianic texts in the Book of Isaiah, and concludes with an account of the Christmas story that mixes both Old and New Testament sources. The second part deals with Christ's mission and sacrifice, culminating in the grand "Hallelujah Chorus." The final, shortest section is an extended hymn of thanksgiving,
an expression of faith beginning with Job's : statement "I know that my Redeemer liveth' and closing with the majestic chorus "Worthy is the Lamb" and a fugal "Amen." In its focus; on Christ's sacrifice Messiah resembles the great Lutheran Passions of Schiitz and Bach, but with much less direct narrative and more ! meditative commentary on the redemptive nature of the Messiah's earthly mission. Handel scholar Robert Myers suggested that "logically Handel's masterpiece should be called Redemption, for its author celebrates the idea of Redemption, rather than the per; sonality of Christ."
For the believer and non-believer alike,; Handel's Messiah is undoubtedly a majestic ? musical edifice. But while a truly popular favorite around the world, Messiah aspires to more than just a reputation as an enjoyable jj musical event. After an early performance of J the work in London, Lord Kinnoul congrat-1 ulated Handel on the "noble entertainment" ' he had recently brought to the city. Handel is said to have replied, "My Lord, I should be sorry if I only entertained them; I wished to make them better." Certainly Messiah carries an ennobling message to people of all faiths and credos, proclaiming "peace on earth, and goodwill towards men" a message that continues to be timely and universal.
Program note by Luke Howard. 4,
homas Sheets is an accomplished conductor whose work with community choruses, academic ? institutions and opera companies _ has received widespread acclaim. Mr. Sheets is Music Director and Conductor of the 150-voice UMS Choral Union, based in Ann Arbor under the aegis of the University Musical Society. Following his appointment to that position in 1993, the Choral Union began performing on a regular basis with the Detroit Symphony Orchestra. ' In the past nine seasons, he has prepared the'
Choral Union for dozens of perfor?mances given by the DSO under the direction of Neeme Jarvi, Jerzy Semkow, Gennady Rozhdestvensky, John Adams and others. He also pre?pared the chorus for
its first major recording, Tchaikovsky's The Snow Maiden, conducted by Maestro Jarvi with the DSO and released internationally by Chandos, Ltd.
Before moving to Ann Arbor, Mr. Sheets was Associate Conductor of two prominent Southern California choruses, the William Hall Chorale and the Master Chorale of Orange County, both conducted by his mentor, the distinguished choral conductor William Hall. During that time, he assisted in preparing all the major choralorchestral works in the current international repertoire, in some instances for performances led by Robert Shaw, Jorge Mester, Joann Faletta and Michael Tilson-Thomas. As chorusmaster in 1988 for Long Beach Opera's highly acclaimed American premiere of Szymanowski's King Roger, his efforts on behalf of the chorus received accolades from critics on four con. tinents. He was engaged in the same role in 1992 for that company's avant-garde staging of Simon Boccanegra, where the chorus again received singular plaudits.
During the 9697 season, Mr. Sheets made his debut with the Toledo Symphony "m in two performances of Bach's Mass in b ff
minor, and also conducted performances of Handel's Messiah with the Ann Arbor Symphony Orchestra and the Perrysburg ; (OH) Symphony. During the 9798 season,.l Mr. Sheets conducted the Choral Union and the Ann Arbor Symphony Orchestra in per?formances of Messiah and Mendelssohn's Elijah in Hill Auditorium. In the 9899 sea?son, he conducted a performance of Bach's
Saint Matthew Passion at the historic Fort " Street Presbyterian Church of Detroit. The following year he conducted Haydn's The Creation with the Jackson Chorale and Orchestra, and led an acclaimed performance of Bach's Saint Matthew Passion with the Choral Union and the Ann Arbor Symphony Orchestra.
r In the 20002001 season, Mr. Sheets led the Jackson Chorale in performances of Kodaly's Missa brevis and Brahms's Liebeslieder Walzer, and conducted two performances of Messiah with the Ann Arbor Symphony Orchestra. In April 2001, he conducted the Choral Union, the Greater Lansing Symphony Orchestra, the Symphony Band of the UM School of Music and tenor Stanford Olsen in a performance of Berlioz's Requiem in Hill Auditorium. In the course of the 0102 season, he conducted performances of Messiah and Brahms's Eitt deutsches Requiem with the Ann Arbor Symphony Orchestra, as well as Schubert's Symphony No. 8 and the Dvorak Mass in D with the Jackson Choralefp and the Jackson Symphony Orchestra. ;' Thomas Sheets is a graduate of Chapman University and CSU Fullerton, and received the degree Doctor of Musical Arts from the University of Southern California. He has held faculty appointments at several colleges and universities, most recently serving on the faculty of the Wayne State University School of Music. A church musician for 30 years, he conducts the 14-voice professional choir at St. John's Episcopal (Anglican) Church in Detroit. Dr. Sheets is a frequent guest conductor, conference leader and clinician; his editions of choral music : are published by Augsburg-Fortress, and he is a regular contributor of articles on choral music performance.
These performances mark the 10th year that.? Thomas Sheets has conducted Handel's Messiah under VMS auspices. These peror?dinances mark Thomas Sheets's 22nd and 23rd appearances under UMS auspices. He last
appeared under UMS auspices conducting the UMS Choral Union and the Ann Arbor Symphony Orchestra in performance of . Brahms's German Requiem in March 2002M
mong America's foremost lyric sopranos, Janice Chandler is renowned for a beautiful voice deployed with exceptional musi-cianship, artistry and conviction. She first gained international prominence as a favorite of Robert Shaw, performing with the Cleveland, Minnesota, and Florida Orchestras and the Baltimore, Atlanta and San Diego Symphonies. Other distinguished conductors with whom she collaborates include Marin Alsop, Sergiu Comissiona, Christoph von Dohnanyi, Charles Dutoit, Claus Peter Flor, Neal Gittleman, Raymond Harvey, Jeffrey Kahane, Carlos Kalmar, Raymond Leppard, Jahja Ling, Hermann Michael, Christof Perick, Esa-Pekka Salonen, Alfred Savia, Robert Spano, Yuri Temirkanov, Maximiano Valdes, Edo de Waart and Hugh Wolff. She has appeared with the Philadelphia Orchestra; Los
Angeles and Saint Paul Chamber Orchestras; Boston, NHK (Japan), Montreal, Vancouver, Phoenix, Cincinnati, Colorado, Akron, New Mexico, Eugene, Grand Rapids, New Jersey, Alabama, Utah, Santa Rosa and
Syracuse Symphonies; and the Los Angeles, Hong Kong and Rochester Philharmonics. Festival invitations include Bard, Grant Park, Aspen, Prague Autumn, Blossom and the Berkshire Choral Festival.
Of particular note in the current season are debuts with the Dallas Symphony (four performances of the Brahms Requiem); Pittsburgh Symphony (Britten's Ceremony of
Carols, Poulenc's Gloria and Rachmaninoff's The Bells); Britten's War Requiem with the Dayton Philharmonic; Beethoven's Symphony No. 9 with the New West Symphony; and Mahler's Symphony No. 4 and Barber's Knoxville with Grant Cooper and the West Virginia Symphony. Ms. Chandler also travels to Kiev to perform Mozart's Requiem with ; the Russian National Orchestra under Vladimir Spivakov.
Recent highlights include acclaimed performances of the Mozart Mass in c minor with Esa-Pekka Salonen and the Los Angeles Philharmonic in both Los Angeles and New York's Carnegie Hall; Bach's Mass in b minor with the Saint Paul and Los Angeles Chamber Orchestras; the Faure Requiem with Charles Dutoit and the Montreal Symphony in .H Montreal and Carnegie Hall; the world pre1 miere of Hannibal's One Heart Beating with ' the Philadelphia Orchestra (she appeared in January 2002 in an acclaimed program of spirituals and Mozart's Exsultate, Jubilate); a Japanese tour with the NHK Symphony under Jahja Ling; Mahler's Symphony No. 2 with the Florida and Cleveland Orchestras; Brahms's and Mozart's Requiems with Colorado Symphony; Exsultate, Jubilate and Mahler's Symphony No. 4 with Sergiu Comissiona and the Vancouver Symphony; Gorecki's Symphony No. 3 and Poulenc's Gloria with the New Mexico Symphony; and Britten's War Requiem and Tippett's Child of Our Time with the Santa Rosa Symphony Orchestra. Her recordings to date include There Shall a Star: Choral Jewels for Christmas with the Choral Arts Society of Washington, and a new English adaptation of the Brahms Requiem with the Utah Symphony.
Ms. Chandler holds a BA in vocal per?formance from Oakwood College and an MM in vocal performance from Indiana University. She has studied with Virginia Zeani, Margaret Harshaw and Todd Duncan.
These performances mark Ms. Chandler's second and third appearances under UMS auspices. Ms. Chandler last appeared under UMS auspices as soprano soloist in Brahms's German Requiem in performance with the UMS Choral Union and Ann Arbor Symphony Orchestra under the direction of Thomas Sheets in March 2002.
, ince his critically acclaimed debut in 1998, Bejun Mehta has quickly established himself as one of the leading countertenors of his time. This past summer, Mr. Mehta returned to the Drottningholm Court Theater as the title role in Tamerlano and made his debut at the Edinburgh Festival as Hamor in Jeptha. This season, Mr. Mehta makes his debut at the Opera National de Paris as Tolemeo in Giulio Cesare, the Lyric Opera of Chicago as Armindo in Partenope, and the Glimmerglass Opera as the title role in Orlando. He also returns to the New York City Opera as Guido in Flavio. On the con?cert stage, he can be heard as Tolomeo on tour with Marc Minkowski and the Musicians du Louvre. Future engagements include his debut at the Royal Opera House, Covent Garden, as well as returns to both the Metropolitan Opera and the New York City Opera.
