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UMS Concert Program, Saturday Feb. 01 To 09: University Musical Society: 2003 Winter - Saturday Feb. 01 To 09 --

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University Musical Society
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Season: 2003 Winter
University Of Michigan

University Musical Society
of the University of Michigan
Winter 2003 Season
university musical society
University of Michigan Ann Arbor
2 Letters from the Presidents
4 Letter from the Chair
5 Corporate LeadersFoundations
14 UMS Board of Directors
14 UMS Senate
14 Advisory Committee
15 UMS Staff
15 UMS Teacher Advisory Committee
17 General Information
18 Tickets
19 Group Tickets
19 Discounted Student Tickets
19 Gift Certificates
21 The UMS Card
23 UMS History
25 UMS Choral Union
26 VenuesBurton Memorial Tower
29 The 2003 UMS Winter Season
35 Education & Audience Development
37 Restaurant & Lodging Packages
39 UMS Preferred Restaurant Program
43 UMS Delicious Experiences
45 Advisory Committee
45 Sponsorship & Advertising
47 Internships & College Work-Study
47 Ushers
48 Support
56 UMS Advertisers
I runt Coven Signs in Rio (Robert HolmciCORBIS), Sweet Honey in the Rock (Roland Freeman), Eos Orchestra. RSCs Coriolanus (Manuel Harlan); Back Coven If ill T. (ones
and Orion String Qiurtct, Apollo Theater Sign (Lcc SniderCORBIS), Dave Holland (courtesy ECM Records); Inside Back Cover: Aaron Copland, Egon Schiele's Ctrl with Raised Arm
(O Gcoflfrcy acmcnts;CORBlS), Morimur CD cover
The University of Michigan (UM) would like to join the University Musical Society (UMS) in welcoming you to the 2002 2003 season. Additionally, we would like to thank you for your support of the performing arts. We are proud of the wonderful partner?ship we have developed with UMS and of our
role as co-sponsor and co-presenter of several events on this season's calendar. These events reflect the artistic beauty and passion that are integral to the human experience. They are also wonderful opportunities
for University of Michigan students and fac?ulty to learn about the creative process and sources of inspiration that motivate artists and scholars.
The current season marks the second resi?dency by the Royal Shakespeare Company of Stratford, England which performs three plays in March: The Merry Wives of Windsor, Coriolanus, and Salman Rushdie's Midnight's Children. UM and UMS co-presentations are not limited to theater, but also include per?formances by the Vienna Philharmonic, the Bolshoi Ballet, and a special event entitled "Evening at the Apollo," in which the best performing groups from Detroit and Ann Arbor are given a chance to compete for a slot at Harlem's Apollo Theater Amateur Night, where Ella Fitzgerald, Sarah Vaughn, Billie Holiday, and other legends of 20th-
century American music got their big breaks. As befits the educational missions of both the University and UMS, we should also recognize the co-sponsorship of educational program?ming involving, among others, the Abbey Theatre of Ireland, Grupo Corpo, Sekou Sundiata and creative co-sponsorship of presentations by the Hubbard Street Dance Company and the well-known female a cappella group Sweet Honey in the Rock.
Most significantly, I would like to thank the faculty and staff of UM and UMS for their hard work and dedication to making this partnership a success. UMS staff, in particular, work with the University's faculty and students to create learning opportunities for our campus, and in the case of the larger residencies, for the greater community.
The University of Michigan is pleased to support the University Musical Society during its 0203 season. We share the goal of making our co-presentations the type of academic and cultural events that benefit the broadest possible constituency.
Mary Sue Coleman,
President, University of Michigan
Thank you for joining us for this UMS performance. We appreciate your support of the performing arts and of UMS, and we hope we'll see you at more of our programs this season. Check the complete listing of UMS's 2003 Winter Season events beginning on p. 29 of the glossy pages of this program
and on our website at
We welcome UM President Mary Sue Coleman to the southeast Michigan community 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 com?missioned by Hancher. This unprecedented level of support of creative artists by a uni?versity presenting organization captured the attention of the performing arts field world?wide 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 extraordinary level of UM sup?port for the second residency of the Royal Shakespeare Company March 1-16 and of eight other UMS 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 successful 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 outstanding venues in Detroit, Ypsilanti, and Ann Arbor. You won't want to miss 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.
Yes, things are 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 last year. You should also feel free to get in touch with me about anything related to UMS. If you don't see me in the lobby at our performances, you can send me an email message at or call me at 734.647.1174.
Very best wishes,
Kenneth C. Fischer UMS President
As I start my tenure as Chair of the Board of Directors of the University Musical Society, I am honored to serve an organization that brings rich and exciting cultural offerings to the University, to Ann Arbor, and to the larger community of southeastern Michigan. Where, outside of a major metropolis, could one have the opportunity to attend such a wide variety of events as Hubbard Street Dance, Medea, Tamango and Urban Tap, the Royal Shakespeare Company, and Bill T. Jones in a single academic year When my husband Ami and I first considered moving from Boston to the Midwest, UMS was an important part of our decision. The cultural life of Ann Arbor -it seemed to us then and continues to us now -is vital and accessible, equal only to major cities in the US. Many others share these same feelings. UMS remains one of our best recruiting tools, attracting people from all over the world to our community by bring?ing the most distinguished performing artists to our doorsteps. (Of course, this year, one of our "doorsteps" is temporarily fenced in and surrounded by a big hole!) Through UMS offerings we educate ourselves, enjoy ourselves and come to a fuller understanding of different cultures.
Of course, we could not possibly accomplish our goals of arts presen?tation, audience education and creation of new works without the generosity of UMS donors -individuals, corporations, philanthropic foundations, and government agencies. We are very grateful for the support they provide for our paigrams.
We look forward to continuing to present the best performing artists in the world to you each season, and we hope to see you at many perform?ances this winter.
Prue Rosenthal
Choir, IMS Board of Directors
John M. Rintamaki
Group Vice President, Chief of Staff, Ford Motor Company
"At Ford Motor Company, we believe the arts educate, inspire and bridge differences among cultures. They present for us all a common language and enhance our knowledge of each other and the world. We continue to support the University Musical Society and its programs that through the arts bring forth the human spirit of creativity and originality."
David Canter
Senior Vice President, Pfizer, Inc. "The science of discovering new medicines is a lot like the art of music: To make it all come together, you need a diverse collection of very brilliant people. What you really want are people with world-class talent--and to get those people, you have to offer them a special place to live and work. UMS is one of the things that makes Ann Arbor quite special. In fact, if one were making a list of the things that define the quality of life here, UMS would be at or near the very top. Pfizer is honored to be among UMS's patrons."
Douglass R. Fox
President, Ann Arbor Automotive "We at Ann Arbor Automotive are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
William M. Broucek President and CEO, Bank of Ann Arbor "Bank of Ann Arbor is pleased to contribute to the rich?ness of life in our community by our sponsorship of the 20022003 UMS season. We look forward to many remarkable performances over the year. By your atten?dance you are joining with us in support of this vibrant organization. Thank you."
Habte Dadi
Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organization that provides such an important service to Ann Arbor."
Greg Josefowicz
President and CEO, Borders Group, Inc. "As a supporter of the University Musical Society, Borders Group is pleased to help strengthen our com?munity's commitment to and appreciation for artistic expression in its many forms."
Carl Brauer
Owner, Brauer Investments
"Music is a gift from God to enrich our lives. Therefore, I enthusiastically support the University Musical Society in bringing great music to our community."
Len Niehoff
Shareholder, Butzel Long
"UMS has achieved an international reputation for excellence in presentation, education, and most recently creation and commissioning. Butzel Long is honored to support UMS, its distinctive and diverse mission, and its important work."
David G. Loesel
President, T.M.L Ventures, Inc.
"Cafe Marie's support of the University Musical Society Youth Program is an honor and a privilege. Together we will enrich and empower our community's youth to carry forward into future generations this fine tradition of artistic talents."
Clayton Wilhite
Managing Partner, CFI Group, Inc. "We're pleased to be in the group of community businesses which supports UMS Arts and Education. We encourage those who have yet to participate to join us. Doing so feels good."
Richard A. Collister
Executive Vice President, Comerica Incorporated President, Comerica Charitable Foundation "The University Musical Society is renowned for its rich history and leadership in the performing arts. Comerica understands the nurturing role UMS plays in our commu?nity. We are grateful to UMS for coordinating this 124th grand season of magnificent live performances."
W. Frank Fountain
President, DaimlerChrysler Corporation Fund "DaimlerChrysler is committed to nurturing strong and vibrant communities through its support of the arts. We are pleased to partner with UMS in its effort to promote the cultural and economic vitality of our community."
Fred Shell
Vice President, Corporate and Government Affairs, DTE Energy
'Plato said, 'Music and rhythm find their way into the secret places of the soul.' The DTE Energy Foundation congratulates UMS for touching so many hearts and souls by inspiring, educating and enriching the lives of those in our community."
Edward Surovell
President, Edward Surovell Realtors
"It is an honor for Edward Surovell Realtors to support the distinguished University Musical Society. For over a century it has been a national leader in arts presentation, and we encourage others to contribute to UMS's future."
Leo Legatski
President, Elastizell Corporation of America "The University Musical Society is a leading presenter of artistic groups--music, dance and theater. Please support their efforts in the development of new works, which they combine with educational workshops in the region."
Rick M. Robertson
Michigan District President, KeyBank "KeyBank is a proud supporter of the performing arts and we commend the University Musical Society on its contributions to the cultural excellence it brings to the community."
Jan Barney Newman
Michigan Regional Director, Learning Express "Learning Express-Michigan is committed to promoting toys that excite imaginations of children. It is therefore with pleasure that we support the stimulating and diverse presentations of UMS that educate and enrich the entire community."
Eugene "Trip" Bosart
Senior Managing Director, McDonald Investments, Inc. "McDonald Investments is delighted to partner with the University Musical Society and bring world class talent and performances to audiences throughout southeastern Michigan."
Albert M. Berriz
President and CEO, McKinley Associates, Inc. 'The success of UMS is based on a commitment to present a diverse mix of quality cultural performances. McKinley is proud to support this tradition of excel?lence which enhances and strengthens our community."
Erik H. Serr
Principal, Miller, Canfield, Paddock & Stone, P.L.C. "As 2002 marked Miller Canfield's 150th anniversary, we salute and appreciate the University Musical Society for presenting wonderful cultural events to our com?munity for more than 120 years. Miller Canfield is proud to support such an inspiring organization."
Robert 3. Malek
Community President, National City Bank "A commitment to quality is the main reason we are a proud supporter of the University Musical Society's efforts to bring the finest artists and special events to our community."
Joe Sesi
President, Sesi Lincoln Mercury Volvo Mazda "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury Volvo Mazda team is delighted to sponsor such a fine organization."
Thomas B. McMullen
President, Thomas B. McMullen Co., Inc. "I used to feel that a UM-Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS pro?vides the best in educational entertainment."
Sharon L. Beardman
Regional Vice President, TIAA-CREF Individual and Institutional Services, Inc.
"TIAA-CREF works with the employees of the perform?ing arts community to help them build financial security, so that money doesn't get in the way of the art. We are proud to be associated with the great tradition of the University Musical Society."
UNIVERSITY MUSICAL SOCIETY of the University of Michigan
Prudence L Rosenthal,
Chair Clayton Wilhite,
Wee-Choir fan Barney Newman,
Secretary 1-rik H. Serr, Treasurer
Michael C. Allemang lanice Stevens Botsford William M. Broucek
Kathleen G. Charla Mary Sue Coleman Jill A. Corr Hal Davis
Sally Stegeman DiCarlo Aaron P. Dworkin David Featherman Beverley B. Geltner Debbie Herbert Carl Herstein Toni Hoover
Alice Davis Irani Gloria James Kerry Barbara Meadows Lester P. Monts Alberto Nacif Jan Barney Newman Gilbert S. Omenn Randall Pittman Philip H. Power Rossi Ray-Taylor Doug Rothwell
Judy Dow Rumelhart Maya Savarino Timothy P. Slottow Peter Sparling James C. Stanley B. Joseph White Clayton Wilhite Karen Wolff
(former members o) the VMS Bounl of Directors)
Robert G. Aldrich Herbert S. Amsler Gail Davis Barnes Richard S. Berger Maurice S. Binkow Lee C Bollinger Paul C Box Ian Carl A. Brauer Allen P. Britton Barbara Everitt Bryant Letitia I. BtJ Leon S. Cohan Peler B. Corr Ion Cosovkh Douglas Cxar-Ronald M. Cresswell
Robert F. DiRomualdo lames I. Duderstadt Robben W. Fleming David 1. Flowers William S. Hann Randy I. Harris Walter L Harrison Norman G. Herbert Peter N. Heydon Kay Hunt Stuart A. Isaac Thomas E. Kauper David B. Kennedy Richard L. Kennedy Thomas C. Kinnear F. Bruce Kulp
Leo A. Legatski Earl Lewis Patrick B. Long Helen B. Love Judythe H. Maugh Paul W. McCracken Rebecca McGowan Shirley C. Neuman Len NiehofF loe E. O'Neal lohn D. Paul lohn Psarouthakis Gail W. Rector lohn V. Reed Richard H. Rogel Ann Schriber
Daniel H. Schurz Harold T. Shapiro George I. Shirley John O. Simpson Herbert Sloan Carol Shalita Smokier Jorge A. Solis Lois U. Stegeman Edward D. Surovell James L Telfer Susan B. Ullrich Eileen Lappin Weiser Gilbert Whitaker Marina v.N. Whitman Iva M. Wilson
Louise Twwnley, Chtrir Raqud Agranofif. Vke
Ckm iKkwrine Maltmun,
Soatimy kri SwmD, TmtauMT
Bautfoan Badh
CUuIett M. Banks
Iwfe. Kjmu
Mimi Bogdasjrian lennifer hdffX Mary Breakey leinnine Buchanan Victoria Buckler Laura Caplun Cheryl Cassuly EDy Rose Cooper INilaOox Norma Davis SilhSte$eman DiCarlo Lori Director Mkhjd Endres
NanaFerrorio Sam B. Frank Anne Glendon Alvia Golden Kathv Hentschel Anne Kkvwk Beth LaVok Stephanie Lord Judy Mac Esther Martin ManMatthews Injyrid Merikoski leanne Merianti
Candice Mitchell Bob Morris Bonnie Paxton Danici ftterson Wendy Ransom Swanna Sjltiel Pinny Sduwber SutSchraeder Alia Shevrin loivlt'j Skewes Ntarv-anne Tekse DodyVnh
Administration Finance
Kenneth C. Fischer,
President Lisa Herbert, Director of
Special Projects Elizabeth E. )ahn.