Last season he made his debut at the Metropolitan Opera as Oberon in A
Midsummer Nights Dream and at the San Francisco Opera as Tolemeo. He also returned to the Theatre du Chatelet as Masha in Peter Eotvos's Three Sisters, which was filmed and will be released on DVD.
Mr. Mehta debuted in the spring of 1998 as Mordecai in Handel's Esther with Millennial Arts Productions. He has since been seen as Farnace in Mitriadate at the Santa Fe Opera , the Theatre du Chatelet, and the 2001 Sydney Festival; Armindo and Polinesso in Ariodante at the New York City Opera, Tamerlano at the Drottningholm Court Theater, Ottone in L'incoronazione di Poppea at the Netherlands Opera, and Bertarido in Rodelinda in Santa Barbara at the personal invitation of Marilyn Home.
On the concert platform, Mr. Mehta has appeared at Carnegie Hall and the 92nd Street Y in New York, and with the Minnesota Orchestra. He has also appeared at the Konzerthaus Mozartsaal in Vienna, Wigmore Hall in London, Alte Oper in Frankfurt, Cite de la Musique in Paris, Palais des Beaux Arts in Brussels, and the Saint Denis Festival in France.
As a recitalist, Mr. Mehta has been pre?sented by the New York Festival of Song, the Marilyn Home Foundation, and the Theatre du Chatelet. He also appeared as part of Ms. Home's Gala Birthday Concert in Carnegie Hall.
Mr. Mehta was recently the subject of a CBS 60 Minutes II feature story. He is also profiled in, and wrote the epilogue for, Claude Kenneson's book Musical Prodigies: Perilous Journeys, Remarkable Lives, published in 1999 by Amadeus Press. Mr. Mehta is a past recipi?ent of the George London Foundation and the Richard Tucker Foundation Career Grants. He graduated magna cum laude from Yale University in 1990 where he holds an honors degree in Germanic Language and Literature.
Mr. Mehta first grabbed national atten?tion as a boy soprano with the release of his solo CD, Bejun, on the Delos label in 1983.
These performances mark Bejun Mehta's UMS debut as a countertenor. Mr. Mehta made 10 UMS appearances as a boy soprano between 1980-1982.
enor Eric Cutler joined the Metro?politan Opera Lindemann Young Artist Development Program at the beginning of the 19992000 season after being selected as a winner of the Metropolitan Opera National Council Auditions in 1998. He last appeared at UMS during the 2002 Ford Honors Program trib?ute to Marilyn Home.
During the 0102 season at the Met, Mr. Cutler performed the role of Vogelgesang in Die Meistersinger von Niirenburg conducted by James Levine, which was also taped for telecast on PBS. He made his Houston Grand Opera debut as Belmonte in Die Entfulming aus dem Serail conducted by Patrick Summers and directed by James Robinson. He also makes his debut with Opera Theatre of St.
Louis as Tamino in a new production of The Magic Flute as well as having sung Messiah with the Baltimore Symphony. He made his New York solo recital debut under the aus?pices of the Marilyn Home Foundation and is also scheduled
to perform a concert version of Stravinsky s Rertard with the Met Chamber Ensemble under James Levine.
A recent graduate of Luther College, Mr. Cutler was the recipient of a Sara Tucker Study Grant from the Richard Tucker Music Foundation in 2000, which was followed by a Tucker Career Grant in 2001. He was the winner of the Houston Grand Opera Studio's Eleanor McCallum Auditions and the winner of the 2001 Martin E. Segal Award from Lincoln Center.
These performances mark Eric Cutler's second and third appearances under VMS auspices. Mr. Cutler last appeared under VMS auspices in UMS's 2002 Ford Honors Program tribute
to mezzo-soprano Marilyn Home in Hill Auditorium in May 2002.
ith keen theatrical and musical i insight and an uncommonly flexible and handsome voice, Dean Elzinga is among the ; most sought-after bass-bari?tones on the concert and opera scene.
This season's North American high?lights include Beethoven's Symphony No. 9 with the San Diego, Long Beach and New West Symphonies; Mozart's Requiem with the Eugene Symphony; Handel's Messiah with the Hong Kong Philharmonic and Baltimore Symphonies; Haydn's Creation ' with the Florida Orchestra and Colorado Symphony; Bach's Mass in b minor with the Master Chorale of Washington (in the Kennedy Center), and Walton's Belshazzar's Feast with the Portland Symphony. In addi?tion, he performs Ramfis in Verdi's Aida for his debut with the Vancouver Opera and his "signature" role of Mephistopheles at the Sacramento Opera. Last season included : Beethoven's Symphony No. 9 with the Rochester Philharmonic; Phoenix and Vancouver Symphonies and Minnesota Orchestra; Beethoven's Missa solemnis with the Louisiana Philharmonic; The Creation with the Amarillo Symphony; a return to the Arizona Opera for Leporello in Don Giovanni; his Opera Memphis debut as the Four Villains in Les contes d'Hoffmann; and
his Nashville Opera ] debut as Sparafiicile i in Rigoletto. He also 1 returned to the El j Paso Opera for Dr. j Bartolo in Le nozze di i Figaro (making him I one of the few singers j to have performed j Almaviva, Figaro and j Dr. Bartolo in this opera). -
Mr. Elzinga sang Biterolf in Tannhauser and Alidoro in La Cenerentola, both under James Levine, at the Metropolitan Opera; Mozart's Figaro with the Santa Barbara Grand Opera and Arizona Opera; Nick Shadow in the Edmonton Opera's The Rake's Progress; Ads and Galatea, Sousa's The Glass Blowers, Puccini's Tosca and Thomson's The Mother of Us All at Glimmerglass Opera. He garnered international attention for his fiercely dramat?ic performance of Peter Maxwell Davies's Eight Songs for a Mad King with Jonathan Sheffer and New York's Eos Orchestra. For Opera San Jose, the Mississippi and Nevada Operas he performed his "signature" role of Mephistopheles in Faust. In addition, he sang Ramfis in Aida at Opera Carolina, the title role of Rossini's Turco in Italia for Opera San Jose; Mozart's Figaro, Escamillo in Carmen, Leporello and Mephistopheles at the Vienna Volksoper; Mozart's Figaro with the Connecticut Grand Opera and Orchestra; and Maitre Jean in L'Opera Francais de New York's La Colombe at Alice Tully Hall.
Equally at home on the concert platform, Mr. Elzinga has sung Messiah with the Pacific Symphony, San Diego Chamber Orchestra and Florida Philharmonic; Missa solemnis with the Pacific Chorale; Britten's War Requiem and Mahler's Symphony No. 8 with the William Hall Master Chorale; and the Faure Requiem at the Pacific Choral Festival. At New York's Bard Festival he performed Haydn's Die Jahreszeiten, Schoenberg's Die gliickliche Hand, recitals of songs by Schoenberg, Strauss, Reger, Marx and Berg; and Mahler's Symphony No. 8. Other con?ductors with whom he collaborates include Yves Abel, Boris Brott, David Lockington, Klaus Donath, Asher Fisch, Bertrand de Billy, James Judd, Maximiano Valdes and Samuel Wong.
These performances mark Dean Elzinga's UMS debut.
escribed by American Record ' Guide as "one of America's supe?rior organists," Janice Beck is 3 widely known for her recordings
__ and solo recitals in both North
America and Europe. While a Fulbright scholar in Paris, she presented the world premiere of Jean Langlais's American Suite. During recent tours of Europe, she presented ? concerts in Coventry Cathedral, Southwell
Minster, Wesminster Abbey, St. David's Hall, Cardiff, Chester Cathedral and Lincoln Cathedral in the UK; Oliwa Cathedral, Gdansk, and the International Festival of Organ and Chamber Music, Szczecin in Poland; the Janacek
Conservatory of Music, Ostrava, Czech Republic; St. Elizabeth's Cathedral in Kosice, Slovakia; and the Matyas Church, Budapest, Hungary. She concertizes throughout North America and has presented recitals at First Congregational Church, Los Angeles; the Mormon Tabernacle, Salt Lake City; Christ Church Cathedral, Ottava; the Basilica of the Shrine of the Immaculate Conception in Washington, DC; Duke University Chapel, Durham and Trinity College Chapel, Hartford. In 2002 she played in the Basilica ; of St. Clotilde, Paris; the Cathedral of Our Lady, Antwerp; and at Rollins College for the Winter Park Bach Festival.
Her recordings include the six organ sonatas of Mendelssohn and the Vierne ;,'? Sixieme Symphonie, released by Arkay Records, works of Marcel Dupr, recorded in the Cathedral St. Etienne, Auxerre, for the' French company REM Editions, and the works of Pamela Decker, recorded for Albany Records on the organ of Hill Auditorium at the University of Michigan.. ,
A Virginian by birth, Janice Beck received her early training from Arthur Rhea in Williamsburg at Bruton Parish Church. Subsequent study was with Catharine Crozier at Rollins College, Marilyn Mason, at the University of Michigan, and Jean Langlais and Nadia Boulanger in Paris. She resides in Ann Arbor and is the organist of St. John's Episcopal Church in Detroit. She has been a member of the Alumnae Board of Governors of the University of Michigan School of Music, the Advisory Committee of UMS, and Dean of the Ann Arbor chapter of the American Guild of Organists. She is a recipient of the Algernon Sydney Sullivan Award, presented by Rollins College "for leadership, great achievement in one's cho?sen field, and service to others." In 1999 she was further honored by a Rollins College Alumni Distinguished Achievement Award in Musical Arts. She is represented by Phillip Truckenbrod Concert Artists.
Janice Beck has performed in the annual UMS productions of Messiah since 1995. These performances mark her 13th and 14th appearances under UMS auspices.
dward Parmentier, Professor of Music (Harpsichord and Early Music Ensemble) at the School of Music, University of Michigan, led six per-_____forminglecturingteaching residen?cies at the College-Conservatory of Music at
the University or Cincinnati during the 0102 season. Last spring he gave three weeks of concerts and lectures at Yonsei University, Seoul, Korea, and in Toyko, Ota, Nikko, Maebashi and Tatebaeyashi, Japan. He is currently
preparing recordings of Bach harpsichord concerti and works of Sweelinck and Chambonniercs. His 2002 University of ; Michigan Summer Harpsichord Workshops dealt with John Bull and Peter Philips, and ..; with the works of Domenico Scarlatti. !_ This season he has concert engagements in Chicago and Oklahoma City along with appearances in Michigan. In 2002, Mr. 1
Parmentier received the University of Michigan's Thurnau Professorship, awarded in recognition of teaching.
Edward Parmentier has performed in the annual UMS presentation oMessiah since 1995. These performances mark Mr. Parmentier's 17th and 18th appearances under UMS auspices.
Please refer to UMS Annals, page 25 of the glossy pages of your program, for biograph?ical information on the UMS Choral Union.
The UMS Choral Union began performing in 1879 and has presented Handel's Messiah in annual performances. These performances mark the UMS Choral Union's 389th and 390th appearances under UMS auspices. The UMS Choral Union last appeared under UMS auspices in performance ofBrahms'sf Requiem in March 2002.
The Ann Arbor Symphony Orchestra
(A:SO) has been a part of Ann Arbor's cul?tural life for nearly 75 years. It was founded in 1928 by five musically inclined members , of the local Methodist Church. Their first major program was played in November 1931 and by 1935 the orchestra was organized under the general administration of Ann Arbor's Parks and Recreation Department. In the fall of 1939 it was formally organized : with the appointmentelection of officers. In 1941 Joseph Maddy (founder of Interlochen
Music Camp) conducted this "mom and pop" orchestra of committed and talented amateur musicians. Since 1986, the A:SO has been a fully professional orchestra, first under the baton of Carl St. Clair, followed by Sam Wong from 1992-1999. Over 275 individuals applied to succeed Maestro Wong, and through the diligent work of the A2SO Orchestra, Board and active feedback from our community, five distinguished finalists were selected to conduct the orches?tra during the 9900 season. Maestro Arie Lipsky, who conducted three sold-out Youth Concerts and gave the premiere of Michigan's Millennium project, Lokananta, was the unanimous choice of orchestra, board and community alike to lead the A2SO into the new century. He inaugurated his "Season of Firsts" in September 2000 and audiences grew by 15. In his season "Second to None," Lipsky increased the number of Youth Concerts by 33, started a family concert series and began a five-part senior citizen concert series. During the cur?rent season, the A2SO serves the greatest number of subscribers in its history.
Mr. Lipsky continues this distinguished and inspired music making by treating audi?ences to performances of Bizet's concert-version opera Carmen, Mahler, Prokofiev, Mozart, Poulenc, Piazzolla, Brahms, Vivaldi, Foss, Tchaikovsky, Brahms and Hindemith. Each season he adds to the new works with the premiere of a new work by an emerging U-M student composer.
A key component of the A:SO's mission is education and outreach, and the orchestra is deeply committed to demonstrating musical excellence both inside the concert hall and well beyond it. In-school educa?tional programs and Youth Concerts reach over 16,500 area students each year. Pre?concert lectures and broadcasts of our ? concerts on WGTE radio help create an informed, discerning audience of life-long learners.
The A!SO is well supported by cdrrirnu-nity members, foundations, local businesses ! and merchants. The A:SO's creative and original programming was also rewarded with two prestigious NEA grants in as many years in support of educational programs including Carnival of the Animals, featuring new poems to accompany the Saint-Saens classic, written and performed by teenage slam poets.
The A2SO is also rich in the talents of a dedicated volunteer corps. Last year over 100 volunteers logged in over a thousand hours of service to ensure a successful sea?son. We take pride in a dedicated group of Board Members who come from all spheres of experience doctors, educators, bankers, attorneys, community volunteers, business leaders and creative artists.
The Ann Arbor Symphony Orchestra has per-M formed in the annual UMS presentations of Messiah since 1988. These performances mark the Ann Arbor Symphony Orchestra's 41st and '42nd appearances under UMS auspices.
Ann Arbor Symphony Orchestra'
Arie Lipsky, Music Director
Mary Steffek Blaske, Executive Director
Adrienne Jacobs, Concertmaster Elizabeth A. H. Green Concertmaster Chair
Kristin Van Ausdal
Linda Etter Violin Chair
The A2 Principal Second
Violin Chair Honoring
Anne Gates and Annie
Rudisill David Lamse
Abraham Weiser Violin
Katie Rowan Jackie Livesay
I-chun Chiang Julianne Zinn
Harriet Fusfeld Viola
Carolyn Tarzia Antione Hackney
Sarah Cleveland Sundelson Endowed Principal Cello Chair
Herb Katz Cello Chair
Gregg Emerson Powell Bank of Washtaiaw Principal Bass Chair
Penelope Fischer Lori Newman
Gilbert Omenn Principal
Oboe Chair Lorelei Crawford
Deborah Chodacki Jim anil Millie Irwin Endowed Principal Clarinet Chair
E. Daniel Long Principal
Bassoon Chair Tristan Rennie
Louis Stout Principal French Horn Chair
William Campbell Daviil S. Evans III Principal Trumpet Chair
Donald Babcock Scott Hartley Gary Hellick
Timpani -James Lancioni
UMS Choral Union
Thomas Sheets, Conductor Jason Harris, Assistant Conductor Steven Lorenz, Assistant Conductor Kathleen Operhall, Chorus Manager Donald Bryant, Conductor Emeritus
Debra Joy Brabenec
Ann K. Burke
Susan F. Campbell
Cheryl D. Clarkson
Marie Ankenbruck Davis
Kathy Neufeld Dunn
Mary Kay Lawless
Melissa Hope Marin
Linda Selig Marshall
Nancy K. Paul
Margaret Dearden Petersen
Judith A. Premin
Mary A. Schieve
Sue Ellen Straub
Barbara Hertz Wallgren
Rachelle Barcus Warren
Linda Kaye Woodman
Denise Rae Zellner
Paula Allison-England Wendy Bethune Emily Chan Joan Cooper Marilyn Finkbeiner Carolyn L. Gillespie Danna Gunderson Hilary Haftel Mary Halbeisen Margo Halsted Sook Han Carol Kraemer
Hohnke Maren E. Keyt Jean Marie Leverich Cynthia Lunan Beth McNally Betty Montgomery Holly Ann
Muencho Nancy L. Murphy Lisa Michiko Murray Kathleen Operhall Connie Pagedas Cindy Shindledecker Beverly N. Slater Jennifer M. Soden Katherine Spindler Gayle Beck Stevens Ruth A. Theobald Cheryl Utiger Madeleine A. Vala Katherine Verdery Sandra Wiley
Adam D. Bonarek Fr. Timothy J.
Dombrowski Phil Enns Steven Fudge Roy Glover Matthew P. Gray Arthur Gulick Ryan Gunderson Stephen Heath Bob Klaffke A.T. Miller Fred Peterbark G. Thomas Sheffer Elizabeth Sklar Jim Van Bochove
William Baxter Donald Billings Kee Man Chang Michael Coster Roger Craig John Dryden Gregory Fleming Michael Garrahan Jamie Gleason Philip J. Gorman Charles T. Hudson George Lindquist Rod Little Steven Lorenz Joseph D. McCadden John Middlebrooks Michael Pratt William Premin Berhard Schoenliner Rodney Smith Robert Stawski Robert D. Strozier John Joseph Tome Terril O.Tompkins Nathan Umphrey
Ann and Clayton Wilhite
Emerson String Quartet
Philip Setzer, Violin (1st in Smetana)
Eugene Drucker, Violin (1st in Shostakovich and Schubert)
Lawrence Dutton, Viola
David Finckel, Cello
Friday Evening, December 13 at 8:00 Rackham Auditorium Ann Arbor
String Quartet No. 1 in e minor
Allegro vivo appassionato Allegro moderato a la Polka Largo sostenuto Vivace
Quartet No. 8 in c minor, Op. 110
Allegro molto Allegretto Largo Largo
(all mvts. attacca: played without pause)
Quartet in d minor, D. 810
Andante con moto
Scherzo: Allegro molto. Trio
38th 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 the generous support of Ann and Clayton Wilhite.
Additional support provided by media sponsor WGTE 91.3 FM.
The Emerson String Quartet appears by arrangement with IMG Artists, New York, NY and records exclusively for Deutsche Grammophon.
Please visit the Emerson String Quartet online at www.emersonquartet.com.
Large print programs are available upon request.
String Quartet No. 1 in e minor, "From My Life"
Bedf ich Smetana
Born March 2, 1824 in Litomysl, Bohemia Died May 12, 1884 in Prague
As a public figure, Bedf ich Smetana devoted his life to the creation of a Czech national idiom in music, a goal he pursued with his operas and his set of symphonic poems, Md Vlast (My Fatherland). But when it came to expressing his most private feelings, he turned to chamber music, like so many great composers both before and after him. When his daughter Bedf iska died in childhood, he wrote his dark and tempestuous Piano Trio in g minor. When, at the height of his creative powers, he suddenly lost his hearing and was forced to withdraw from active life, he composed the string quartet Z meho zivota (From My Life). Then, shortly before his death, Smetana wrote String Quartet No. 2, the aphoristic character of which reflected his deteriorating health. By then;' "[he] was able to compose only in snatches," as the Czech musicologist Marta Ottlova has put it in a recent article.