Assistant to the
President John B. Kennard, Jr.,
Director of
Administration Chandrika Patel, Senior
Accountant John Peckham,
Information Systems
Choral Union
Thomas Sheets,
Conductor Jason Harris, Assistant
Conductor Andrew Kuster, Associate
Conductor Kathleen Operhall,
Manager Donald Bryant,
Conductor Emeritus
Development Susan McClanahan,
Director Mary Dwyer, Manager of
Corporate Support Julaine LeDuc, Advisory
Committee and Events
Lisa Michiko Murray,
Manager of Foundation
and Government
Grants M. Joanne Navarre,
Manager of Individual
Support Lisa Rozek, Assistant to
the Director of
Development I. Thad Schork, Direct
Mail and Gift
Processing Manager
EducationAudience Development Ben Johnson, Director Erin Dahl, Youth
Education Assistant Kristin Fontichiaro,
Youth Education
Manager Dichondra Johnson,
Manager Warren Williams,
MarketingPublic Relations
Sara Billmann, Director Susan Bozell, Marketing
Manager Gulshirin Dubash,
Public Relations
Manager Nicole Manvel,
Promotion Coordinator
Michael J. Kondziolka,
Director Emily Avers, Production
Administrative Director Jeffrey Beyersdorf,
Technical Coordinator Christine Field,
Production Assistant Jasper Gilbert, Technical
Director Jeffrey Golde, Production
and Programming
Assistant Susan A. Hamilton,
Artist Services
Coordinator Mark Jacobson,
Programming Manager Bruce Oshaben, Head
Ticket Office
Nicole Paoletti, Manager
Angela Clock, Assistant
Manager Sally A. Cushing,
Christine Field, Assistant Jennifer Graff, Associate Robert W. Hubbard,
Assistant Lakshmi Kilaru, Group
Sales Coordinator William P. Maddix,
Assistant Manager
Work-Study Pearl Alexander Aubrey Alter Nicole Blair April Dawn Chisholm Kindra Coleman Carla Dirlilcov Barbara Fleming Jamie Freedman Alexandra Jones Dawn Low Natalie Malotke Melissa McGivern Lauren Molina Claire Molloy Bridget Murphy Vincent Paviglianiti Nadia Pessoa Fred Peterbark Rosie Richards Jennie Salmon Corey Triplett Sean Walls
Shirley Bartov Vineeta Bhandari Jennifer Gates Milena Grubor Lindsay Mueller Sameer Patel
President Emeritus Gail W. Rector
Fran Ampey Kitty Angus Alana Barter Joseph Batts Linda Batts Kathleen Baxter Elaine Bennett Lynda Berg Yvette Blackburn Barbara Boyce Letitia Byrd
Doug Cooper Nancy Cooper Gail Davis Barnes Ann Deckert Gail Dybdahl Keisha Ferguson Doreen Fryling Yulonda Gill-Morgan Brcnda Gluth Louise Gruppen Vickey Holley Foster
Linda Jones Deborah Katz Deb Kirkland Rosalie Koenig Sue Kohfeldt David Leach Rebecca Logie Dan Long Laura Machida Ed Manning Kim Mobley
Ken Monash Eunice Moore Denise Murray Michelle Peet Rossi Ray-Taylor Gayle Richardson Victoria Scott Rondeau Katy Ryan Nancy Schewe Karen Schulte Derek Shelton
loan Singer Sue Sinta Grace Sweene)' Sandy Trosien Melinda Trout Sally Vandeven Barbara Wallgren leanne VVeinch
GENERAL IN FORMATION Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, the Power Center, Mendelssohn Theatre and Detroit Opera House are equipped with infrared listening systems. Headphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Rackham Auditorium, Trueblood Theatre, Power Center, and Mendelssohn Theatre please call University Productions at 734.763.5213. For items lost at St. Francis of Assisi Catholic Church, Michigan Theater, Pease Auditorium, Detroit Opera House and Orchestra Hall please call the UMS Production Office at 734.764.8348.
Parking for Ann Arbor events is available in the Liberty Square (formerly Tally Hall), Church Street, Maynard Street, Thayer Street, Fletcher Street and Fourth Avenue structures for a minimal fee. Parking for Detroit events
is available in the Orchestra Hall lot, Detroit Opera House garage and People Mover lots for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. UMS members at the Principal level and above receive 10 complimentary parking passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for per?formances in the 0203 Choral Union series. Cars may be dropped off in front of the per?formance venues beginning one hour prior to performance. There is a $10 fee for this service. UMS members at the Producer level and above are invited to use this service at no charge.
For up-to-date parking information, please see the UMS website at
Refreshments are served in the lobby during intermissions of events in the Power Center, Detroit Opera House and Orchestra Hall, and are available in the Michigan Theater. Refresh?ments are not allowed in the seating areas.
Smoking Areas
University of Michigan policy forbids smok?ing in any public area, including the lobbies and restrooms.
In Person
The UMS Ticket Office and the University Productions Ticket Office have merged! Patrons are now able to purchase tickets for UMS events and School of Music events with just one phone call.
As a result of this transition, the walk-up window is conveniently located at the League Ticket Office, on the north end of the Michigan League building at 911 North University Avenue. The Ticket Office phone number and mailing ad?dress will remain the same.
Mon-Fri: 10am-6pm Sat: 10am-lpm
By Phone 734.764.2538
Outside the 734 area code, call toll-free 800.221.1229
By Fax 734.647.1171
By Internet
By Mail
UMS Ticket Office
Burton Memorial Tower
881 North University Avenue
Ann Arbor, MI 48109-1011
Performance hall ticket offices open 90 minutes prior to each performance.
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the Ticket Office. Refunds are not available; however, you will be given a receipt for an income tax deduc?tion. Please note that ticket returns do not count toward UMS membership.
The group sales program has grown incred?ibly in recent years, and our success is a direct result of the wonderful leaders who organize their friends, families, congrega?tions, students, and co-workers and bring them to one of our events.
Last season over 10,000 people came to UMS events as part of a group, and they saved over $50,000 on some of the most popular events in our season. Don't miss our current season, featuring world-renowned artists such as Sweet Honey in the Rock, the Vienna Philharmonic, Audra McDonald, Dave Holland, and many more, including our spe?cial 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 call?ing Lakshmi Kilaru, Group Sales Coordinator, at 734.763.3100. Don't wait--rally your friends and reserve your seats today!
Did you know Since 1990, students have purchased over 122,000 tickets and have saved more than $1.8 million through special UMS student programs! UMS's commitment to affordable student tickets has permitted thousands to see some of the most impor?tant, impressive and influential artists from around the world. For the 0203 season, stu?dents may purchase discounted tickets to UMS events in three ways:
1. Each semester, UMS holds a Half-Price Student Ticket Sale, at which students can purchase tickets for all UMS events for 50 off the published price. This extremely popu?lar event draws hundreds of students every fall--last year, students saved nearly $100,000 by purchasing tickets at the Half-Price
Student Ticket Sale! Be sure to get there early as some performances have limited numbers of discounted tickets available.
2. Students may purchase up to two $10 Rush Tickets the day of the performance at the UMS Ticket Office, or 50 off at the door, subject to availability.
3. Students may purchase the UMS Card, a pre-paid punch card that allows students to pay up front ($50 for 5 punches, $100 for 11 punches) and use the card to purchase Rush Tickets during the 0203 season. Incoming freshman and transfer students can purchase the UMS Card with the added perk of buying Rush Tickets two weeks in advance, subject to availability.
Looking for that perfect meaningful gift that speaks volumes about your taste Tired of giving flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than eighty events throughout our season, wrapped and delivered with your personal message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming present when new friends move to town.
In an effort to help reduce distracting noises and enhance the theater-going experience, Pfizer Inc is providing compli?mentary HallsO Mentho LyptusO cough suppressant tablets to patrons attending UMS performances throughout our 0203 season.
UMS and the following businesses thank you for your generous support by pro?viding you with discounted products and services through the UMS Card, a privilege for subscribers and donors of $100 or more. Patronize these businesses often and enjoy the quality products and services they provide.
Amadeus Cafe
Ann Arbor Art Center
Ann Arbor Automotive
Back Alley Gourmet
The Blue Nile
Restaurant Bodywise Therapeutic
Massage Cafe Marie Dough Boys Bakery Gandy Dancer Great Harvest John's Pack and Ship Kerrytown Bistro King's Keyboard
Le Dog
Michigan Car Services,
Inc. and Airport
Sedan, LTD Nicola's Books, Little
Professor Book Co. Paesano's Restaurant Randy Parrish Fine
Framing Ritz Camera One Hour
Photo Shaman Drum
Bookshop Washington Street
Join the thousands of savvy people who log onto each month!
Why should you log onto
Tickets Forget about waiting in long ticket lines--order your tickets to UMS performances online! And now you'll know your specific seat location before you buy online.
Cyber$avers Special weekly discounts appearing every Tuesday, only available by ordering over the Web.
Information Wondering about UMS's history, event logistics, or volunteer opportunities Find all this and more.
Program Notes and Artist Bios Your online source for performance programs and in-depth artist information. Learn about the artists and repertoire before you enter the hall!
Sound Clips Listen to recordings from UMS performers online before the concert.
Education Events Up-to-date information detailing educational opportunities surrounding each UMS performance.
Development Events Current infor?mation on UMS Special Events and activities outside of the concert hall. Find details on how to support UMS and the arts online!
BRAVO! Cookbook Order your UMS hardcover coffee-table cookbook featur?ing more than 250 recipes from UMS artists, alumni and friends, as well as historic photos from the UMS archives.
Choral Union Audition information and performance schedules for the UMS Choral Union.
Through an uncompromising commitment to Presentation, Education, and the Creation of new work, the University Musical Society (UMS) serves Michigan audiences by bringing to our community an ongoing series of world-class artists, who represent the diverse spectrum of today's vig?orous and exciting live performing arts world. Over its 124 years, strong leadership coupled with a devoted community has placed UMS in a league of internationally-recognized performing arts presenters. Indeed, Musical America selected UMS as one of the five most influential arts presenters in the United States in 1999. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, balanced by a com?mitment to dynamic and creative visions of where the performing arts will take us in this millennium. Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first performance of Handel's Messiah was in December of 1879, and this glorious oratorio has since been per?formed by the UMS Choral Union annually.
As a great number of Choral Union members also belonged to the University, the University Musical Society was established in December 1880. UMS included the Choral Union and University Orchestra, and throughout the year presented a series of concerts featuring local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts--internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theatre. Through educational endeavors, commissioning of new works, youth programs, artist residencies and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction and innovation. UMS now hosts approximately 90 perform?ances and more than 150 educational events each season. UMS has flourished with the support of a generous community that this year gathers in 11 diverse venues in Ann Arbor, Ypsilanti, and Detroit.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organ?ization that supports itself from ticket sales, corporate and individual contributions, foundation and government grants, special project support from UM, and endowment income.
Throughout its 124-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 subscription 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 opened its current 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 presented its 124th series of annual performances of Messiah, using the rarely-heard Mozart revision of Handel's great work in Michigan Theater. The Choral Union's season will conclude in March with a pair of magnificent French choral works: Honegger's King David, accom?panied 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 performance 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 capable 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 the?atre favorites with Erich Kunzel and the DSO at Meadowbrook. The 72-voice Concert Choir drawn from the full chorus has performed Durufle's Requiem, the Langlais Messe Solennelle, and the Mozart Requiem. Recent programs by the Choral Union's 36-voice Chamber Chorale include "Creativity in Later Life," a program of late works by nine composers of all historical periods; a joint appearance with the Gabrieli Consort and Players; a performance of Bach's Magnificat, and a recent joint performance with the Tallis Scholars.
Participation in the Choral Union remains open to all by audition. Composed of singers from Michigan, Ohio and Canada, members of the Choral Union share one common passion--a love of the choral art. For more information about membership in the UMS Choral Union, e-mail choralunion@ or call 734.763.8997.
With the 18-month dosing of Hill Auditorium for renovations, the 0203 UMS season will include performances by the world's celebrated music, theater and dance artists in 11 venues in three cities: Ann Arbor, Ypsilanti and Detroit.
Ann Arbor Venues
Hill Auditorium
The 18-month, $38.6-million dollar reno?vation to Hill Auditorium began on May 13, 2002 under the direction of Albert Kahn Associates, Inc., and historic preservation architects Quinn EvansArchitects. Hill was first opened to Michigan audiences in 1913 and this current renovation project will update all of its infrastructure systems and restore much of the interior decor to its original splendor.
Exterior renovations will rebuild brick paving and stone retaining walls, restore the south entrance plaza, rework the west barrier-free ramp and loading dock, and improve the landscaping which surrounds the building.
Interior renovations will create additional restrooms, improve audience circulation by providing elevators, replace main-floor seating to increase patron comfort, introduce barrier-free seating and stage access, replace audio?visual systems, and completely replace all mechanical and electrical infrastructure sys?tems for heating, ventilation, and air condi?tioning.
Upon reopening in January 2004, Hill Auditorium will decrease in seating capacity from 4,169 to 3,710.
Lydia Mendelssohn Theatre
Notwithstanding an isolated effort to estab?lish a chamber music series by faculty and students in 1938, UMS regularly began presenting artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theatre for the 100th May Festival's Cabaret Ball. The superlative Mendelssohn Theatre has been the home of the UMS Song Recital series for the past eight years.
Michigan Theater
The historic Michigan Theater opened January 5, 1928 at the peak of the vaude?villemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ. At its opening the theater was acclaimed as the best of its kind in the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation.