In a famous letter to his friend Josef Srb, Smetana related each of his String Quartet No. fs four movements to events or emotions in the composer's life.
The first movement depicts my youthful love of art, my romantic moods, an indescribable longing for something which I could not express in words, and a foreboding of unhap-piness to come....
The second movement is like a polka and reminds me of the happy days of my youth, when I composed dance tunes and was known as a passionate lover of dancing. The middle trio section brings back memories of aristo: cratic circles in which I used to move many ; years ago.
"r The "largo sostenuto" recalls my first love
[ and happiness with the girl who later became C my first wife.
The finale describes my joy in discovering that I could treat elements of Bohemian national music in my work. My joy in follow?ing this path was checked by the terrible cata?strophe of my sudden deafness__The long,
insistent note is the fateful ringing in my ears of the high-pitched tones which announced the beginning of my deafness. I permitted myself this little joke because it was so disas?trous to me.... It left me with the outlook of a sad future, only a passing hope of recovery, a brief reminder of my love of art, and finally a sensation of nothing but pain and regret.
Right up to the "little joke," the program fits the musical structure like a glove: the enthusiasm of youth, the passion for dance, and the love for Katef ina, his first wife, cor?respond effortlessly to the opening "Allegro," the second-movement polka, and the third-movement "Largo," respectively, just as the triumph of musical nationalism finds a nat?ural expression in an exuberant finale. Many finales, after all, may be perceived as "tri?umphant." The sustained high 'E' shortly before the end of the quartet is a different story. Here the conventions of classical form break down completely, and the tragic pro?gram takes over. Smetana called this moment a "little joke" because of the liberty he was taking with conventions to make a special point, for which his only precedents would have been the witty surprises found in Joseph Haydn's music. jgj
The "foreboding of unhappiness" is present right at the opening, a lengthy and dramatic viola solo. Only the melodious sec?ondary theme seems to express the compos?er's youthful longings. The entire movement oscillates between two opposite emotions,. polarizing the usual contrast between a sonata movement's themes to the extreme.
The second movement, too, takes some?thing to the extreme, in this case the idea of the dance. This is not simply a polka but a kind of "polka-fantasy," with intentionally exaggerated melodic and rhythmic gestures that make it appear larger than life. A fan-
fare-like melody, consisting entirely of the notes of the major triad, is marked pointed?ly as "quasi Tromba" (like a trumpet). The middle section embodies the very idea of tenderness just as the main section does the notion of a boisterous dance.
Katefina's portrait, in the third move?ment, is drawn by means of an exquisite cello solo, introducing a profoundly lyrical melody played by the first violin. Even here, though, we find some highly dramatic accents to remind us that Smetana lost his first wife tragically when she died of tuber?culosis in 1859, after ten years of marriage. g& The finale opens with a string of melodies in turn exuberant and jovial, sig?naling unqualified happiness and content?ment for the first time in the piece. It is this radiant outpouring of joy that is cruelly interrupted by the tragic high 'E' note, fol?lowed by a recapitulation of the two main themes from first movement: the first, in its original dramatic form, the second, trans?formed from idyllic to despondent, bringing the work to an unusual and utterly tragic conclusion.
Quartet No. 8 in c minor, Op. 110
Born September 25, 1906 in St. Petersburg,
Russia Died August 9, 1975 in Moscow
Quartet No. 8 is by far the best-known of Shostakovich's 15 string quartets, and it is no secret that it is an "autobiographical" work: the numerous quotes from earlier works, and the prominent use of the D-S-C-H theme make sure no one misses the message. The "D-S-C-H" theme is formed from the composer's initials set to music. Using the German spelling Dmitri Schostakowitsch and the German names for the notes in which
S or es stands for E-flat and H for B-nat-ural, the composer came up with the sequence D E-flat C B, which happens to be not just any kind of melody but a very poignant one. The diminished fourth between the E-flat and the B-natural is the source of great dramatic tension, as it was already in the theme of Bach's Fugue in c-sharp minor from the first book of The Well-Tempered Keyboard. D-S-C-H is really a variant of Bach's C-sharp
B-sharp E D-sharp, or indeed, a vari?ant of the B-A-C-H motive itself (B-flat A
C B-natural). The four-note fugal sub?ject that opens Beethoven's String Quartet in c-sharp minor, Op. 131 (G-sharp B-sharp
C-sharp A) also belongs to the same musical family. Before Quartet No. 8, Shostakovich had already used the D-S-C-H theme prominently in Symphony No. 10 (1953).
Yet, in the quartet he is positively obsessed with it and until very recently it wasn't entirely clear why. The fullest account of what happened in the summer of 1960 can be read in the commentaries written by Isaak Glikman, one of Shostakovich's closest friends, to the letters he had received from the composer (published in English by Cornell University Press as Story of a Friendship in 2001). To make a long story short, Shosta?kovich had been coerced to join the Communist Party, and he gave in to the enormous pressure. He was a nervous wreck as a result of the entire ordeal. Soon after?wards, he traveled to East Germany to work on a film project, and composed Quartet No. 8 at a spa in the area known as "the Switzerland of Saxony." Though Shostakovich ostensibly dedicated the quartet "in memory of the vic?tims of fascism and war," his private thoughts, revealed only to Glikman, were quite different:
I started thinking that if some day I die, nobody is likely to write a work in memory of me, so I had better write one myself. The title page could carry the dedication: "To the mem?ory of the composer of this quartet."
So this is why the work opens with a gloom fugue on the D-S-C-H subject, soon fol?lowed by a heart-rending lament of the first violin accompanied by a quiet drone in the other three instruments. This is why the sec?ond movement is a brutally fierce scherzo, almost a danse macabre, depicting a lifetime spent in the shadow of war, oppression and the Gulag. At the climactic moment of this movement, the playful theme from the finale of Shostakovich's Piano Trio No. 2 (1944) appears, but here it doesn't sound playful at all but positively frightening. And thereby hangs another tale. This theme is strikingly Jewish in its melodic inflections and its rhythm: one could imagine hearing it played by a klezmer band. Deeply grieving for the victims of the Holocaust, Shostakovich adopted a "Jewish style" in many of his works, especially in the late 1940s when, in the light of Stalin's vigorous anti-Semitic campaign, doing so carried a particular message, one that was too dan?gerous to put into words but could be con?veyed effectively in music.
The quartet continues with a more light-hearted movement in which the D-S-C-H melody is transformed into a waltz: the recall of the opening of the recent Cello Concerto No. 1 (1959), an unqualified triumph for the composer, seems to signify the arrival of happier times (in spite of occasional dark spots in the harmony). Other quotes throughout the quartet commemorate important milestones in Shostakovich's career, such as Symphony No. 1, which catapulted him to fame at age 19, or the opera Lady Macbeth of the 'jjfl Mtsensk District, which gave rise to a scan' dal after which the composer's life and , music were never the same again.
Soon we are plunged into the depths of despair once again: against a background of powerful dramatic accents, the fourth-movement "Largo" features the well-known Russian revolutionary song "Zamiichen
tyazholoy nevoley" (Tormented by Grievous i Bondage) in what represents a complex and multi-layered web of associations. This is a song praising Lenin for freeing his people from the grievous bondage, but is quoted here for its depiction of the bondage itself -and certainly also because it is, regardless of its text, a beautiful, brooding melody with a strong and authentic Russian flavor. The quartet ends with a fifth movement that returns to the tempo and character of the first: a slow fugue on D-S-C-H, conjuring images of the protagonist contemplating the past turmoil in solitude and resignation. Without a doubt, Quartet No. 8 is a deeply moving, tragic work. Yet Shostakovich was always ready to poke cruel fun at him?self. In the letter to Glikman quoted above, he refers to the quartet as an "ideologically flawed quartet which is of no use to anybody", (because it fails to deliver the "hurrah" opti?mism the authorities wished for). The dif?ferent quotes in the work make it "quite a nice hodge-podge, really." Tragedy and satire are often inseparable in Shostakovich, as they are in his beloved Gogol. Their joint power gave him a means of survival in the face of the most "grievous bondage" any great artist ever had to endure. -?
Quartet in d minor, "Death and the Maiden," D. 810
Born January 31, 1797 in Himmelpfortgrund,
nr. Vienna (now part of the city) Died November 19, 1828in Vienna
In 1824, Schubert began what one recent writer has called his "Beethoven project": he "abandoned his hopes of making a living and a reputation by composing operas, and instead began to compose in earnest in the elevated instrumental genres in which
Beethoven had made a reputation the piano sonata, the string quartet, the piano trio, jjg and the symphony."' It looks like Schubert consciously tried to compete with the older master, or at least to emulate "Beethoven's i success in selling his serious compositions .; to publishers for serious money, and [his] success in disseminating his published works to an international public." Schubert's. ambitions were thwarted by his early death, ' but during the last four years of his life he produced a series of masterworks in the major "Beethovenian" genres that are in every way worthy of their model. Schubert, a member of the next generation, was able to continue Beethoven's work like no other composer could.