In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addi?tion, which also included expanded restroom facilities for the historic theater. The gracious facade and entry vestibule was restored in 2000, and balcony restorations have been completed.
Power Center for the Performing Arts
The Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theatre for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was designed to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major
gift to the University, and amidst a list of University priorities was mentioned "a new theatre." The Powers were immediately inter?ested, realizing that state and federal government were unlikely to provide financial support for the construction of a new theatre.
No seat in the Power Center is more than 72 feet from the stage. The lobby of the Power Center features two hand-woven tap?estries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
Rackham Auditorium
Sixty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including Univer?sity Hall (the precursor to Hill Auditorium), Hill Auditorium, and Newberry Hall, the cur?rent home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of human history and human thought, died in 1933, his will established the Horace H. Rackham and Mary A. Rackham Fund, which subsequently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School, which houses the 1,129-seat Rackham Auditorium, but also to establish a $4-million endowment to further the development of graduate studies.
St. Francis of Assisi Catholic Church
In 1950, Father Leon Kennedy was appoint?ed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and on March 19,1969 John Cardinal Dearden dedi?cated the new St. Francis of Assisi Church. Father James McDougal was appointed pastor in 1997.
St. Francis of Assisi Catholic Church has grown from 248 families when it first started in 1950 to more than 2,800 today. The present church seats 900 people and has ample free parking. In 1994 St. Francis purchased a splen-
did three manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and con?templation of sacred a cappella choral music and early music ensembles.
Ypsilanti Venues
EMU Convocation Center
An exciting new era in EMU athletics was set in motion in the fall of 1998 with the opening of the $29.6-million Convocation Center. The Barton-Malow Company along with the architectural firm Rossetti Associates of BirminghamThe Argos Group began con?struction on the campus facility in 1996. The Convocation Center opened its doors on December 9, 1998 with a maximum seating capacity of 9,510 for center-stage entertain?ment events.
Pease Auditorium
Built in 1914, Pease Auditorium was reno?vated in 1995. Earlier this year, the resto?ration of the AeolianSkinner pipe organ was completed and the interior of the auditorium was refurbished. Pease Auditorium can seat up to a total of 1,541 concertgoers.
Detroit Venues
Detroit Opera House
The Detroit Opera House opened in April of 1996 following an extensive renovation by Michigan Opera Theatre. Boasting a 75,000-square-foot stage house (the largest stage between New York and Chicago), an orchestra pit large enough to accommodate 100 musicians and an acoustical virtue to rival the world's great opera houses, the
2,735-seat facility has rapidly become one of the most viable and coveted theatres in the nation. As the home of Michigan Opera Theatre's grand opera season and dance series, and through quality programming, partnerships and educational initiatives, the Detroit Opera House plays a vital role in enriching the lives of the community.
Orchestra Hall
Orchestra Hall was dedicated in 1919 as the new home of the Detroit Symphony Orchestra. In 1939, after the depression, the orchestra moved to the Masonic Temple Theatre and the facility was renamed the Paradise Theatre. The Paradise became one of the nation's most famous stages for African-American Jazz musicians (1941-1951).
In the late 1950s, the building was aban?doned and fell into disrepair. In 1964, it was headed for the wrecking ball, but local citizens rallied to save the great concert hall. DSO musicians and volunteers founded Save Orchestra Hall, Inc., to marshal citizen sup?port for the retention and restoration of the building to its former architectural grandeur.
In September 1989 the DSO returned to Orchestra Hall, now its permanent home, cap?ping a multi-million-dollar restoration effort.
In 1996, the Detroit Symphony Orchestra launched Orchestra Place, an $80-million development project on eight acres of land surrounding Orchestra Hall.
Burton Memorial Tower
Seen from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor land?marks. Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet. UMS administrative offices returned to our familiar home at Burton Memorial Tower in August 2001, following a year of significant renovations to the University landmark.
This current 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.
A of the University of Michigan 2003 Winter Season
Event Program Book
Saturday, February 1 through Sunday, February 9, 2003
General Information
Children of all ages are welcome at UMS Family and Youth Performances. Parents are encouraged not to bring children under the age of 3 to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditori?um. 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 exit the "information superhighway" while you are enjoying a UMS event: electronic-beeping or chiming digital watches, ringing cellular phones, beeping pagers and clicking portable computers should be turned off during performances. In case of emergency, advise your paging service 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.
Egberto Gismonti 5
Saturday, February 1, 8:00 pm Michigan Theater Ann Arbor
Michigan Chamber Players 7
Sunday, February 2,4:00 pm Rackham Auditorium Ann Arbor
Vienna: Lust ha us (revisited) 11
Friday, February 7, 8:00 pm Saturday, February 8, 8:00 pm Power Center Ann Arbor
Ying Quartet 21
Sunday, February 9,4:00 pm Rackham Auditorium Ann Arbor
Dear WMS Matrons,
(Tiiank you for attending this UMS performance. We appreciate your J. support of the performing arts and hope your experience at this concert will persuade you to attend more of our programs this season.
Having been involved in administration and finance for most of my career, the last 13 years with the performing arts, I can't help but think back to the number of times over that period I have heard people voice the per?ception that the arts are not managed as adeptly as other types of business.
Working in the administrative office of UMS, I have had the privilege of working with an excellent staff who are committed to being wise stewards of the resources available to UMS, constantly striving to create an experience for the patrons which will enrich and hopefully change their life in some small way.
In just the past year, for instance, we have revisited the UMS mission and vision by developing a new strategic plan, have created a new Long Range Financial Planning Group to help ensure financial stability in the coming years, established an Audit Committee to review and strengthen internal control, and perhaps most importantly, have taken many steps to improve the administrative structure and working conditions for UMS staff.
We have worked hard to make sure that our adminis?trative support and structure are held to the same high standards as our artistic product. This would include a commitment to diversity in our administrative practices by
valuing people in all facets: age, gender, ethnicity, sexual orientation, reli?gion, and abilitydisability.
We are an inclusive, tolerant, and learning organization that believes in EINO: "Everybody In, Nobody Out." We have a special opportunity to help foster greater understanding and appreciation of all people through the diverse cultural expressions we bring to the stage and explore in our educa?tional programs.
This season has presented some challenges for UMS with the closing of Hill Auditorium for restoration and renovation, as well as continued fallout in the marketplace from the events surrounding 911. With your continued love and support for the arts, we know we will overcome these difficulties.
Best Wishes,
John B. Kennard
UMS Director of Administration and Finance
UMS Educational
UMS Educational Events through Monday, February 10,2003.
All UMS educational activities are free and open to the public unless otherwise noted ($). Please visit for complete details and updates.
Egberto Gismonti
Guitar Master Class: Egberto Gismonti
Brazilian guitarist Egberto Gismonti will conduct a special acoustic guitar mas?ter class with Herb David Guitar students as part of his exclusive US appearance. Open to the public for observation. Seating limited to capacity. Saturday, February 1, 12 noon-2:00 pm, Herb David Guitar Studio, 302 E. Liberty, Ann Arbor
A UMS collaboration with the Herb David Guitar Studio.
Vienna Lusthaus (revisited)
Roundtable Discussion and Exhibit Tour: Martha Clarke
As part of the Ann Arbor residency, Ms. Clarke will discuss her new production with Kate Mendeloff (UM Residential College Drama Concentration), Jessica Fogel (UM Dance), Terri Sarris (UM Film and Video), Linda Gregerson (UM English Language and Literature), and Martin Walsh (Residential College Drama Concentration). This discussion will be held in the exhibition Graphic Visions: German Expressionist Prints and Drawings, and a tour of the exhibition will be offered at the conclusion of this discussion. Seating limited to capacity. Saturday, February 8, 1:00-3:00 pm, UM Museum of Art, West Gallery (2nd Level, 525 State St.)
A UMS Education collaboration with the Institute for Research on Women and Gender, UM Women's Study Program, UM Residential College and the UM Museum of Art.
Ying Quartet
Pre-Performance Lecture Demonstration: Ying Quartet and Bright Sheng in Conversation with Andrew Jennings UM Strings Professor Andrew Jennings moderates a discussion on contempo?rary Asian music with MacArthur Guinness Award Recipient Bright Sheng and the Ying Quartet. Sunday, February 9, 2:30 pm, Michigan League, Vandenberg Room, 2nd Floor, (911 N. University Ave., Ann Arbor)
A UMS collaboration with the UM School of Music Composition and Instrumental Studies Divisions.
String Quartet Master Class: Ying Quartet The Ying Quartet coaches UM string quartet students in a master class. Open to the public for observation. Monday, February 10, 2:30-4:00 pm, UM School of Music, Stearns Building, Cady Room (2005 Baits, Ann Arbor)
Egberto Gismonti
Piano and Guitar
Saturday Evening, February 1 at 8:00 Michigan Theater Ann Arbor
Solo Works of Egberto Gismonti
Selva Amazonica
Ciranda Nordestina
Danca dos Escravos
Sonhos de Recife
Fala da Paixao
Bodas de Prata
47th Performance of the 124th Season
Ninth Annual Jazz Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Presented with support from JazzNet, a program of the Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation and the National Endowment for the Arts.
Additional support provided by media sponsor WEMU 89.1 FM.
Special thanks to Herb David Guitar Studio for its involvement in this residency.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Egberto Gismonti appears by arrangement with Tourneen Saudades, Austria.
Large print programs are available upon request.
"Egberto Gismonti's music...invoke[s] in turn the techniques of Segovia, Sabicas, and even Jimi Hendrix, all presided over by the benign ghost ofVilla-Lobos."
The Times (London)
Over the last 25 years, the music of Egberto Gismonti has led to a land of uncommon breadth and beauty, establishing him as Brazil's greatest guitarist and one of the world's preeminent musicians. Drawing on the resources of the "primitive" and the "sophisticated," his work tends to resemble the dual world of Brazil ever growing and changing.
The son of a Lebanese father and Sicilian mother, Mr. Gismonti was born in the small Brazilian town of Carmo. A pianist by train?ing, Mr. GismontTs deep appreciation and love of his land and heritage came as a result of leaving Brazil. Moving to Paris, he studied with the famous teacher, conductor and composer Nadia Boulanger, and it was at her urging that he returned to his homeland to explore the resident culture of the Choros, the samba school and the Xingu Indians, while fashioning a distinctive and fascinating sound of his own. His music toes the line between folklore, classical and jazz, creating an unmistakable style and sound that repre?sent the dualities that exist in Brazil today. Mr. Gismonti s long association with EGM Records began in 1976, when he recorded the acclaimed Danfa das Cabefas, with fellow Brazilian percussionist Nana Y'aseoneelas a connection re-cemented in
1985 with Dims Vozes. Subsequent projects have taken him into collaborations with Jan Garbarek, Collin Walcott and Charlie Haden, with whom he recorded Folk Songs, garner?ing him much praise. In 1981, he released Sanfona, with his group Academia de Danas, as well as a solo album, later moving to what is regarded as one of his greatest recordings, ZigZag.
Inspired by the work of Villa-Lobos, Mr. Gismonti's work has proven to be both far-reaching and visceral, a living mosaic of 20th-century impulses, understandable in all languages.
Tonights performance marks Egberto Gismonti's UMS debut and his only US concert appearance this season.
Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music
Lynne Aspnes, Harp Andrew Barnhart, Cello Eileen Brownell, Cello Katri Ervamaa, Cello Soren Hermansson, Horn Freda Herseth, Soprano
Martin Katz, Piano Mary Ellen Morris-Kim, Cello Fred Ormand, Clarinet Carmen Peiton, Soprano Jonathan Shames, Conductor
Felix Mendelssohn
Hans Werner Henze
Carl Reinecke
Sunday Afternoon, February 2 at 4:00 Rackham Auditorium Ann Arbor
Duets, Op. 63
Ich wollt', meine Lieb ergosse sich, No. 1 Abschiedslied der Zugvogel, No. 2 Volkslied ("O wert thou in the cauld blast"), No. 5 Maiglockchen und die Blumelein, No. 6 Herseth, Pelton, Katz
Being Beauteous (cantata from the poem by Arthur Rimbaud) for Soprano, Harp and Four Cellos
Pelton, Aspnes, Barnhart, Brownell, Ervamaa, Morris-Kim Mr. Shames, Conductor
Trio in B-flat Major, Op. 274
A Tale: Andante Scherzo: Allegro Finale: Allegro
Ormand, Hermansson, Katz
48th Performance of the 124th Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Thanks to all of the U-M School of Music Faculty Artists for their ongoing commitment of time and energy to this special UMS performance.
Large print programs are available upon request.
Duets, Op. 63
Felix Mendelssohn
Born February 3, 1809 in Hamburg,
Germany Died November 4, 1847 in Leipzig
Being Beauteous
(cantata from the poem by Arthur Rimbaud)
Hans Werner Henze
Born July 1, 1926 in Giitersloh, Westphalia, Germany
Trio in B-flat Major, Op. 274
Carl Reinecke
Born June 23, 1824 in Altona, Germany
Died March 10, 1910 in Leipzig
Lynne Aspnes, DMA, maintains an active schedule as performer. With the Plymouth Music Series of Minnesota, she has recorded on the CRI, ProArte, RCA Red Seal and Virgin Classics labels. With organist John Walker and the choir of Riverside Church in New York City, Ms. Aspnes has recorded for the Pro Organo label. She has also made record?ings for NPR and PBS. Active in the American Harp Society, she was a director of its Concert Artist Program, has served on its Executive Committee and Board of Directors, was National Conference Chairman three times, and is a frequent contributor to The American Harp Journal. She studied at the University of Minnesota, the San Francisco Conservatory of Music, and the Manhattan School of Music, and currently serves as Associate Dean (for academic affairs).
This afternoon's performance marks Lynne Aspnes's sixth appearance under VMS auspices.
Andrew Barnhart is a junior cello performance major studying with Erling Bengtsson at the University of Michigan. He began his cello studies at the age of 10 with Peter Tolias before going on to study with Richard Piippo. He has worked with the Ying, Maia, Pacifica, and Cavani Quartets as well as participated in master classes with Bernard Greenhouse and Janos Starker.
This afternoon's performance marks Andrew Barnhart's UMS debut.
Eileen Brownell is a second year Doctoral student at the University of Michigan, where she studies with Anthony Elliott. She is a native of Nevada, where she performed with the Reno Philharmonic Orchestra and soloed with the Northern Nevada Concert Orchestra. Eileen is currently a member of the Ann Arbor Symphony and teaches privately. She also assists in the administration of a cello festival held every July in St. George, Utah.
This afternoon's performance marks Eileen Brownell's UMS debut.
Cellist Katri Ervamaa, DMA, has performed widely in the US, as well as in her native Finland and throughout Europe. She holds degrees from the University of Michigan and the Northern Illinois University, where her teachers were Erling Blondal Bengtsson and Marc Johnson. She has also studied chamber music with Andrew Jennings as well as members of the Vermeer, Borodin, Alban Berg and Amadeus String Quartets. Katri is a founding mem?ber of the Finnish Owla String Quartet, the new music ensemble Brave New Works and Ed Sarath's Timescape. She is currently on faculty at the Bowling Green State University, as well as School for the Performing Arts Ann Arbor and Flint Institute.
This afternoon's performance marks Katri Ervamaa's fourth appearance under UMS auspices.
Soren Hermansson is internationally known as per?former and recording artist. He has been highly active as an ensemble performer, first as member of Norrkoping Symphony Orchestra and Gothenburg Symphony Orchestra. Since 1988 he has devoted his time for his solo career and teaching. He has per?formed with many orchestras in Sweden, Finland, Denmark, and also in England, the US and San Juan, Puerto Rico. As a chamber musician, he has performed in France, Germany, Switzerland, Netherlands, Scandinavia, the US and Brazil. He has commissioned and premiered considerable new repertory for horn, much of which is included on significant recordings that he has made to wide crit?ical acclaim. Before joining the Michigan faculty in 1999, Mr. Hermansson was a faculty member at the Ingesund College of Music, and at School of Music, Gothenburg University in Sweden. He has given sev?eral master classes at different universities through?out the US. Since 1997 he has taught in summers at Curso Internacional de Verao, at Escola de Musica de Brasilia, Brazil.
This afternoon's performance marks Soren Hermansson's fourth appearance under UMS auspices.
Freda Herseth, M Mus, has sung critically acclaimed leading roles in opera throughout Germany. She has performed with orchestras and chamber ensembles throughout Europe, Russia and Israel, including the La Scala Opera Orchestra conducted by Riccardo Muti in the world premiere of Richard Wernick's... and a time for peace; the Israel Sinfonietta; the Stuttgart State Theater Orchestra in the world pre?miere of William Bolcom's Songs of Innocence and Experience; the Frankfurt Radio Orchestra, New York New Music Ensemble, the Haifa Symphony Orchestra, and The Folger Consort of Washington, DC. Well known for her work in contemporary music, she has premiered many works written espe?cially for her. She has performed at the Vienna Festival, Warsaw Autumn Festival, Festival d'Automne at the Bastille Opera in Paris, and with the American Music Theater Festival of Philadelphia. Ms. Herseth has been the recipient of numerous awards, includ?ing a stipend from the Richard Wagner Society in Bayreuth. She graduated cum laude from the University of Puget Sound, and from the Eastman School of Music, where she studied with Jan
DeGaetani. Ms. Herseth has recorded for CRI, Gaspare, South German Radio and Television, Hessen Radio (Frankfurt), Bavarian Radio (Munich), ORF Austrian Radio and Television, RAI Italian Radio, and Northeastern Records. She was recently honored at the Voice Foundation Annual International Symposium in Philadelphia with the award of the Van Lawrence Fellowship for research and excellence in the field of vocal pedagogy.
This afternoon's performance marks Freda Herseth's fourth appearance under UMS auspices.
Martin Katz, B Mus, dubbed "dean of accompanists" by The Los Angeles Times, was the 1998 recipient of Musical America's "Accompanist of the Year" award. He regularly collaborates in recitals and on record?ings with artists including Marilyn Home, Frederica von Stade, Kiri Te Kanawa, Kathleen Battle, Cecilia Bartoli, David Daniels, and Jose Carreras. Highlights of Mr. Katz's more than 30 years of concertizing with the world's most celebrated vocal soloists include innumerable recitals at Carnegie Hall, appearances at the Salzburg Festival, tours in Australia and Japan and performances at La Scala, the Paris Opera and the Edinburgh Festival. His concerts are frequently broadcast both nationally and internationally. His work has been recorded on the RCA, CBS, Cetra, BMG, EMI, Phillips and Decca labels. The Metropolitan, Houston and Ottawa operas have performed his editions of Baroque and bel canto operas of Handel, Vivaldi and Rossini. At Michigan, in addition to instruction in ensemble for pianists, Mr. Katz coaches singers, teaches vocal repertory, and is a frequent conductor of the School's opera productions. He is Artur Schnabel Collegiate Professor of Music.
This afternoon's performance marks Martin Katz's 26th appearance under UMS auspices.
Cellist Mary Ellen Morris-Kim is finishing a doctor?ate at the University of Michigan where her principal teacher is Anthony Elliott. She was a member of the graduate quartet at the University of Michigan as well as the Herencia String Quartet in Philadelphia. She performs on Baroque cello as well and has per?formed with the Pennsylvania Pro Musica in Philadelphia and the Concert Royal in New York as well as with many ensembles with the University of Michigan Early Music Ensemble. Ms. Morris-Kim holds degrees from the University of Minnesota and Rice University and has attended many summer music festivals throughout the US and Canada. She performs frequently with her husband, pianist and harpsichordist, Leonard Kim.
This afternoon's performance marks Mary Ellen Morris-Kim's UMS debut.
Fred Ormand has played with the Chicago, Cleveland, and Detroit symphony orchestras and has performed as a soloist with orchestras in the US, China, and Europe. He founded and has toured extensively with the Interlochen Arts Quintet and the Dusha Quartet. Formerly a faculty member at several leading American universities, he was also a visiting professor at the Shanghai Conservatory. In 1995, he gave master classes in England, Denmark, and Sweden. Since 1988, he has been a member of the summer faculty at the Music Academy of the West. From 1990 to 1992 Mr. Ormand served as president of the International Clarinet Association and is often invited to perform at the international conferences of this group. In recent years he has published editions of the music for winds of Amilcare Ponchielli. In 1996 he released a compact disc on Danacord Records titled Convegno, a pre?miere recording of Ponchielli's solo works for winds.
This afternoon's performance marks Fred Ormand's 14th appearance under UMS auspices.
Since coming to international attention at the Aldeburgh Festival in England where she was cast as Fiordiligi in Mozart's Cost fan tutte by Sir Peter Pears, Carmen Pelton has appeared in a wide range of works with the San Francisco Symphony, Baltimore Symphony, St. Paul Chamber Orchestra, Scottish Opera, Goodman Theater in Chicago, the Smithsonian's 20th-century Consort, the New York Festival of Song, and a performance for the President of the United States at the televised Kennedy Center Honors Program. Ms. Pelton is featured in the recently released Grammy-winning ("Best Classical Album," "Best Choral Album") Telarc recording of Barber's Prayers of Kierkegaard and Vaughan-Williams's Dona Nobis Pacem with the Atlanta Symphony and Robert Shaw; she can also be heard on numerous recordings of contemporary chamber works on the CR1 and ASV labels. Her per?formances this season included the premiere of Justice, an opera by Roger Reynolds commissioned by the Library of Congress, debuts with Houston Symphony, the Boulder Bach Festival and concerts with violinist Sergio Luca's chamber group Context. Her performance of Poulenc's Gloria with the Choral Arts Society of Washington was nationally broadcast on NPR. Ms. Pelton received her educa?tion at the University of Wisconsin at Madison and at the Eastman School of Music, where she was a student of Jan DeGaetani. In the summer months she has been a faculty member and performing artist at the Aspen and Brevard Music Festivals.
This afternoon's performance marks Carmen Pelton's UMS debut.
Vienna: Lusthaus (revisited)
A New York Theatre Workshop production
Martha Clarke, Concept and Direction Richard Peaslee, Music Charles L. Mee, Text
Robert Israel, Scenic and Costume Design
Paul Gallo, Lighting Design
Jill Jaffe, Musical Direction
Jennifer Rae Moore, Production Stage Management
Greg Tito, Assistant Stage Management
Friday Evening, February 7 at 8:00 Saturday Evening, February 8 at 8:00 Power Center Ann Arbor
Vienna: Lusthaus (revisited) will be performed without an intermission.
49th and
50th Performances
of the 124th Season
Third Annual International Theater Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Funded in part by the National Dance Project of the New England Foundation for the Arts, with lead funding from National Endowment for the Arts and Doris Duke Charitable Foundation. Additional funding provided by The Andrew W. Mellon Foundation, and Philip Morris Companies, Inc.
Additional support provided by Michigan Radio and Metro Times.
Special thanks to the UM Institute for Research on Women and Gender, UM Women Studies Program, UM Residential College, UM Museum of Art, UM Department of Dance, and the Eastern Michigan University Dance Department for their involvement in this residency.
Momchil Mladenov appears with the permission of the Actors' Equity Association.
Vienna: Lusthaus (revisited) is produced in association with True Love Productions, Inc. and Spring Lake Productions, Inc.
Vienna: Lusthaus (revisited) was originally produced in 1986 by Music-Theatre Group.
Large print programs are available upon request.
Jenny Bacon Erica Berg Rob Besserer Elzbieta Czyzewska Edmund C. Davys George de la Pena Richmond Hoxie Gabrielle Malone Momchil Mladenov Paola Styron Julia Wilkins
Jill Jaffe, Violin Daniel Barrett, Cello Steven Silverstein, Woodwinds William de Vos, French Horn Margery Fitts, Harp
Author's Note
Vienna: Lusthaus (revisited),
like a dream, explores the unconscious
world of Vienna
at the beginning of the twentieth century -in music and movement and texts -fragments of a lost, shattered world, taken from the paintings of Egon Schiele
and Gustav Klimt,
from the casebooks of Sigmund Freud, from the dreams of his patients, from letters and journals and diaries: the unconscious world from which our
tormented, waking world springs eternally.
Martha Clarke wishes to dedicate this production to George Clarke, Lyn Austin, and Inge Morath.
A Note on the Text: This piece was composed with the dramaturgical collaboration of Tom Damrauer. Some of the texts for the piece were taken from, or inspired by, Peter Altenberg, Sigmund Freud, Sander Gilman, Christy Honigman, the letters and diaries of the Imperial family, Richard von Krafft-Ebing, Georg Markus, and Diana Wolkstein.
Musical quotes from J. Strauss, Berg, and Bach.
Order of Scenes
Music Box
Two Girls, Music Box
India Speech
Mother Speech
Horse Grooming
Fountain Speech
Love Duet
Orchard Speech
Girls Nude Duet
MaleFemale Nude Duet
River Speech
J. StraussWaltz
Men's Club
Bench Solo
Boot Solo
House of Cards
Sweet Girls
SkatingWinter Sequence
Natural Selection
Jew's FootBoot Duet
Dead Soldier
Rigor Mortis
Ending Tableau
The first Vienna: Lusthaus, directed by Martha Clarke, played at the Public Theater in New York; the Kennedy Center in Washington; and in Venice, Vienna, Paris, and a number of other cities in Europe. It won the Obie for "Best Play" for 1986. Consisting of 32 scenes, approximately half of them word?less, this dancetheater work creates a dream-scape of movement, monologues, and music that evokes the decadence and despair of turn-of-the-century Vienna. Approximately one-third of the show has been reworked, thus earning the addition of the word "revisited" to the original title. The work takes place in a pre-Hitler world filled with lush eroticism, decadence, and neurosis, a setting that prompted New York Times critic Frank Rich to suggest that Clarke had "tapped into everyone's wildest dreams."
Clarke's work has often been inspired by the visual arts. In 1984, she staged a work drawn from Heironymus Bosch's famously grotesque yet whimsical triptych, "The Garden of Earthly Delights." The visual inspiration for Vienna: Lusthaus comes from the paintings of Viennese artists Gustav Klimt and Egon Schiele, whose works evoke the decadence of fin de siecle Europe. Many scenes have visual "quotations" from the painters' works. Clarke's treatment of the nude figure echoes the confrontational sexuality in Schiele's portraits and the tor?mented spirits in many of Klimt's paintings, who seem haunted rather than fulfilled by sexuality.
The 1986 breakthrough of the original production of Vienna: Lusthaus helped to launch playwright Charles Mee's career. It was one of his first major works for the the?ater, and it established his unapologetic method of cultural appropriation, which he has taken to highly successful levels in his subsequent works. Some of the texts for Vienna: Lusthaus are taken verbatim from writers of the period, among them Sigmund
Freud and Richard von Krafft-Ebing, while others consist of Mee's adaptations of texts in combination with his own original words. Mee is inspired by the collage tech?nique of Robert Rauschenberg (who is the subject of one of his plays, bobrauschen-bergamerica) and considers the texts, which he openly refers to as "stolen," as his version of the found object. Mee says:
I like plays that are not too neat, too finished, too presentable. My plays are broken, jagged, filled with sharp edges, filled with things that take sudden turns, careen into each other, smash up, veer off in sickening turns. That feels good to me. It feels like my life. It feels like the world.
Vienna: Lusthaus (revisited) exhibits a fascination with dressing and undressing, revealing, exposing, and hiding on both a physical and emotional level. The prevalent themes of love and death are reflected in the costumes -women in underwear, dressed for love, and men in soldiers' uniforms, dressed for death. Clarke says:
I often bring the clothing of the period on the first day of rehearsal. It affects the physicality of the work... Every ele?ment in my work is interdependent: you can't take the dance steps away from the way you move in the cloth; and you can't take the light away from the fade of a phrase of music. I see it as a kind of architecture in which these pieces are brought together.