The first great products of the "Beethoven project" were the Octet in F .... Major (which took its cue from Beethoven's popular Septet and expanded on it consider?ably), and the String Quartets in a minor and d minor, written for the same Schuppanzigh Quartet that had made Beethoven's quartets their specialty. These ambitious works were written at a time when Schubert suffered his first major bout of illness, as a result of the syphilis he had contracted the year before. Ii was in March 1824, the very month of the Quartet in d minor, that Schubert wrote his often-quoted letter to his friend, the painter Leopold Kupelwieser:
Imagine a man whose health will never be right again, and who is sheer despair over this ever makes things worse and worse, instead of better; imagine a man, I say, whose most bril?liant hopes have perished, to whom the felicity of love and friendship have nothing to offer but pain, at best, whom enthusiasm (at least of the stimulating kind) for all things beautiful threatens to forsake, and I ask you, is he not a miserable, unhappy being
The slow movements of both the Quartet in a minor and Quartet in d minor were based on themes from earlier works by
Schubert: the entr'acte from the incidental music Rosamunde and the song "Death and the Maiden," respectively. In both works, these choices had a far-reaching impact on style and general mood. The Quartet in a minor is nostalgic and introspective in tone, reflecting the connection to Helmine von Chezy's romantic play or rather what Schubert was able to bring out in what was, by all accounts, much less than a literary masterpiece. The d-minor work is tragic through and through, with all four move?ments in minor keys a most unusual deci?sion, prompted, no doubt, by Schubert's physical and emotional state at the time of writing. The macabre song clearly put its stamp on the entire quartet.
"Der Tod und das Mddchen" is one of twelve Schubert songs written between 1816-17 on texts by Matthias Claudius (1740-1815), a German poet and essayist. In two strongly contrasted stanzas, we first hear the anguished plea of a young girl, followed by the eerie yet consoling voice of Death, assuring the girl that death is not punishment but gentle sleep. For his varia?tion theme in the quartet, Schubert used the piano introduction to the song, in which the austere harmonies and rhythms of Death appear for the first time. Schubert had at first incorporated those harmonies and rhythms into the other movements of the quartet as well, but during the composition process he made those connections less obvious. Still, each movement has its own relentlessly repeated rhythmic pattern; moreover, each of those patterns is extreme?ly terse and "implacable," like death itself.
The first "Allegro" is built upon the B contrast of a dramatic opening theme and a contrasting lyrical melody. We hear many intriguing modulations and virtuosic fire?works as one of Schubert's most eventful '? sonata movements unfolds before our ears.
The theme of the second movement (variations on the song) contains some material that is not in the song but was included here to expand the introduction to the song into a complete, self-contained melodic statement. The first two of the five variations feature the first violin and the cello, respectively, in soloistic roles. In the third, the fundamental rhythmic pattern of the movement is presented at four times its original speed, changing the solemn song of : death into a wild gallop. The fourth varia.: tion is similar to the first in that the first violin once more weaves virtuosic figura?tions around the melody, as played by the other instruments; yet the tonality is major, which makes all the emotional difference. The final variation begins pianissimo, works its way up to a furious fortissimo climax with rhythmic complexity reaching its high?est level, only to fade back into pianissimo as the tonality unexpectedly changes back to major. The combination of the major mode with extremely soft volume creates a myste?rious and transcendent effect at the end of the movement.
The third-movement "Scherzo" has a descending bass line long associated with Baroque laments; yet the strong rhythmic accents and the frequent chromaticism (use of half-steps not normally part of the scale) give it a distinctly "modern" sound. The similarity of the main melodic idea to Mime's motif in Wagner's Ring cycle has fre?quently been commented on, yet a close variant of it appears in one of Schubert's short German dances for piano. The trio, or middle section, switches to the major mode. Instead of repeating each of its halves liter?ally, as tradition would demand, Schubert changes the instrumentation completely the second time around, and introduces elabo?rate flourishes for the first violin.
The finale is a breathtaking "Presto" based on the rhythm of the tarantella dance (which Schubert used in other finales as well, for instance in his Piano Sonata in c minor_
dating from the last year of his life). As in the first movement, the rhythmic idea alter?nates with more melodic material as well as with a great deal of virtuoso writing. The "sweep" and a dynamic energy of the move?ment never let up until the very end, which contrary to what happens in most classical finales in minor keys does not modulate to the parallel major but remains unremit?tingly anchored in the tragic minor mode.
Program notes by Peter Laki.
'John Michael Gingerich, Schubert's Beethoven Project: The Chamber Music, 1824-1828. Doctoral dissertation, Yale University, 1996, p. ii-iii.
eclaimed for its insightful perfor?mances, brilliant artistry and technical mastery, the Emerson String Quartet is one of the _ _ world's foremost chamber ensem?bles. The Quartet has amassed an impressive list of achievements: a brilliant series of recordings exclusively documented by Universal ClassicsDeutsche Grammophon since 1987, six Grammy Awards including two unprecedented honors for "Best Classical Album," and performances of complete cycles of the Bartok, Beethoven and Shostakovich string quartets in the major concert halls of the world. Today, the ensemble is lauded globally as a string quartet that approaches both classical and contemporary repertoire with equal mastery and enthusiasm.
The 0203 season illustrates the Quartet's penchant for innovative programming and commitment to teaching. The Quartet per?forms a pair of concerts at Carnegie Hall exploring relationships between instrumental music and narrative entitled TextSubtext, joined by baritone Thomas Hampson and soprano Barbara Bonney. Repertoire for these concerts features a world premiere by Andre Previn. The Quartet also gives the premiere of a Joan Tower commission as
part of Bard's Virtuosi International String Quartet Festival in the spring of 2003. The Quartet's busy touring schedule across much of North America includes Toronto, Vancouver, San Francisco, Boston, Philadel?phia, Houston, Ann Arbor, Cleveland, Baltimore, Pittsburgh, and Seattle. In Europe, the group performs in such major cities as Vienna, Paris, Amsterdam, Seville and London. For the 24th consecutive season, the Emerson performs at the Smithsonian Institution in Washington, DC, and this past summer audiences enjoyed its programs of Beethoven and Bartok at Tanglewood, Ravinia, Aspen and Caramoor. The Quartet's relationship with Universal Classics Deutsche Grammophon continues with a release this fall of The Emerson Encores -a compilation of the Quartet's favorite encore works. Teaching figures into the Emerson Quartet's schedule later in the season when they participate in residency activities at the Cleveland Institute of Music, University of Arizona, University of Washington, University of Connecticut, Chamber Music Tulsa, and the Huntsville Chamber Music Guild in Alabama. In the fall of 2002 the Quartet joined Stony Brook University as Quartet-in-Residence coaching chamber music, giving
master classes and providing instrumental instruction. In addition to these duties they also perform several concerts during the year at Stony Brook's Staller Center for the Arts.
The Emerson Quartet has received six Grammy Awards; two for its Shostakovich cycle, two for its Bartok cycle, one for American Originals (works by Ives and Barber), and one for the complete quartets of Beethoven. The Bartok and Shostakovich cycles were also recipients of Gramophone Magazine Awards in 1989 and 2000 respec?tively. A two-disc set of Haydn quartets was released in September 2001.
Formed in 1976, the Emerson String Quartet took its name from the American poet and philosopher Ralph Waldo Emerson. Violinist Eugene Drucker and Philip Setzer alternate in the first chair position and are joined by violist Lawrence Dutton and cel?list David Finckel. The Quartet is based in New York City.
Tonight's performance marks the Emerson String Quartet's tenth appearance under UMS auspices. The Quartet made their UMS debut in March 1989 and has made annual appearances in the UMS Chamber Arts Series since 1998.
Mairead Ni Mhaonaigh, Vocals, Fiddle Dermot Byrne, Accordian Ciaran Tourish, Fiddle, Whistles Kieran Curran, Bouzouki Daithi Sproule, Guitar
Special Guests Seamus Begley, Accordion Jim Murray, Guitar Ann Heymann, Harp
West Kerry Step Dancers John Lynch Breeda Lynch Michael O'Malley Ger Cooney
Saturday Evening, December 14 at 8:00 Michigan Theater Ann Arbor
s turning xoox
V Traditional Irish Seasonal Celebration
The artists will announce tonight's program from the stage.
39th Performance of the 124th Season
Ninth Annual World Series
Support for this performance provided by media sponsor WGTE 91.3 FM.
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.
The Year's Turning: A Traditional Irish Seasonal Celebration
There is a wealth of music and song in the Irish tradition that celebrates the year's turning. Traditionally the Winter Solstice of December 21 marks the midpoint of winter. Its passing symbolizes the rebirth of the sun and heralds the fact that spring will once more return, bringing with it growth and new life. Growth and new life were of para?mount importance to the essentially rural based people of Ireland.
While Christmas became the central festive celebration of the Christian Church, like many other European holiday celebra?tions, Christmas in Ireland stems from an almost inextricable mix of both pre-Christian and Christian elements. Mumming, hunting the wren and strawboys are traditions that can trace their origins back to a time when the prospect of spring, growth and regener?ation were central issues for Irish communi?ties. It was in winter, after the harvest was in, that Irish country people found the time for recreation; it was music, song and dance that helped pass that time. The Year's Turning presents the music, song, lore and dance associated with the Winter Solstice, j Christmas, and the promise of spring.
1 o Irish traditional band in the last dozen years has had a wider impact on audiences and music lovers throughout the world than Altan. With their exquisitely pro?duced, award-winning recordings, ranging dynamically from the most sensitive and touching old Irish songs all the way to hard hitting reels and jigs, and with their heart?warming, dynamic live performances, Altan has moved audiences from Donegal to ? -Tokyo to Seattle. Throughout, there has been the unwavering commitment of the band to bringing the beauty of traditional
music, particularly that of the Donegal fid?dlers and singers, to contemporary audiences in a way that brings out all its qualities. In fact, Altan has always believed that Irish traditional music is a modern music in every sense and its growing influence and popularity have proved them correct.
The foundation of the band was the music and personality of founders Frankie Kennedy, a Belfast flute player, and Mairead Ni Mhaonaigh, a Gweedore singer and fid?dler. They seemed to be playing their own repertoire, in fact a combination of old Donegal fiddle music (then little known outside Donegal) and of unusual Northern flute tunes. They delivered the music with a force and fullness that made it hard to believe there were only two people playing.
Sadly, in the early 1990s, Altan was dealt a devastating blow when band leader and manager Frankie Kennedy, at the height of his powers as a brilliant and innovative flute player, was diagnosed with cancer. Through a long illness, the band, at Frankie's insistence, continued to tour and perform with Frankie's participation whenever possi?ble. No words can describe the effects of his illness and loss on the band, but he continues to be a presence and inspiration in Altan's life and music. More than anything else, Frankie was a lover of life, and that is perhaps the deepest message to be found in music.
Altan's international status and success found practical recognition when, in 1996, they were signed to Virgin Records, the first Irish band of their kind to be signed by a major label. The band gained gold and plat?inum albums in Ireland and toured larger venues throughout the world, with tours in Japan, Australia, New Zealand, Europe, and the US.
Tonight's performance marks Altan's UMS debut.
Seamus Begley, from the West Kerry Gaeltacht (Gaelic speaking area), a part of Ireland rich in music, song, dance and lore, is one of Ireland's leading accordion players and is a noted traditional singer. He will be joined onstage by guitar maestro Jim Murray from Cork. Their recent album, Ragarirne Reveling at Night, was awarded "Folk Recording of the Year" status by the Irish Times and Hot Press Magazine in 2001. Mr. Begley and Mr. Murray are noted for their lively, dynamic approach to playing the polkas, slides and reels that are the back?bone of Kerry traditional music. The Irish Times said of Begley: "his voice would make the hair stand up on the back of your neck, and his accordion playing would put tempo in the hips of anyone!"
Ann Heymann is a master of the ancient metal-strung harp once played by the famous Irish harper Carolan. With the harp as her teacher, Ms. Heymann recovered spe?cialized fingernail and damping techniques lost with the instrument's disappearance some 200 years ago. She plays in the tradi?tional way, with fingernails and the harp on her left shoulder for a left-handed treble and a right-handed bass the opposite of modern practice. Her replica of the 14th-century Trinity College dairseach has a soundbox carved from a willow log. Inspired by refer?ences in Irish mythology, Ann strings the instrument's treble in silver and brass, and its bass in 18-carat gold.
Tony Davoren, Tour Manager, Merchandise Adrian Cunningham, Sound Technician
Tom Sherlock Management, Dublin, Ireland
AnneMarie Martins, International Music Network, Gloucester, MA
Narada Records, Milwaukee, WI
THE 0203 UMS SEASON
Educational activities v,u now be conveniently located within the concert program section of your program book. All Education activities are also posted on the UMS website at www.ums.org.
Forest Health Services presents the 124th Annual Choral Union series.
Hubbard Street Dance Chicago
Jim Vincent, artistic director
Friday, September 20, 8 p.m.
Saturday, September 21,8 p.m.
Sunday, September 22, 2 p.m.
The Friday performance is sponsored
by DTE Energy Foundation.
The Sunday performance is sponsored
Media Sponsors WDET 101.9 FM and
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. 2 Power Center l"
Funded in part by the National Dance Project of the New England
Foundation for the Arts. I---------
Media Sponsor Metro Times.
Franz Welser-Mbst, 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.
The Friday performance is sponsored
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
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.
Sponsored by Edward Surovell
Media Sponsor WGTE 91.3 FM.
Lorraine Hunt Lieberson, mezzo-soprano
Robert Tvveten, 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
with Orquestra de Sao Paulo
Thursday, October 31,8 p.m.
Sponsored by Bank of Ann Arbor.
Additional support provided by
Media Sponsor WEMU 89.1 FM.
Grupo Corpo Brazilian Dance Theater
Rodrigo Pederneiras, j
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 ; 'A 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.
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.
Friday, November 15, 8 p.m.
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,
Tuesday, November 19, 8 p.m. jk Orchestra Hall I
Media Sponsor WGTE 91.3 FM.
Swan Lake ?
Choreography by Yuri
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.
The Saturday evening performance is
sponsored by Bank One.
UMS Choral Union
Ann Arbor Symphony Orchestra
Thomas Sheets, conductor
Friday, December 6, 8 p.m.
Saturday, December 7, 8 p.m.
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.
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.
Media Sponsor WDET 101.9 FM.
Sweet Honey in the Rock with Toshi Reagon and Big Lovely
Friday, January 10, 8 p.m.
Sponsored by Pfizer.
Media Sponsors WEMU 89.1 FM and
WDET 101.9 FM.
Bill T. JonesArnie Zane
Chamber Music Society
of Lincoln Center
featuring the Orion String
Saturday, January 11,8 p.m. Sunday, January 12, 4 p.m. Power Center
The Saturday performance is spon?sored by Borders.
The Sunday performance is presented with the generous support of Maurice and Linda Binkow.
Funded in part by the National Dance Project of the New England Foundation for the Arts. Media Sponsors WGTE 91.3 FM, WDET 101.9 FM and Metro Times.
blessing the boats
A solo performance written and conceived by Sekou Sundiata Friday, January 17, 8 p.m. Saturday, January 18, 8 p.m. Sunday, January 19, 2 p.m. Trueblood Theatre This is a Heartland Arts Fund program. Media Sponsor Michigan Radio.
An Evening with Audra McDonald
Audra McDonald and Trio Ted Sperling, music director
Peter Donovan, bass Dave Ratajczak, drums Sunday, January 19, 7 p.m. Michigan Theater Presented with the generous support of Robert and Pearson Macek. Additional support provided by JazzNet. Media Sponsor WEMU 89.1 FM.
Sekou Sundiata and Band
Monday, January 20, 8 p.m. Michigan Theater Co-presented with the UM Office of Academic Multicultural Initiatives. This is a Heartland Arts Fund program. Media Sponsors WEMU 89.1 FM and Metro Times.
Voices of Brazil featuring Ivan Lins, Ed Motta, Joao Bosco, Leila Pinheiro and Zelia Duncan
Friday, January 31,8 p.m.
Sponsored by Keybank and McDonald
Media Sponsor WEMU 89.1 FM.
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
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.
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.
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.
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. i-------------
Sponsored in part by Pfizer. Additional support is provided by The Power Foundation. Media Sponsor Michigan Radio.
Royal Shakespeare Company Shakespeare's Coriolanus
David Farr, director Sunday, March 2, 1:30 p.m. Tuesday, March 4, 7:30 p.m. ' Thursday, March 6, 7:30 p.m. 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 Midnight's Children
A new dramatization by Salman Rushdie, Simon Reade and
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.
Sponsored by DaimlerChrysler
This performance is co-presented with
the University of Michigan.
Media Sponsor WGTE 91.3 FM. 1
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 Sebestyin 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.
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
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
? he FORD HONORS PROGRAM is made possible by a generous grant from the Ford Motor Company Fund and benefits the UMS Education Program. Each year, UMS honors a world-renowned artist or ensemble with whom we have maintained a long-standing and significant relationship. In one evening, UMS pays tribute to and presents the artist with the UMS Distinguished Artist Award, and hosts a dinner and party in the artist's honor. Van Cliburn was the first artist so honored, with subse-
quent honorees being Jessye Norman, Garrick Ohlsson, The Canadian Brass, Isaac Stern, Marcel Marceau, and Marilyn Home.
Ford Honors Program Honorees
Considered one of the top performing arts educational programs in the country, JMS strives to illuminate the performing irts through education and community engagement, offering audiences a multitude jf opportunities to make connections and deepen their understanding of the arts.
JMS Community Education Program
The following activities enlighten and inform ludiences about the artists, art forms, ideas, ind cultures presented by UMS. Details ibout specific 0203 educational activities .vill be announced closer to each event. For more information about adult education or lommunity events, please visit the website at www.ums.org, email email@example.com, 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 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.
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.
This series is designed for seasoned concert-goers as well as new audiences. Each "primer" is designed to build and deepen basic under?standing about a particular art form.
PREPs and Lectures
Pre-performance talks (PREPs) and lectures prepare audiences for upcoming performances.
Meet the Artists
Immediately following many performances, UMS engages the artist and audience in conversation about the themes and meanings within the performance, as well as the creative process.
A series of events focused on a theme, culture, art form, or artist that may include master classes, films, panels and community engage?ment events. 20022003 Immersions include Abbey Theatre of Ireland: Euripides' Medea and Brazilian Dance and Music.
Many artists remain in Michigan beyond their performances for short periods of time to deepen the connection to communities throughout the region. Artists teach, create, and meet with community groups, university units, and schools while in residence. For the 0203 season, major residencies include the Bolshoi Ballet, Sekou Sundiata, and the Royal Shakespeare Company.
MS has a special commitment to educat?ing the next generation. A number of programs are offered for K-12 students, educators, and families to further develop understanding and exposure to the arts. For information about the Youth, Teen, and Family Education Program, visit the website at www.ums.org, email firstname.lastname@example.org, 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!
Teachers who wish to be added to the youth performance mailing list should call 734.615.0122 or email email@example.com,
The Youth Education Program is sponsored by
Teacher Workshop Series
As part of UMS's ongoing effort to incorporate the arts into the classroom, local and national arts educators lead in-depth teacher workshops designed to increase educators' facility to teach through and about the arts. UMS is in partner?ship with the Ann Arbor Public Schools as part of the Kennedy Center's Partners in Education Program. This year's Kennedy Center work?shops are:
Harlem with Kimberli Boyd
Living Pictures: A Theatrical Technique for
Learning Across the Curriculum with Sean
Workshops focusing on UMS Youth Performances are:
The Steps and Rhythms of Urban Tap with Susan Filipiak
Brazilian Music in the Classroom: An Introduction to Voices of Brazil with Mary Catherine Smith
Kodo: An Introduction to Japanese Percussion with Michael Gould
For information or to register for a workshop, please call 734.615.0122 or email___ umsyouth@ umich.edu.