In one movement-dominated scene, a man carries a woman on the stage as though she were a piece of luggage or an oversized doll. Though he fondles her, she is utterly unresponsive to him. There is abundant emphasis in this piece on the modern devel?opment of the alienated individual, who is self-absorbed and unaware of the surround?ing world. The actors employ a proclama?tion style of monologue delivery, and the other performers ignore the speakers when
they talk. Often the speaker in a scene remains perfectly still while others circulate around the stage. The incredibly versatile performers share physical stage space with each other, but even when engaged in acts of startling eroticism and intimacy, they are trapped by their psychic isolation. In one scene, a man and a woman repeat the same speech, though they do so slightly out of sync. The speech has erotic references that take on a different meaning when spoken by the man or woman. The echoing of the words, combined with the total lack of con?sciousness of the other speaker, creates a disturbing, lonely tableau.
While the piece quotes from the expected cultural sources, Clarke and Mee also take pleasure in deconstructing the more overt markers of the period. In one scene, an actress disrobes as she describes her eccentric aunt whose obsessions with her body required veal face masks and baths of warm oil. The delicate harp music throughout this scene makes it seem charmingly eccentric, until the actress snaps at the harpist to "stop that"; it is as though she knows that harp music makes it all too quaint. The same actress later chants a litany of the luxury items of the period that she despises:
I don't like Johann Strauss. I don't like tropical flowers. I don't like mother of pearl. I don't like ivory tortoise shell. I don't like green silk. I don't like Venetian glass. I don't like to have my initials
embroidered on the edge of my
This focus on the minutiae of life at the dawn of a new century is balanced by the incipient sense of doom, with the prospect of world wars looming on the horizon. Clarke and Mee punctuate many scenes with military marching, including a comic pair of soldiers who continue to march like automatons even when lying on their backs.
The more somber side of military culture ends the work with the questions of a dying soldier. He lies still on the stage, asking questions of an impassive bystander about the decomposition of his own body. The soldier asks, "What colors does a body pass through after death" He is answered with a disturbingly dispassionate description: "Light pink, red, light blue, dark blue, purple-red." This last scene takes place in a gentle snowfall that provides a quiet chill of finality to the images of decadence and despair, which continue to haunt the audience well beyond the stretch of the work.
Program note by Kate Remen-Wait. Excerpted from Speaking of Dance, a UMS 200203 publication.
Jenny Bacon has worked with NYTW on More Stately Mansions, A Streetcar Named Desire and The Most Fabulous Story Ever Told. Off-Broadway work includes Race (CSC) and The Arabian Nights (MTC). Regional work includes Phedre and Mary Stewart (with Jo Anne Akalaitis Court Theatre); The Glass Menagerie (Williamstown); Hedda Gabler (Long Wharf); Molly Sweeney (Steppenwolf); Dancing At Lughnasa (Arena Stage); A Doll's House (Seattle Rep) and God of Vengeance (Williamstown Playhouse). TV credits include Law & Order, Law 6Order: SVU, Law & Order: Criminal Intent, and When I Grow Up.
Erica Berg has worked with NYTW on A Girl Joan (as Joan of Arc, JAW Festival, originally commissioned by Dance Theater Workshop). She appeared on Broadway in Do Jump! (New Victory). Off-Broadway work includes Artemisia Gentileschi in Lapis Blue, Blood Red; The Lion, the Witch and the Wardrobe (Lincoln Center Institute) and Hold the Line (Symphony Space). Regional theater includes Hans Christian Andersen (ACT).
Rob Besserer's dance work includes Baryshnikov's White Oak Dance Project 1990-1997; Mark Morris Dance Group 1982-present and Lar Lubovitch Dance Company 1974-1986. Theater work includes Robert Wilson's Civil Wars, James Lapine's A Winter's Tale (Public Theater) and four collaborations with Martha Clarke. Film and TV work includes Small Time Crooks, Cremaster HI and The Hard Nut. He received a 1989 Obie for performance (The Hunger Artist).
Elzbieta Czyzewska appeared in Broadway's Big Potato (Jewish Rep at the Duke). Off-Broadway work includes Cleveland (BACA); Strange Feet (En Garde Arts); Cellphoane (BACA); Lesser Magoo and Crowbar (Obie Award, En Garde Arts). Regional work includes When We Dead Awaken (ART); Pentecost, The Father, Ivanov and The Possessed (Yale Rep). Broadway tours include Travesties and work in Poland includes Six Degrees of Separation (Teatr Dramatycznye, Warsaw). Film credits include Music Box, Running on Empty, Manuscript Found in Saragossa, Everything for Sale and Halloween.
Edmund C. Davys's Broadway work includes An Ideal Husband, St. Joan, The Show-Off, A Small Family Business, Shadowlands, Crucifer of Blood and Othello. Regional work includes The Invention of Love, Travesties (Wilma); The Real Thing (Court Theatre); Camelot (Barter Theatre); As You Like It (Long Wharf); Dividing the Estate, Sarcophagus (McCarter Theatre); and Frankenstein (American Stage Festival).
George de la Pena's theater work includes Chronicle of o Death Foretold (LCT); Woman of the Year, On Your Toes; The Red Shoes and Vers La Flamme. Film and TV credits include Nijinsky, Kujfs, Brain Donors, Without a Word, LA Law, Murder, She Wrote, Popeye Doyle, and The Flamingo Kid.
Richmond Hoxie appeared in Broadway's I'm Not Rappaport. Off-Broadway work includes The Dining Room (Playwrights Horizons); Louis Slotin Sonata (EST) and To Gillian on Her 37th Birthday (Circle in the Square). Regional work includes You Never Can Tell (Yale Rep); The Wilder Plays (Center Stage) and Light Up the Sky (La Jolla Playhouse). Film and TV work includes JFK, For Love or Money, Dummie, LA Law, Law & Order, China Beach, Christine Cromwell, and Cosby.
Gabrielle Malone's work in New York includes Twyla Tharp, Irene Houltman, Stephen Petronio. In Miami, she danced with Mary Street Dance Theatre and Houlihan & Dancers.
Momchil Mladenov has danced with Suzanne Farrell Ballet (soloist) and the Bulgarian National Ballet (principal). His repertoire includes Giselle, Romeo and Juliet, Cinderella, Don Quixote and 451 Fahrenheit. Dance-theater works include Nobokov's Spring in Fialta (Ferdinand). He trained at the National High School of Ballet in Sofia, Bulgaria (Vaganova Method) and holds a BA from the National Academy of Music in Sofia, Bulgaria. Honorsawards include 1998 Laureate of "Arabesque" Competition and Prize for Best Dancer (Sleeping Beauty Perm, Russia); 1995 Laureate of Masaco Ohya World Ballet Competition, Osaka, Japan and the 1993 Prize for Best Partner National Ballet Competition, Dobritsch, Bulgaria.
Paola Styron's Off-Broadway work includes The Garden of Earthly Delights; Vienna: Lusthaus (1986 production); The Hunger Artist, Miracolo D'amore; Vers La Flamme (and national and international tours of above) and Carnival Knowledge (The Flea). Regional work includes Hans Christian Andersen (ACT). Opera work includes Marco Polo and Orfeo (NYC Opera).
Julia Wilkins's work includes Orfeo ed Euridice (New York City Opera, Martha Clarke, director); Gus Solomons Jr.'s Red Squals (Lincoln Center Out of Doors); Vision Festival 2001 (live dance and music collaboration) and the third season with DanielandSomeSuperFriends performing at Diane Von Furstenberg's The Studio. She creates her own multi-dimensional-installa?tion-dance-works for film and video and is the Dance Facilitator and Creative Organizer for Kindredom.
Jill Jaffe, Musical Director, has composed music for Pericles and Marisol (NYSF); Missing Persons (Atlantic Theatre); Triumph of Love (CSC); Slavs! (La Jolla Playhouse, Mark Taper Forum); Caucasian Chalk Circle, Mississippi Nude (BTF); Legacy (MTG) and Good Person ofSzechuan (Yale). She has been a violinist and music director for over fifty productions on and off Broadway and a violist for Encores!, the Orchestra of St. Luke's and the NYC Ballet. An avid chamber musi?cian, Jill is one of New York's most highly regarded recording and concert artists; she has played with artists from Aretha Franklin to John Zorn, Tony Bennett, Leonard Bernstein, Barbara Streisand, and Paul Simon.
Daniel Barrett's (Cello) soloed at the Radio France and Gulberkian (Lisbon) Festivals and with Alvin Ailey and WQXR. He recorded Alvin Brahm's Variations for Cello Alone, Xenakis's Epicycle with STX Ensemble, Xenakis's N'Shima and Cherish the Ladies' Threads of Time for obligato cello (RCA). He conducted the NY Bach Ensemble, Ethos Ensemble, Kostabi series, and The Dead on Broadway.
Steven Silverstein (Woodwinds) played in Broadway's Twelfth Night. Off-Broadway work includes The Garden of Earthly Delights, Atlas, Suspicious Counterpoint, Akin and Heart of the Earth. Recordings include The Bremen Town Musicians, A Bean for Pythagoras, The Passover Story, Transformations and Canyon Consort. Film scores include Arrow to the Sun, Seige and A Rumor of War.
William de Vos (French Horn) has played in Broadway's The Phantom of the Opera and La Boheme. He has also played with the Queensland Philharmonic, Queensland Symphony and Queensland Pops and appears on the TV soundtrack for The Lost World. He holds a Diploma of Music, Bachelor of Music (Queensland Conservatorium of Music, Australia) and Masters of Music (SUNY Purchase College, NY) and is a Visiting Lecturer in Horn (SUNY Purchase College, NY).
Margery Fitts (Harp) has played with the Long Island Philharmonic, New Haven Symphony, Brooklyn Philharmonic, Queens Symphony and New York Harp Ensemble (world tours including Vatican City and White House). She was a sub on Broadway for A Christmas Carol, Beauty and the Beast, State Fair and Thoroughly Modern Millie.
Director and conceptualist Martha Clarke's
theatrical work includes The Garden of Earthly Delights, Miracolo D'amore, Alice's Adventures Underground (Royal National Theatre, London), An Uncertain Hour (Co-Commissioned by Nederlands Dans Theater 3, Lincoln Center and the American Dance Festival) and Vers La Flamme (Co-Commissioned by Lincoln Center, American Dance Festival and Tilles Center). Operatic work includes The Magic Flute (Glimmerglass Opera, Canadian Opera Company), Cost Fan Tutte (Glimmerglass Opera), Marco Polo
(Munich Biennale, Hong Kong Festival, New York City Opera) and Orpheus and Euridice (English National Opera, New York City Opera). Her
choreography has been performed by Nederlands Dans Theater, the Joffrey Ballet, American Ballet Theatre, and Rambert Dance Company. She is the recipient of a MacArthur Award and grants from the NEA and the Guggenheim Foundation.
Richard Peaslee's music has appeared in Martha ClarkeMusic Theatre-Group's The Garden of Earthly Delights, The Hunger Artist, Miracolo D'amore (NYSF); Peter BrookRoyal Shakespeare Company's Marat Sade, A Midsummer Night's Dream, Us, Oedipus; Sir Peter Hall and the Royal National Theatre's Animal Farm and Joe Chaikin and the Open Theatre's The Serpent, A Fable. Dance work includes David Parsons's Ring Around the Rosie, Touch (New York City Ballet), and Elisa Monte's Feu Follet. Operatic work includes Sir Gawain and the Green Knight with Kenneth Cavander. His jazz works have been performed by William Russo, Stan Kenton Orchestras and soloist Gerry Mulligan. His concert works have been performed by the Philadelphia, Detroit, Milwaukee, and Buffalo Symphonies and the US Army Band. He has written televi?sion scores for The Power of Myth (Emmy Nominated), Blown Sideways Through Life and Wild, Wild World Of Animals. He is the recipient of Obie, Villager and the National Academy and Institute of Arts and Letters awards.
Charles L. Mee's play First Love opened the 200102 season at the New York Theatre Workshop. True Love played in the winter of 2001 at the Zipper Theatre. Big Love per?formed at the Long Wharf in New Haven, Berkeley Rep, and the Goodman in Chicago and played in the Next Wave Festival at Brooklyn Academy of Music in December 2001. Among his other plays are Bobrauschenbergamerica, which opened in the spring of 2001 at the Humana Festival and played at the Actors Theatre of Louisville, and Limonade Tous Les Jours, which opened in the spring of 2002 at the Humana Festival. Wintertime opened at La Jolla in August. His complete works are available online at His work is made pos?sible by the support of Richard B. Fisher and Jeanne Donovan Fisher.
Scenic and costume designer Robert Israel's work on Vienna: Lusthaus earned an America Theatre Wing Joseph Maharam Foundation Award in the category of collaborative design. His other work with Martha Clarke includes The Hunger Artist (Obie Award), Miracolo D'Amore, Endangered Species, The Magic Flute, Cosi Fan Tutte and Alice's Adventures Underground. He worked with composer Philip Glass, creating sets and costumes for the premieres of four of his operas and Akhnaten (he also collaborated on the libret?to). His operatic work includes Janacek's Jenufa; the Metropolitan Opera (Beethoven's Fidelio, Berg's Wozzeck, Jana?ek's Katja Kabanova and Glass's The Voyage); Seattle Opera (Wagner's Ring Cycle and Parsifal) and the opera houses of Los Angeles, Amsterdam, Geneva, Munich, Brussels and Florence. He is a professor in the School of Arts and Architecture at the University of California Los Angeles.
Paul Gallo, Lighting Designer, has worked on the Broadway musicals Man Of La Mancha (2002 Revival), 42nd Street (2001 Revival, Tony Award Nomination), The Rocky Horror Show, The Civil War, On The Town, Titanic, Smokey Joe's Cafe, The Sound of Music, Triumph of Love, A Funny Thing Happened on the Way to the Forum, Big, Crazy for You, Guys & Dolls, City of Angels, Anything Goes, Smile, Drood, and Tintypes. He has also designed Broadway plays The Crucible, 45 Seconds from Broadway, The Man Who Came to Dinner (Roundabout Theatre revival), Epic Proportions, Skylight, The Tempest, Six Degrees of Separation, Lend Me a Tenor, Spoils of War, I Hate Hamlet, The House of Blue Leaves, Beyond Therapy, Grown Ups and The Little Foxes. Off-Broadway work includes The Mystery of Irma Vep, Blade to the Heat, Assassins, The Garden of Earthly Delights and The Foreigner. He was earned six Tony Award nominations; five Drama Desk nominations, winning one; five Outer Critics Circle Awards; two Obie Awards and the 1986 Obie for Sustained Excellence of Lighting Design.