First Acts Program
The First Acts Program provides opportunities for students in grades 4-12 to attend select evening and weekend performances with $6 tickets and reimbursed transportation costs. This year's First Acts roster includes Abbey Theatre of Ireland: Euripides' Medea, Orquestra de Sao Paulo, Gidon Kremer and Friends, Bolshoi Ballet: Swan Lake, Orchestre Philharmonique de Radio France, Boston Pops Esplanade Orchestra Holiday Concert, Ying Quartet, Stuttgart Chamber Orchestra, Muzsikas, and Bach Collegium Japan per?forming Bach's St. Matthew Passion.
For more information, please call 734.615.0122 or email firstname.lastname@example.org.
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.
These one-hour or full-length performances and activities are designed especially for chil?dren and families. UMS provides child-friendly, informational materials prior to family performances. _______
elebrate in style with dinner and a show!
A delectable meal followed by priority, reserved seating at a performance by world-class artists sets the stage for a truly elegant evening. Add luxury accommodations to the package and make it a perfect getaway. UMS is pleased to announce its cooperative ven?tures with the following local establishments:
The Artful Lodger Bed & Breakfast
1547 Washtenaw Avenue Call 734.769.0653 for reservations Join Ann Arbor's most theatrical host and hostess, Fred & Edith Leavis Bookstein, for a weekend in their massive stone house built in the mid-1800s for UM President Henry 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!
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
loin 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
.ides important volunteer assistai financial support for these exce itional programs. Please call
.6837 for information about nteering for UMS Education and "i Development events.
The Chop House
322 South Main Street 888.456.DINE Ann Arbor's newest taste temptation. An elite American Chop House featuring U.S.D.A. prime beef, the finest in Midwestern grain-fed meat, and exceptional premium wines in a refined, elegant setting. Open nightly, call for reservations.www.thechophouserestaurant.com
D'Amato's Neighborhood Restaurant
102 South First Street 734.623.7400 D'Amato's Italian Restaurant (corner First St. & Huron) is casual dining at its best. Classic and contemporary Italian cuisine. Premium wines by the glass, international design. Piano Bar Thursday-Saturday. 'Four stars' by the Detroit Free Press, 9 out of 10 by the Ann Arbor News, open 7 days, moderate prices. www.damatos.com.
Just downstairs is Goodnite Grace Jazz & Martini bar featuring talented local jazz groups and the best martinis in town. Never a cover or minimum, always great entertain-
Daniel's on Liberty
326 West Liberty Street 734.663.3278 Located just west of Main Street in the restored Brehm estate. Fine American cuisine with a global fare. Full service catering, bakery, wedding cakes. Private meeting space available. www.danielsonliberty.com
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.
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.
326 South Main Street 888.456.DINE Celebrated, award-winning Italian cuisine served with flair and excitement. Sidewalk and balcony seating. Open for lunch and dinner. Reservations accepted. www.gratzirestaurant.com
The Kerrytown Bistro
At the comer of 4th Avenue and Kingsley Street in Kerrytown 734.994.6424 The Kerrytown Bistro specializes in fine French Provincial inspired cuisine, excellent wines and gracious service in a relaxed, inti?mate atmosphere. Hours vary, reservations accepted.
La Dolce Vita
322 South Main Street 734.669.9977 Offering the finest in after-dinner pleasures. Indulge in the delightful sophistication of gourmet desserts, fancy pastries, cheeses, fine wines, ports, sherries, martinis, rare scotches, hand-rolled cigars and much more. Open nightly, www.msventures.com
347 South Main Street 888.456.DINE Zestful country Italian cooking, fresh flavors inspired daily. Featuring the best rooftop seating in town. Open for dinner nightly. Reservations accepted, large group space available, www.paliorestaurant.com
Real Seafood Company
341 South Main Street 888.456.DINE As close to the world's oceans as your taste can travel. Serving delightfully fresh seafood and much more. Open for lunch and dinner. Reservations accepted. vvww.realseafoodcorestaurant.com :
Red Hawk Bar & Grill
316 South State Street 734.994.4004 '___
Neighborhood bar & grill in campus historic district, specializing in creative treatments of traditional favorites. Full bar, with a dozen beers on tap. Lunch and dinner daily. Weekly specials. Smoke-free. No reservations.
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.
3050 Jackson Avenue 734.665.3636 Weber's casual-to-elegant atmosphere and fine American cuisine features their famous prime ribs of beef, live lobster, aged steaks and jet-fresh seafood.
216 South State Street 734.994.7777 Contemporary American food with Mediterranean & Asian influences. Full bar featuring classic and neo-classic cocktails, thoughtfully chosen wines and an excellent selection of draft beer. Spectacular desserts. Lunch, dinner, Sunday brunch and outside dining. Space for private and semi-private gatherings up to 120. Smoke-free. Reservations encouraged.
ack by popular demand, friends of UMS are hosting a variety of dining events to raise funds for our nationally recognized education programs. Thanks to the generosity of the hosts, all proceeds from these delight?ful dinners go to support these important activities. Treat yourself, give a gift of tickets, or come alone and meet new people! For i more information or to receive a brochure, call 734.936.6837.
' MS volunteers are an integral part of the success of our organi?zation. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome you to the UMS family and involve you in our exciting programming and activities. We rely on volunteers for a vast array of activities, including staffing the edu?cation residency activities, assisting in artist services and mailings, escorting students for our popular youth performances and a host of other projects. Call 734.936.6837 to request more information.
'he 48-member UMS Advisory Committee . serves an important role within UMS. From ushering for our popular Youth Performances to coordinating annual fundraising events, such as the Ford Honors Program gala and "Delicious Experiences" dinners, to marketing Bravo!, UMS's award-winning cookbook, the Committee brings vital volunteer assistance and financial sup?port to our ever-expanding educational pro?grams. If you would like to become involved with this dynamic group, please call 734.936.6837 for more information.
When you advertise in the UMS program book you gain season-long visibility among ticket-buyers while enabling an important tradition of providing audiences with the detailed pro?gram notes, artist biographies, and program descriptions that are so important to perform?ance experience. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book. pugmritmzMiit
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 .. c:,
Cultivating clients ____?
Developing business-to-business relationships
Targeting messages to specific aUBSft demographic groups
Making highly visible links with arts and education programs
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
nternships with UMS provide experience a in performing arts administration, mar?keting, publicity, promotion, production and arts education. Semesterand year-long internships are available in many of UMS's departments. For more information, please call 734.615.1444. ----------------
tudents working for UMS as part of the College Work-Study program gain valu?able experience in all facets of arts manage?ment including concert promotion and marketing, fundraising, arts education, event planning and production. If you are a University of Michigan student who receives work-study financial aid and who is interested in working at UMS, please call 734.615.1444.
ithout the dedicated service of UMS's Usher Corps, our events would not run as smoothly as they do. Ushers serve the I
essential functions of assisting patrons with I seating, distributing program books and providing that personal touch which sets UMS events above others.
The UMS Usher corps comprises over 400 individuals who volunteer their time to make your concert-going experience more pleasant and efficient. The all-volunteer group attends an orientation and training session each fall or winter. Ushers are responsible for working at every UMS performance in a specific venue for the entire concert season.
If you would like information about becoming a UMS volunteer usher, call the UMS usher hotline at 734.913.9696.
grams--would not be possible without the generous support of the community. _ gratefully acknowledges the following individuals, businesses, foundations and governm. igencies--and those who wish to remain anonymous--and extends its deepest gratitude fo heir support. This list includes current donors as of August 7, 2002. Every effort has been " ?""" to ensure its accuracy. Please call 734.647.1178 with any errors or omissions. !m?