Jennifer Rae Moore, Production Stage Manager, has worked with NYTW on Everything That Rises Must Converge, Nocturne and Emma Goldman. Off-Broadway work includes The General from America (TFANA); Lobby Hero (Houseman); Book of Liz (Drama Dept.); Fuddy Meers (MTC Minetta Lane); How I Learned to Drive (Century CenterVineyard); Left, Largo, Strange Grace, Good Thing (NYSAF); Red Devil Battery Sign, Wonderful Time and Jeffrey (WPA). Regional includes Stone Cold Dead Serious and Nocturne (American Repertory Theatre).
Greg Tito, Assistant Stage Manager, has worked with NYTW on HomebodyKabul and Nocturne. Broadway work includes The Bitter Tears ofPetra Von Kant (Henry Miller Theater). Off-Broadway work includes The General from America (Lucille Lortel Theatre); Unwrap Your Candy (Vineyard Theatre); Other People (Playwrights Horizons) and Avow (Century Center). Regional work includes Quills, Mere Mortals (Mobius Theater, CT) and King Lear (Connecticut Repertory Theater). Film work includes This Place, Work.
The New York Theatre Workshop (NYTW),
currently under the leadership of Artistic Director James C. Nicola and Managing Director Lynn Moffat, was founded in 1979 by Stephen Graham. NYTW produces chal?lenging and unpredictable new theatre that fosters the creative work of artists. The Usual Suspects, NYTW's community of playwrights, directors, designers and actors explore perspectives on our collective history and respond to the events and institutions that shape our lives. In addition to producing, NYTW supports artists in all stages of their careers by maintaining a series of programs including readings, summer residencies and minority artist fellowships. Plays developed at the Workshop include Jonathan Larson's Rent, Claudia Shear's Blown Sideways Through Life and Dirty Blonde; Quills by Doug Wright; Tony Kushner's Homebody Kabul and Slavs!; John Guare's Lydie Breeze, Parts One and Two. Caryl Churchill has long been associated with the Workshop and in 1996 NYTW began working with interna?tionally renowned director Ivo van Hove. In 1991 NYTW received an Obie Award for Sustained Achievement and in 2000 was designated to be part of the Leading National Theatres Program by the Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation. For more information visit their web site at
Funded in part by the National Dance Project of the New England Foundation for the Arts.
The support and encouragement of Susana Meyer has made Vienna: Lusthaus (revisited) possible.
Additional support provided by the National Endowment for the Arts, New England Foundation for the Arts, the Irene Diamond Fund, Mr. and Mrs. Sidney Biddle, and Geoffrey Beene.
The actors and stage managers employed in this pro?duction are members of Actors' Equity Association, the union of professional actors and stage managers in the
The director is a member of the Society of Stage Directors and Choreographers (SSD&C), an indepen?dent labor union.
The musicians are members of the Associated Musicians of Greater New York, Local 802 of the American Federation of Musicians.
NYTW Board of Directors
Barbara Warner Howard, Chair; Wayne S. Kabak, President; Stephen Morris, Treasurer; Barbara Cutler, Secretary; Stephen Graham, Founding Trustee; Jane Brite; Julie Denny; Jodi Edmonds; Ellen Fleysher; Allan S. Gordon; Christopher Gould; Fanni V. Green; Janet Harckham; Steven Jacobson; Lynn Moffat; James C. Nicola; Rod Pleasants; Steven B. Rosenfeld; William J. Ruane; Dennis D. Swanson; Doug Wright.
The Actors Equity Association (AEA), founded in 1913, was the first of the American Actors' unions and now represents more than 45,000 actors, singers, dancers and stage managers nationally. Equity members are dedicated theatre professionals who uphold the highest artistic standards. Historically AEA has stood at the forefront of many issues, including civil rights (from the historic 1947 boycott of the then-segregated National Theatre in Washington, DC to the 1986 founding of the Non-Traditional Casting Project); preservation of historic theatres (it initiated the land-marking of all of the Broadway theatres); national, state and local funding for the arts (AEA helped to create the National Endowment for the Arts (NEA)); and arts lobbying to advance, foster and benefit all those con?nected with the art of theatre. A member of the AFL-CIO, AEA is affiliated with the Federated International Artists (F1A, an international organization of performing arts unions). For more information, visit AEA's website at
Tour Personnel
Robert Marlin, Company Manager
John Viesta, Lighting Director
John J. Anselmo, Jr., Production Electrician
George de la Pena, Dance Captain
J. Brittain Adams, Technical Director
Hallie Meltzer, Wardrobe Supervisor
Anthony Augliera, Inc., Freight Transport
New York Theatre Workshop
Larry K. Ash, Production Manager
Ann B. Gellert, Associate Production Manager
Mark Vanderhoek, Technical Director
Joan Marcus, Press Photography
Miller, Canfield, Paddock & Stone, P.LC.
Ying Quartet
Timothy Ying, Violin Janet Ying, Violin Phillip Ying, Viola David Ying, Cello
Franz Joseph Haydn
Tan Dun
Bright Sheng
Chen Yi
Antonin Dvofdk
Sunday Afternoon, February 9 at 4:00 Rackham Auditorium Ann Arbor
Quartet in B-flat Major, Op. 76, No. 4
Allegro con spirito
Menuetto: Allegro
Finale: Allegro, ma non troppo
Eight Colors for String Quartet (excerpts) Drum and Gong Cloudiness Red Sona
String Quartet No. 4, "Silent Temple" (excerpts) III
Shuo for String Quartet INTERMISSION
Quartet in C Major, Op. 61
Poco adagio e molto cantabile
Scherzo: Allegro vivo; Trio: L'istesso tempo
Finale: Vivace
51st Performance of the 124th Season
40th Annual Chamber Arts Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by Miller, Canfield, Paddock & Stone, P.L.C. Additional support provided by media sponsor WGTE 91.3 FM.
Special thanks to Andrew Jennings, Bright Sheng, and the UM School of Music Instrumental Studies Division for their involvement in this residency.
The Ying Quartet appears by arrangement with Melvin Kaplan, Inc.
Large print programs are available upon request.
String Quartet in B-flat Major, Op. 76, No. 4
Franz Joseph Haydn
Born March 31, 1732 in Rohrau, Austria
Died May 31, 1809 in Vienna
In the view of many, Op. 76, No. 4 is the finest among Haydn's 83 quartets. Rarely, if ever, did he equal its luminous spirituality and depth of feeling. Perhaps Haydn intend?ed this quartet, with its prominent viola part, for his own use, since he was also an avid quartet violist.
The nickname, "Sunrise," widely accept?ed in the US and England but seldom used elsewhere, comes from the very opening of the quartet, where the first violin traces a loving curve of ascent above a soft sustained chord, much as the sun gloriously rises to bathe the earth in its radiance. There are two more motifs in the first group: one stated by the viola amidst long held notes in the violins and cello; the other, a repeated rhythmic figure combined with running six?teenth-note passages. The second subject starts with the cello playing what is essentially a mirror image descending instead of ascending of the first subject opening. It continues with an outgrowth of the first subject's last motif. The concluding theme of the exposition is a witty interplay of notes on and off the beat. Although the remainder of the movement can be divided into the customary development, recapitula?tion, and coda, Haydn creates such a strong feeling of inner cohesion that the overall musical effect is one of sustained, unified flow.
The second movement is one of the slowest and most morose of all Haydn adagios. Not conforming to any standard structural organization, it is best described as a free fantasia on the opening five-note motif. Uniformly soft, with only occasional
accents, the movement provides little solace and ends in bleak despair.
After two such strong movements, the unsophisticated peasant charm of the "Menuetto" offers a welcome respite. With great rhythmic verve, Haydn builds this entire section on the opening motif. The trio that comes in the middle apparently also has its origin in folk music, but the out?look is not nearly so sunny and cheerful. Over a sustained drone in the viola and cello, the violins play the rather oppressive melody with its heavy accents. The "Menuetto" returns at the end of the trio.
The "Finale" is written in the carefree style of Haydn's earlier quartets. The melody is believed to be an adaptation of an English folk song, perhaps one he heard on his trip to London. Organized in three-part form, the middle section is in minor, but with no lessening of its overriding vivacity. To heighten the movement's exhilaration and good humor, Haydn marks the coda (which is a technical minefield for the players) Piii allegro, or "faster," and then Piu presto, "faster yet," for a thrilling conclusion.
Program note by Melvin Berger.
Eight Colors for String Quartet
Tan Dun
Born August 18, 1957 in Simao, Hunan Province, China
Eight Colors for String Quartet was the first piece I wrote after coming to New York in 1986. It shares the dark, ritualized singing, very dramatic form, and attention to tone color and dynamics with pieces written in China, such as On Taoism (for orchestra, voice, bass clarinet and contrabassoon), but still is very different from them. This string
quartet (together with In Distance and Silk Road) marks the period of my first contact with the concentrated, lyrical language of western atonality. From it, I learned how to handle repetition, but otherwise responded in my own way, out of my own culture, not following the Second Viennese School. I drew on Chinese colors, on the techniques of Peking Opera familiar to me since childhood. The work consists of eight very short sections, almost like a set of brush paintings, through which materials are shared and developed. The subjects are described by the eight interrelated titles, and form a drama, a kind of ritual performance structure. Not only timbre, but the actual string techniques are developed from Peking Opera; the vocalization of Opera actresses and Buddhist chanting can be heard. Although a shadow of atonal pitch organi?zation remains in some sections of this piece, I began to find a way to mingle old materials from my culture with the new, to contribute something to the western idea of atonality, and to refresh it. I found a danger in later atonal writing to be that it is too easy to leave yourself out of the music. I wanted to find ways to remain open to my culture, and to open myself.
Program note by Tan Dun.
String Quartet No. 4, "Silent Temple"
Bright Sheng
Born Decembers, 1955 in Shanghai, China
In the early 1970s, I visited an abandoned Buddhist temple in northwest China. As all religious activities were completely forbid?den at the time of the Cultural Revolution (1966-1976), the temple, renowned among the Buddhist community all over the world,
was unattended and on the brim of turning into a ruin.
The most striking and powerful memory I had from the visit was that, in spite of the appalling condition of the temple, it was still a grandiose and magnificent structure. And the fact it was located in the snowy moun?tainous ranges added to its dignity and glory. Standing in the middle of the courtyard I could almost hear the praying and the chanting of the monks, as well as the violence committed to the temple and the monks by the "Red Guards."
To this day, the memories of the visit remain vivid. And I use them almost ran?domly as the basic images of the composi?tion. As a result, the work has four short and seemingly unrelated ideas, which are performed without pause.
String Quartet No. 4, "Silent Temple," was jointly commissioned for the Shanghai Quartet by Freer and Shackler Galleries of the Smithsonian Institution and the University of Richmond, Virginia. It is dedicated to the Shanghai Quartet.
Program note by Bright Sheng.
Shuo for String Quartet
Chen Yi
Born April 4, 1953 in Guangzhou, China
I express my feelings through my music, which combines Chinese and Western musi?cal materials and media. The inspirations and ideas behind the pieces are mostly Chinese. But the instrumentations of the pieces usually come from the musicians in America who commission them.
Shuo is written for string orchestra or string quartet. The word Shuo in Chinese means "initiate." It represents the first day of every month in the lunar calendar. In my
piece Shuo, I applied initial materials taken from Chinese folk music in terms of tunes and mountain song-singing gestures and developed them for string instruments. The pentatonic lines are woven vividly in different layers to paint a delicate oriental landscape.
Based on the first movement of my 1982 string quartet, the work was commis?sioned by the San Jose Orchestra (directed by Barbara Day Turner), for the opening concert of its 199495 season, and is dedicated to Professor Wu Zu-Qiang, my composition teacher at the Central Conservatory of Music in Beijing, who brought me into the profes?sional composition field and guided me to find my own voice in new music creation.
Program note by Chen Yi.
Quartet in C Major, Op. 61
Antonin Dvorak
Born September 8, 1841 in Miihlhausen,
Czech Republic Died May 1, 1904 in Prague
Antonin Dvorak possessed a natural affinity for chamber music. As a youngster, he was given instruction in violin and encouraged to play in local churches and the village band. In 1857, he began the traditional course of studies in church music at the Prague Organ School. At the time of his graduation, with a second prize, Dvorak had gained proficiency as a violist and employ?ment in small restaurant bands and theater orchestras. Dvorak never studied composi?tion at the Organ School; being self-taught in this regard he once said: "I study with the birds, flowers, God, and myself." Like several composers, such as his English counterpart Edward Elgar (who once played in a band at a lunatic asylum), he mastered the endless complexities of orchestration and acquired useful knowledge of musical works for the
stage through his practical experiences as an ensemble instrumentalist.
During the 1860s, Dvorak served as principal violist in the Provisional Theatre Orchestra of Prague, where he discovered the works of Wagner and Smetana. His ear?liest compositions, which began to appear in the early 1860s, include two symphonies, a cello concerto, and two chamber pieces for strings. Between 1862 and 1895 Dvorak completed 15 works for string quartet, including a collection of short pieces called Cypresses after poems by Gustav Pfleger-Moravsky. The most popular of these works were written late in the composer's career, such as Op. 96, inspired by a vacation in the Czech settlement in Spillville, Iowa, and Op. 105-6, completed in Czechoslovakia.
In the quartets of the 1870s, and in works like the Symphony No. 5 in F Major and the famous Serenade in E Major, Dvorak defined and mastered the essential elements of his nationalistic musical style. Through the efforts of Johannes Brahms and Eduard Hanslick, his music found large audiences in music centers throughout the world. In addition to the well-known works inspired by Slavonic elements, such as the Quartet, Op. 51, the Slavonic Dances, Op. 46 and Rhapsodies, Op. 45, his compositional activities expanded to include opera and choral music.