$25,000 or more
Randall and Mary Pittman Philip and Kathleen Power
Carl and Isabelle Brauer
Dr. Kathleen G. Charla
Peter and Jill Corr
Ronnie and Sheila Cresswell
Hal and Ann Davis
Beverley and Gerson Geltner
Jim and Millie Irwin
Robert and Pearson Macek
Tom and Debby McMullen
Mr. and Mrs. Irving Rose
Maurice and Linda Binkow " Leo and Kathy Legatski Prudence and Amnon Rosenthal Edward and Natalie Surovell
Herb and Carol Amster
Douglas D. Crary
David and Phyllis Herzig
Doug and Gay Lane
Paul and Ruth McCracken
Loretta M. Skewes
Lois A. Theis
Marina and Robert Whitman
Ann and Clayton Wilhite
Kathy Benton and Robert Brown David and Pat Clyde Katharine and Jon Cosovich Mr. and Mrs. Thomas C. Evans Michael and Sara Frank Debbie and Norman Herbert Dr. Toni Hoover
Shirley Y. and Thomas E. Kauper Don and Judy Dow Rumelhart Herbert Sloan Lois and John Stegcman 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
Dr. and Mrs. Gerald Abrams
Mrs. Gardner Ackley
Jim and Barbara Adams
Bernard and Raquel Agranoff
lonathan 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). Bergstein
L. S. Berlin
Suzanne A. and Frederick J. Beutler
loan Akers Binkow
Elizabeth and Giles G. Bole
Howard and Margaret Bond
Bob and Sue Bonfield
Laurence and Grace Boxer
Dale and Nancy Briggs
Virginia Sory Brown
leannine and Robert Buchanan
Lawrence and Valerie Bullen
Mr. and Mrs. Richard ). Burstein
Letitia ). 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
Jean and Kenneth Casey
Janet and Bill Cassebaum
lames S. Chen :
Janice A. Clark
Mr. and Mrs. John Alden Clark ._
Leon and Heidi Cohan
Mr. Ralph Conger
Carolyn and L. Thomas Conlin
Jim and Connie Cook
lane Wilson Coon
Anne and Howard Cooper
Hugh and Elly Rose-Cooper
Paul N. Courant and Marta A. Manildi
Malcolm and Juanita Cox
George and Connie Cress
Kathleen Crispell and Thomas Porter
Judy and Bill Crookes ?-------
Peter and Susan Darrow Pauline and Jay J. De Lay Lloyd and Genie Dethloff Lorenzo DiCarlo and
Sally Stegeman DiCarlo Macdonald and Carolin Dick Steve and Lori Director Molly and Bill Dobson Al Dodds
Elizabeth A. Doman Dr. and Mrs. Theodore E. Dushane Mr. and Mrs. John R. Edman Martin and Rosalie Edwards Leonard and Madeline Eron Bob and Chris Euritt Claudine Farrand and Daniel Moerman Eric Fearon and Kathy Cho David and Jo-Anna Featherman Yi-tsi M. and Albert Fcucrwerker Mrs. Gerald J. Fischer (Beth B.) Ray and Patricia Fitzgerald
Otto and Lourdes E. Gago Marilyn G. Gallatin
Bernard and Enid Caller 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 I
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 lohnson 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 LaZcbnik 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
loseph 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 Neulicp and Patricia Pancioli M. Haskell and Ian Barney Newman William and Deanna Newman Eulalie Nohrdcn Marylen and Harold Oberman
Gilbert Omcnn and Martha Darling
Mrs. William B. Palmer
William C. Parkinson
Dory and John D. Paul
Margaret and Jack Petersen
Elaine and Bertram Pitt
Eleanor and Peter Pollack
Donald H. Regan and Elizabeth Axelson
Ray and Ginny Reilly
Maria and Rusty Restuccia
Kenneth J. Robinson
Mrs. Doris E. Rowan
Dr. Nathaniel H. Rowe
James and Adrienne Rudolph
Craig and Ian Ruff
Alan and Swanna Saltiel
Dick and Norman Sarns
Meeyung and Charles R. Schmitter
Mrs. Richard C. Schneider
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lanet and Michael Shatusky SKflffiSS'
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Curt and Gus Stager
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James and Nancy Stanley
Michael and Jeannette Bittar Stern
Victor and Marlcne Stoeffler------
Jan and Nub Turner
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William L. Bloom Charles and Linda Borgsdorf" David and Sharon Brooks Morton B. and Raya Brown Sue and Noel Buckner Trudy and Jonathan Bulkley
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Jack Wagoner, M.D. Charles and Julia Eiscndrath Patricia Enns Ms. Julie A. Erhardt Stefan S. and Ruth S. Fajans Dr. and Mrs. S.M. Farhat Dede and Oscar Feldman Dr. and Mrs. James Ferrara Sidney and Jean Fine Carol Finerman Clare M. Fingerle Guillermo Flores Mr. and Mrs. George W. Ford Phyllis W. Foster Betsy Foxman and
Michael Boehnke Maxine and Stuart Frankcl
Foundation Dr. Ronald Freedman Professor and
Mrs. David M. Gates Drs. Steve Geiringer and
Thomas and Barbara Gclehrter Charles and Rita Gelman Cozette Grabb Elizabeth Needham Graham Dr. and Mrs. Lazar J. Greenfield David and Kay Gugala Carl and Julia Guldbcrg Don P. Haefner and
Cynthia J. Slewart Mr. and Mrs. Elmer F. Hamel Robert and Jean Harris Paul Hysen and Jeanne Harrison Clifford and Alice Hart Jeannine and Gary Hayden Henry R. and Lucia Heinold Mrs. W.A. Hiltner
John H. and "
Maurita Peterson Holland Drs. Linda Samuclson and
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Jim and Dale Jerome ,
John Kennedy !
Dick and Pat King T-
Hcrmine R. Klingler Philip and Kathryn Klintworth Joseph and Marilynn Kokoszka Lee and Teddi Landcs Mr. John K. Lawrence Mr. and Mrs. Fernando S. Leon
Jacqueline H. Lewis ____
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Frances U. and Scott K. Simonds Irma J. Sklenar Alenc and Stephanie Smith Lloyd and Ted St. Antoinc James 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
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Elaine A. Bennett lack and Margaret Ricketts Constance O. Rinehart Kathleen Roelofs Roberts Mr. and Mrs. Stephen I. Rogers Robert and Joan Rosenblum Mr. Haskell Rothstein Doug and Sharon Rolhwell Sally Rutzky Arnold Sameroff and
Susan McDonough Ina and Terry Sandalow Miriam Sandweiss )ohn and Reda Santinga Michael and Kimm Sarosi Gary and Arlcne Saxonhouse Albert J. and Jane L. Sayed Frank J. Schauerte Richard Black and
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James Peggs Eva and Sam Taylor
Stephan Taylor and 'gUJgjEf
Elizabeth Slumbo .."
James I., and Ann S. Telfer Paul and Jane Thielking Edwin I.Thomas "
Bette M. Thompson ? Dr. and Mrs. Robert F. Todd Patricia and Terril Tompkins Dr. and Mrs. Merlin C. Townley Jim Toy
Bill and Icwcll 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
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Margaret Jensen ;-------------
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Ann Arbor Builders
Ann Arbor Commerce Bank
Bed & Breakfast on Campus
Burns Park Consulting
Clark Professional Pharmacy
Dr. Diane Marie Agresta
Edward Brothers, Inc.
Fleishman I lillard Inc.
Garris, Garris, Garris & Gams,
Guardian Industries Malloy Lithographing Michigan Critical Care
Consultants Quinn EvansArchitects Rosebud Solutions Seaway Financial
AgencyWayne Milewski SeloShevel Gallery Swedish Women's Educational
Swing City Dance Studio Thalner Electronic
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
ns Midwest jelman Educational
Foundation heartland Arts Fund Vlid-Amcrica Arts Alliance The Lcbensfeld Foundation Montague Foundation THE MOSAIC FOUNDATION
(ofR. and P. Heydon) Sams Ann Arbor Fund Vibrant of Ann Arbor
$100-$999 Erb Foundation
Contributions have been
received in honor andor memory of the following individuals:
Alice B. Crawford
Alice Kelsey Dunn
Dr. William Hacck
Elizabeth E. Kennedy
Frederick N. McOmber
Gwen and Emerson Powrie
Professor Robert Putnam
Eric H. Rothstcin
Dora Maria Sonderhoff
Wolfgang F. Stolper
Diana Stone Peters
Francis V.Viola III
Carl H. Wilmot
Peter Holderness Woods
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. Hilbcrt Beyer Elizabeth Bishop Mr. and Mrs. Pal E. Borondy Barbara Everitt Bryant Pat and George Chatas Mr. and Mrs. )ohn Alden Clark Douglas D. Crary H. Michael and Judith L
Beverley and Gerson Geltner lohn and Martha Hicks Mr. and Mrs. Richard Ives Marilyn Jeffs Thomas C. and Constance M.
Charlotte McGeoch Michael G. McGuire I
Dr. Eva Mueller j
Len and Nancy Niehoff I Dr. and Mrs. Frederick C. ?
Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Mr. and Mrs. Jack W. Rickctts Mr. and Mrs. Willard L.
Rodgers Prudence and Amnon
Rosenthal Irma . Skelnar Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wetzel Mr. and Mrs. Ronald G. Zollar!
The future success of the
University Musical Society is secured in part by income from UMS's endowment. UMS extends its deepest appreciation to the many donors who have established andor contributed to the following funds.
H. Gardner Ackley
Endowment Fund Amster Designated Fund Catherine S. Arcurc
Endowment Fund Choral Union Fund Hal and Ann Davis
Endowment Fund Ottmar Eberbach Funds Epstein Endowment Fund lazzNet 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
A-1 Rentals, Inc.
Raquel and Bernard Agranoff
Ann Arbor Automotive
Ann Arbor Art Center
Ann Arbor Women's City Club
Arbor Brewing Co.
The Back Alley Gourmet
Bella Ciao Trattoria
Kalhy 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'Amalo's Italian Restaurant Daniel's on Liberty David Smith Photography Peter and Norma Davis Robert Derkacz The Display Group
Dough Boys Bakery
Katherine and Damian Farrell
Ken and Penny Fischer
The Gandy Dancer
Beverley and Gerson Geltner
Great Harvest Bread Company
Linda and Richard Greene
lohn's Pack & Ship
Steve and Mercy Kasle
King's Keyboard House
George and Beth Lavoie
Leopold Bros, of Ann Arbor
Ernest and Jeanne Merlanti
Michigan Car Services, Inc.
and Airport Sedan, LTD Robert and Melinda Morris Nicola's Books, Little Professor
Paesano's Restaurant Pfizer Global Research and
Development: Ann Arbor
Randy Parrish Fine Framing Red Hawk Bar & Grill Regrets Only Rightsidc Cellar Ritz Camera One Hour Photo Don and Judy Dow Rumelhart Maya Savarino Penny and Paul Schreiber Seva
Shaman Drum Bookshop Dr. Elaine R. Soller Washington Street Gallery Weber's Restaurant Zanzibar
20 Alden B. Dow Home
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 Littlcfield & Sons
Furniture Service 40 Miller, Canfield,
Paddock & Stone 56 Mundus and Mundus 24 National City Bank--
Advisors 20 Q Ltd. 56 Red Hawk Bar and
GrillZanzibar 42 Rudolf Steiner School
of Ann Arbor
24 Sweetwaters Cafe 42 Ufer&Co. 38 UM Museum of Art 16 UM School of Music 32 University Commons Blue Hill Development 34 WDET 32 WEMU 24 WGTE 10 WKAtt C WUOM
University Musical Society