In the midst of his work for the opera Dimitrij in autumn, 1881, Dvorak produced the Quartet in C Major, Op. 61 for the Kapellmeister Joseph Hellmesberger, Sr. On November 5 he wrote to his friend Gobel:
When are you coming For I am already becoming impatient. I am very busy. I had to postpone work on the opera. I read in the newspaper that on December 15th, Hellmesberger will play my new quartet, which still doesn't exist! What could 1 do but leave the opera and write the quartet. I already have three movements prepared and
am working on the Finale. I must also orchestrate the Legends. As you see I am very busy...
Although the work was complete by November 10, it was not performed until one year later by the Joachim Quartet in Berlin.
Work on the Quartet in C Major, Op. 61 began with a movement in F Major writ?ten in early October, 1881. However, this piece was rejected, and Dvorak began anew on October 25. The final score, written in anticipation of a sophisticated Viennese audience, is one of the composer's best efforts. To avoid criticism, the fresh folk-like melodies and Czech dance rhythms, which lie at the heart of Dvorak's style, are used sparingly in the trio of the "Scherzo" and in the "Finale." The "Poco adagio" originated as part of an earlier sonata for violin and con?tains only a few changes of harmony and texture, such as the flowing accompaniment of triplets in the viola and cello line made from a simple progression of chords. The first and last movements are based on con?ventional sonata-allegro and sonata-rondo forms, respectively. The former demon?strates the composer's imaginative use of tonality, with a bold foray into the unusual region of E-flat Major, and the latter verifies his incomparable gift for concocting melodies and rhythms of irresistible charm and gaiety.
Program note by Michael Keely.
ow in its second decade, the Ying Quartet continues to develop ways of making artistic and cre?ative expression an essential part of everyday life. Their current projects in this direction include an innova?tive visiting residency at Symphony Space in New York City, linking music with poetry; a ?project with Da Camera of Houston to bring chamber music into the lives of Houston's working people and an explo?ration, on tour, with the Turtle Island String Quartet of jazz, improvisation and the clas?sical string quartet tradition.
Natives of Chicago, the Ying siblings began their career as an ensemble in 1992 in the farm town of Jesup, Iowa (population 2000) as the first recipients of a National Endowment for the Arts grant to support chamber music in rural America. The Quartet participated in the community, performing on countless occasions for audi?ences of six to 600 people in a residency so successful that it was widely chronicled in both the national and international media, including features in the New York Times, STRAD Magazine and on CBS Sunday Morning.
While the Quartet was in Jesup, its exceptional musical qualities earned it the 1993 Naumburg Chamber Music Award. In the years since, the Yings have established an international reputation for excellence in performance with appearances in virtually every major US city; at numerous festivals including Tanglewood, Aspen and San Miguel; and in Europe, Canada, Mexico, Australia, Japan and Taiwan. The Yings's enthusiasm for performing in diverse set?tings has led to concerts in Carnegie Hall, the White House, hospitals and juvenile prisons. Frequent musical collaborations have included such artists as Menahem Pressler, Paul Katz, Gilbert Kalish, Jon Nakamatsu, and the St. Lawrence Quartet.
In 1999, the Quartet introduced LifeMusic, a multi-year commissioning pro?ject supported by the Institute for American Music designed to produce a distinctively American string quartet repertoire. A pair of works each season, by established and emerging composers, is featured in the Yings's diverse performance activities. Participating composers thus far include Michael Torke, Kevin Puts, Carter Pann, Paquito D'Rivera, Daniel Kellogg, Augusta Read Thomas, Bernard Rands, and Ned Rorem.
As Quartet-in-Residence at the East?man School of Music of the University of Rochester, the Ying Quartet plans and directs a rigorous, sequential chamber music cur?riculum that integrates intensive musical instruction with training in creative presen?tation and communication skills and includes practical performance opportunities through?out the greater Rochester community. The
Quartet has also taught at Northwestern University and at the Interlochen and Brevard Music Festivals, and since 2001, has been visiting Resident Quartet at Harvard University.
The Ying Quartet can be found online at
This afternoon's performance marks the Ying Quartet's UMS debut.
Please note that a com?plete listing of all UMS Educational activities will now be conveniently located within the concert program section of your program book. All Education activities are also posted on the UMS website at
'Forest Health Services presents the 124th Annual Choral Union series.
Sweet Honey in the Rock with Toshi Reagon and Big Lovely
Friday, January 10, 8 p.m.
Michigan Theater
Sponsored by Pfizer.
Presented with support from the
National Endowment for the Arts.
Media Sponsors WEMU 89.1 FM and
WDET 101.9 FM.
Bill T. JonesArnie Zane
Dance Company
with the
Chamber Music Society
of Lincoln Center
featuring the
Orion String Quartet
Saturday, January 11,8 p.m. Sunday, January 12, 4 p.m. Power Center
The Saturday performance is sponsored
by Borders.
The Sunday performance is presented
with the generous support of Maurice
and Linda Binkow.
Related educational activities presented
with support from the Whitney Fund.
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 Related educational activities presented with support from the Whitney Fund. Presented with support from the National Endowment for the Arts. This is a Heartland Arts Fund program. Media Sponsor Michigan Radio.
Sekou Sundiata and Band
Monday, January 20, 8 p.m. Michigan Theater Co-presented with the UM Office of Academic Multicultural Initiatives. Related educational activities presented with support from the Whitney Fund. Presented with support from the National Endowment for the Arts. This is a Heartland Arts Fund program. Media Sponsors WEMU 89.1 FM and Metro Times.
Voices of Brazil featuring Ivan Linear Motta, Joao Bosco, and Zelia
Friday, Jarujj&l, 8 p.m.
Sponsr Keybank and McDonald
Invcfctfnts, Inc.
Media Sponsor WEMU 89.1 FM.
Egberto Gismonti
Saturday, February 1, 8 p.m. Michigan Theater Presented with support from JazzNet. Media Sponsor WEMU 89.1 FM.
Michigan Chamber Players
Sunday, February 2, 4 p.m. Rackham Auditorium Complimentary Admission
Martha Clarke
Vienna: Lusthaus (revisited)
Martha Clarke, director and
choreographer Richard Peaslee, music Charles L. Mee, text Friday, February 7, 8 p.m. Saturday, February 8, 8 p.m. Power Center
Funded in part by the National Dance Project of the New England Foundation for the Arts. Media Sponsors Michigan Radio and Metro Times.
Ying Quartet
Sunday, February 9,4 p.m. Rackham Auditorium Sponsored by Miller, Canfield, Paddock and Stone, P.L.C. Media Sponsor WGTE 91.3 FM.
Dave Holland Quintet and New York Big Band
Dave Holland, bass Robin Eubanks, trombone Chris Potter, saxophones Steve Nelson, vibraphone &
Billy Kilson, drums Saturday, February 15, 8 p.m. Michigan Theater Sponsored by TIAA-CREF. Presented with support from the Wallace-Reader's Digest Funds. Additional support is provided by JazzNet.
Media Sponsors WEMU 89.1 FM, WDET 101.9 FM and Metro Times. Presented in conjunction with the 2003 UM Jazz Festival.
Eos Orchestra The Celluloid Copland: Copland's Music for the Movies (performed with original films) Jonathan Sheffer, conductor Sunday, February 16,4 p.m. Michigan Theater Sponsored by the CFI Group. Media Sponsor WGTE 91.3 FM.
Vienna Philharmonic
Nikolaus Harnoncourt, conductor
Thursday, February 27, 8 p.m.
Detroit Opera House
This performance is co-presented with
the University of Michigan.
Media Sponsor WGTE 91.3 FM.
Royal Shakespeare Company Shakespeare's The Merry Wives of Windsor
Rachel Kavanaugh, director Saturday, March 1, 7:30 p.m. Wednesday, March 5, 7:30 p.m. Thursday, March 6, 1:30 p.m. Saturday, March 8, 7:30 p.m. Sunday, March 9, 1:30 p.m. Power Center
The Royal Shakespeare Company resi?dency is presented in association with the University Musical Society and the University of Michigan. Sponsored in part by Ford Motor Company Fund. Sponsored in part by Pfizer. Additional support is provided by The Power Foundation. Related educational activities presented with support from the Whitney Fund. 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 Ford Motor Company Fund. Sponsored in part by Pfizer. Additional support is provided by The Power Foundation. Related educational activities presented with support from the Whitney Fund. Media Sponsor Michigan Radio.
Royal Shakespeare Company Salman Rushdie's Midnights Children
A new dramatization by Salman Rushdie, Simon Reade and
Tim Supple
Wednesday, March 12, 7:30 p.m. Thursday, March 13, 7:30 p.m. Friday, March 14, 7:30 p.m. Saturday, March 15,1:30 p.m.
& 7:30 p.m.
Sunday, March 16, 1:30 p.m. Power Center
The Royal Shakespeare Company resi?dency is presented in association with the University Musical Society and the University of Michigan. Sponsored in part by Ford Motor Company Fund. Sponsored in part by Pfizer. Additional support is provided by The Power Foundation.
Presented with support from the Ford Foundation.
Related educational activities presented with support from the Whitney Fund. Media Sponsor Michigan Radio.
Alban Berg Quartet
Monday, March 3, 8 p.m. Rackham Auditorium Sponsored by Bank of Ann Arbor Media Sponsor WGTE 91.3 FM.
Stuttgart Chamber Orchestra
Dennis Russell Davies, conductor Catherine Malfitano, soprano Alexander Neander and Wolfram von Bodecker, mimes Thursday, March 6, 8 p.m. Michigan Theater Sponsored by DaimlerChrysler Corporation Fund.
This performance is co-presented with the University of Michigan. Media Sponsor WGTE 91.3 FM.
UMS Choral Union
Wind Ensemble of the Greater Lansing Symphony Orchestra Thomas Sheets, conductor Janice Beck, organ Saturday, March 22, 8 p.m. Pease Auditorium
Monday, March 24, 8 p.m. Tuesday, March 25, 8 p.m. Wednesday, March 26, 8 p.m. Michigan Theater Media Sponsor WDET 101.9 FM and Metro Times.
Susan Graham, mezzo-soprano
Malcolm Martineau, piano Friday, March 28, 8 p.m. Lydia Mendelssohn Theatre Sponsored by TIAA-CREF.
Takacs Quartet and Muzsikas Saturday, March 29, 8 p.m. Rackham Auditorium Sponsored by Learning Express-Michigan. Media Sponsor WGTE 91.3 FM.
Featuring Marta Sebestyen Sunday, March 30, 4 p.m. Rackham Auditorium Co-presented with the Office of the Senior Vice Provost for Academic Affairs. Media Sponsor WDET 101.9 FM.
Evening at the Apollo
Friday, April 4, 8 p.m.
Michigan Theater
Saturday, April 5, 8 p.m.
Detroit Opera House
The Friday performance is sponsored
by Bank One.
The Saturday performance is
sponsored by Borders.
These performances are co-presented
with the University of Michigan and
presented in partnership with The Arts
League of Michigan.
Related educational activities presented
with support from the Whitney Fund.
Presented with support from the
National Endowment for the Arts.
Media Sponsors WEMU 89.1 FM and
Metro Times.
Bach Collegium Japan Bach's St. Matthew Passion
Masaaki Suzuki, conductor Wednesday, April 9, 7:30 p.m. St. Francis of Assisi Catholic Church
Matthias Goeme, baritone
Eric Schneider, piano Thursday, April 10, 8 p.m. Lydia Mendelssohn Theatre Sponsored by National City Bank.
Afro-Brazilian Dance Party
Saturday, April 12, 9 p.m. EMU Convocation Center Co-sponsored by Sesi Lincoln Mercury Volvo Mazda.
Presented with support from the National Endowment for the Arts. Media Sponsors WEMU 89.1 FM and Metro Times.
An Evening with Audra McDonald
Audra McDonald and Trio Ted Sperling, music director and piano
Peter Donovan, bass Dave Ratajczak, drums Friday, April 18, 8 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.
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
Considered one of the top performing arts educational programs in the country, UMS strives to illuminate the performing arts through education and community engagement, offering audiences a multitude of opportunities to make connections and deepen their understanding of the arts.
UMS Community Education Program
The following activities enlighten and inform audiences about the artists, art forms, ideas, and cultures presented by UMS. Details about specific 0203 educational activities will be announced closer to each event. For more information about adult education or community events, please visit the website at, email, or call 734.647.6712.
Artist Interviews
These interviews engage the leading art-makers of our time in conversations about their body of work, their upcoming performance, and the process of creating work for the world stage.
Master Classes
Master classes are unique opportunities to see, hear, and feel the creation of an art form. Through participation andor observation, individuals gain insight into the process of art making and training.
Study Clubs
Led by local experts and educators, UMS Study Clubs offer audiences the opportunity to gain deeper understanding of a particular text, artist, or art form. The study clubs are designed to give a greater appreciation of a specific subject matter within the context of the performance.
Essential Primers
This series is designed for seasoned concert-goers as well as new audiences. Each "primer" is designed to build and deepen basic under?standing about a particular art form.
PREPs and Lectures
Pre-performance talks (PREPs) and lectures prepare audiences for upcoming performances.
Meet the Artists
Immediately following many performances, UMS engages the artist and audience in conversation about the themes and meanings within the performance, as well as the creative process.
A series of events focused on a theme, culture, art form, or artist that may include master classes, films, panels and community engage?ment events. 20022003 Immersions include Abbey Theatre of Ireland: Euripides' Medea and Brazilian Dance and Music.
Many artists remain in Michigan beyond their performances for short periods of time to deepen the connection to communities throughout the region. Artists teach, create, and meet with community groups, university units, and schools while in residence. For the 0203 season, major residencies include the Bolshoi Ballet, Sekou Sundiata, and the Royal Shakespeare Company.
UMS has a special commitment to educat?ing the next generation. A number of programs are offered for K-12 students, educators, and families to further develop understanding and exposure to the arts. For information about the Youth, Teen, and Family Education Program, visit the website at, email, or call 734.615.0122.
Youth Performance Series
Designed to enhance the K-12 curriculum, UMS Youth Performances cover the full spec?trum of world-class dance, music, and theater. Schools attending youth performances receive UMS's nationally recognized study materials that connect the performance to the classroom curriculum. The 20022003 Youth Performance Series features:
Tamango and Urban Tap Herbie Hancock Quartet Sweet Honey in the Rock
Sphinx Competition -free!
Teachers who wish to be added to the youth performance mailing list should call 734.615.0122 or email,
The Youth Educatioti Program is sponsored by
Teacher Workshop Series
As part of UMS's ongoing effort to incorporate the arts into the classroom, local and national arts educators lead in-depth teacher workshops designed to increase educators' facility to teach through and about the arts. UMS is in partner?ship with the Ann Arbor Public Schools as part of the Kennedy Center's Partners in Education Program. This year's Kennedy Center work?shops are:
Harlem with Kimberli Boyd
Living Pictures: A Theatrical Technique for Learning Across the Curriculum with Sean Layne
Workshops focusing on UMS Youth Performances are:
The Steps and Rhythms of Urban Tap with Susan Filipiak Kodo: An Introduction to Japanese Percussion with Michael Gould
For information or to register for a workshop, please call 734.615.0122 or email umsyouth@
First Acts Program
The First Acts Program provides opportunities for students in grades 4-12 to attend select evening and weekend performances with $6 tickets and reimbursed transportation costs. This year's First Acts roster includes Abbey Theatre of Ireland: Euripides' Medea, Orquestra de Sao Paulo, Gidon Kremer and Friends, Bolshoi Ballet: Swan Lake, Orchestre Philharmonique de Radio France, Boston Pops Esplanade Orchestra Holiday Concert, Ying Quartet, Stuttgart Chamber Orchestra, Muzsikas, and Bach Collegium Japan per?forming Bach's St. Matthew Passion.
For more information, please call 734.615.0122 or email
Special Discounts for Teachers and Students to Public Performances
UMS offers group discounts to schools attending evening and weekend performances not offered through the First Acts Program. Please call the Group Sales Coordinator at 734.763.3100 for more information.
The Kennedy Center Partnership
UMS and the Ann Arbor Public Schools are members of the Kennedy Center Partners in Education Program. Selected because of its demonstrated commitment to the improve?ment of education in and through the arts, the partnership team participates in collabo?rative efforts to make the arts integral to edu?cation and creates professional development opportunities for educators.
Family Programming
These one-hour or full-length performances and activities are designed especially for chil?dren and families. UMS provides child-friendly, informational materials prior to family performances.
Celebrate in style with dinner and a show! A delectable meal followed by priority, reserved seating at a performance by world-class artists sets the stage for a truly elegant evening. Add luxury accommodations to the package and make it a perfect getaway. UMS is pleased to announce its cooperative ven?tures with the following local establishments:
The Artful Lodger Bed & Breakfast
1547 Washtenaw Avenue Call 734.769.0653 for reservations Join Ann Arbor's most theatrical host and hostess, Fred & Edith Leavis Bookstein, for a weekend in their massive stone house built in the mid-1800s for UM President Henry Simmons Frieze. This historic house, located just minutes from the performance halls, has been comfortably restored and furnished with contemporary art and performance memorabilia. The Bed & Breakfast for Music and Theater Lovers!
Gratzi Restaurant
326 South Main Street Call 888.456.DINE for reservations Dinner package includes guaranteed reserva?tions for a preor post-performance dinner (any selection from the special package menu plus a non-alcoholic beverage) and reserved "A" seats on the main floor at the performance. Packages are available for select performances.
Vitosha Guest Haus
1917 Washtenaw Avenue
Call 734.741.4969 for reservations
Join proprietors Christian and Kei Constantinov
for afternoon tea, feather duvets and owls in
the rafters in their expansive stone chalet
home. Catering to "scholars, artists and the
world-weary," this historic complex features
old English style decor, 10 guest rooms, each with their own private bath and many with a gas fireplace, a neo-Gothic parsonage, coach house tearoom, and a Frank Lloyd Wright-inspired church. The Vitosha Guest Haus also offers group discount rates and can accom?modate conferences, musical and performing arts events, weddings and family celebrations. Call to inquire about special package prices.
Visit and enjoy these fine area restaurants. Join us in thanking them for their generous support of UMS.
Arbor Brewing Co.
114 East Washington 734.213.1393 Award-winning brewpub featuring a full bar and menu. Casual downtown dining. Smokeless restaurant and bar. Private parties for 25-150.
Bella Ciao Trattoria
118 West Liberty 734.995.2107 Known for discreet dining with an air of casual elegance, providing simple and elaborate regional Italian dishes for you and your guests' pleasure. Reservations accepted.
Blue Nile
221 East Washington Street 734.998.4746 Join us for an authentic dining adventure to be shared and long remembered. Specializing in poultry, beef, lamb and vegetarian specialties. Outstanding wine and beer list.
Cafe Marie
1759 Plymouth Road 734.662.2272 Distinct and delicious breakfast and lunch dishes, creative weekly specials. Fresh-squeezed juice and captivating cappuccinos! A sunny, casual, smoke-free atmosphere. Take out available.
The Chop House
322 South Main Street 888.456.DINE Ann Arbor's newest taste temptation. An elite American Chop House featuring U.S.D.A. prime beef, the finest in Midwestern grain-fed meat, and exceptional premium wines in a refined, elegant setting. Open nightly, call for reservations,
D'Amato's Neighborhood Restaurant 102 South First Street 734.623.7400 D'Amato's Italian Restaurant (corner First St. & Huron) is casual dining at its best. Classic and contemporary Italian cuisine. Premium wines by the glass, international design. Piano Bar Thursday-Saturday. 'Four stars' by the Detroit Free Press, 9 out of 10 by the Ann Arbor News, open 7 days, moderate prices.
Just downstairs is Goodnite Grace Jazz & Martini bar featuring talented local jazz groups and the best martinis in town. Never a cover or minimum, always great entertainment.
The Earle
121 West Washington 734.994.0211 French and Italian dining, offering fresh fish, pastas, duck and beef tenderloin accompa?nied by our house-made desserts. Wine Spectators "Best of Award of Excellence" 1991-2002.
326 South Main Street 888.456.DINE Celebrated, award-winning Italian cuisine served with flair and excitement. Sidewalk and balcony seating. Open for lunch and dinner. Reservations accepted,
The Kerrytown Bistro
At the corner of 4th Avenue and Kingsley Street in Kerrytown 734.994.6424 The Kerrytown Bistro specializes in fine French Provincial inspired cuisine, excellent wines and gracious service in a relaxed, intimate atmosphere. Hours vary, reservations accepted.
La Dolce Vita
322 South Main Street 734.669.9977 Offering the finest in after-dinner pleasures. Indulge in the delightful sophistication of gourmet desserts, fancy pastries, cheeses, fine wines, ports, sherries, martinis, rare scotches, hand-rolled cigars and much more. Open nightly,
347 South Main Street 888.456.DINE Zestful country Italian cooking, fresh flavors inspired daily. Featuring the best rooftop seating in town. Open for dinner nightly. Reservations accepted, large group space available,
Real Seafood Company
341 South Main Street 888.456.DINE As close to the world's oceans as your taste can travel. Serving delightfully fresh seafood and much more. Open for lunch and dinner. Reservations accepted.
Red Hawk Bar & Grill
316 South State Street 734.994.4004 Neighborhood bar & grill in campus historic district, specializing in creative treatments of traditional favorites. Full bar, with a dozen beers on tap. Lunch and dinner daily. Weekly specials. Smoke-free. No reservations.
Weber's Restaurant
3050 Jackson Avenue 734.665.3636 Weber's casual-to-elegant atmosphere and fine American cuisine features their famous prime ribs of beef, live lobster, aged steaks and jet-fresh seafood.
216 South State Street 734.994.7777 Contemporary American food with Mediterranean & Asian influences. Full bar featuring classic and neo-classic cocktails, thoughtfully chosen wines and an excellent selection of draft beer. Spectacular desserts. Lunch, dinner, Sunday brunch and outside dining. Space for private and semi-private gatherings up to 120. Smoke-free. Reservations encouraged.
Back by popular demand, friends of UMS are hosting a variety of dining events to raise funds for our nationally recognized education programs. Thanks to the generosity of the hosts, all proceeds from these delight?ful dinners go to support these important activities. Treat yourself, give a gift of tickets, or come alone and meet new people! For more information or to receive a brochure, call 734.936.6837.
UMS volunteers are an integral part of the success of our organi?zation. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome you to the UMS family and involve you in our exciting programming and activities. We rely on volunteers for a vast array of activities, including staffing the edu?cation residency activities, assisting in artist services and mailings, escorting students for our popular youth performances and a host of other projects. Call 734.936.6837 to request more information.
The 48-member UMS Advisory Committee serves an important role within UMS. From ushering for our popular Youth Performances to coordinating annual fundraising events, such as the Ford Honors Program gala and "Delicious Experiences" dinners, to marketing Bravo!, UMS's award-winning cookbook, the Committee brings vital volunteer assistance and financial sup?port to our ever-expanding educational pro?grams. If you would like to become involved with this dynamic group, please call 734.936.6837 for more information.
When you advertise in the UMS program book you gain season-long visibility among ticket-buyers while enabling an important tradition of providing audiences with the detailed pro?gram notes, artist biographies, and program descriptions that are so important to perform?ance experience. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book.
As a UMS corporate sponsor, your organiza?tion comes to the attention of an educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treasures, and also receive numerous benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
? Enhancing corporate image
Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic groups
? Making highly visible links with arts and education programs
? Recognizing employees
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
Internships with UMS provide experience in performing arts administration, mar?keting, publicity, promotion, production and arts education. Semesterand year-long internships are available in many of UMS's departments. For more information, please call 734.615.1444.
Students working for UMS as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, fundraising, arts education, event planning and production. If you are a University of Michigan student who receives work-study financial aid and who is interested in working at UMS, please call 734.615.1444.
Without the dedicated service of UMS's Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing program books and pro?viding that personal touch which sets UMS events above others.
The UMS Usher corps comprises over 400 individuals who volunteer their time to make your concert-going experience more pleasant and efficient. The all-volunteer group attends an orientation and training session each fall or winter. Ushers are responsible for working at every UMS performance in a specific venue for the entire concert season.
If you would like information about becoming a UMS volunteer usher, call the UMS usher hotline at 734.913.9696.
This performance--and all of UMS's nationally recognized artistic and educational pro?grams--would not be possible without the generous support of the community. UMS gratefully acknowledges the following individuals, businesses, foundations and government agencies--and those who wish to remain anonymous--and extends its deepest gratitude for their support. This list includes current donors as of November 1, 2002. Every effort has been made to ensure its accuracy. Please call 734.647.1178 with any errors or omissions.
SOLOISTS $25,000 or more
Randall and Mary Pittman Philip and Kathleen Power
MAESTROS $10,000-524,999
Carl and Isabelle Brauer Dr. Kathleen G. Charla Peter and Jill Corr Ronnie and Sheila Cresswell Hal and Ann Davis Jim and Millie Irwin Robert and Pearson Macek Tom and Debby McMullen Ann Meredith Charlotte McGeoch
VIRTUOSI $7,500-59,999
Maurice and Linda Binkow Beverley and Gerson Geltner Prudence and Amnon Rosenthal Edward and Natalie Surovell Marina and Robert Whitman
Michael Allemang
Herb and Carol Amster
Douglas D. Crary
Dennis Dahlmann
David and Phyllis Herzig
Dr. Toni Hoover
Doug and Gay Lane
Leo and Kathy Legatski
Paul and Ruth McCracken
Gilbert Omenn and Martha Darling
Erik and Carol Serr
Loretta M. Skewes
Lois A. Theis
Ann and Clayton Wilhite
Kathy Benton and Robert Brown
David and Pat Clyde
Katharine and Jon Cosovich
Michael and Sara Frank
Debbie and Norman Herbert
Shirley Y. and Thomas E. Kauper
Charles H. Nave
Don and Judy Dow Rumelhart
Herbert Sloan
Lois and John Stegeman
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. Ralph Conger
Mr. Michael J. and Dr. Joan S. Crawford
Jack and Alice Dobson
Jim and Patsy Donahey
Mr. and Mrs. Thomas C. Evans
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
Robert and Gloria Kerry
Dorian R. Kim
Paula and Henry Lederman
Marc and Jill Lippman
Judy and Roger Maugh
Neil and Suzanne McGinn
Mrs. Charles Overberger (Betty)
Jim and Bonnie Reece
John and Dot Reed
Barbara A. Anderson and
John H. Romani Maya Savarino James and Nancy Stanley Don and Carol Van Curler Mrs. Francis V.Viola III Don and Toni Walker B. Joseph and Mary White
PRINCIPALS $l,000-$2,499
Dr. and Mrs. Gerald Abrams
Mrs. Gardner Ackley
Jim and Barbara Adams
Michael and Marilyn Agin
Bernard and Raquel Agranoff
Jonathan W. T. Ayers
Essel and Menakka Bailey
Lesli and Christopher Ballard
Dr. and Mrs. Robert Bartlett
Astrid B. Beck and David Noel Freedman
Ralph P. Beebe
Patrick and Maureen Belden
Harry and Betty Benford
Ruth Ann and Stuart J. Bergstein
L. S. Berlin
Philip C. Berry
Suzanne A. and Frederick J. Beutler
Joan Akers Binkow
Elizabeth and Giles G. Bole
Howard and Margaret Bond
Bob and Sue Bonfield
Laurence and Grace Boxer
Dale and Nancy Briggs
Virginia Sory Brown
Jeannine and Robert Buchanan
Robert and Victoria Buckler
Lawrence and Valerie Bullen
Mr. and Mrs. Richard J. Burstein
Letitia J. Byrd
Amy and Jim Byrne
Betty Byrne
Barbara and Albert Cain
Jean W. Campbell
Michael and Patricia Campbell
Thomas and Marilou Capo
Edwin and Judith Carlson
Jean and Kenneth Casey
Janet and Bill Cassebaum
Anne Chase
James S. Chen
Don and Betts Chisholm
Janice A. Clark
Mr. and Mrs. John Alden Clark
Leon and Heidi Cohan
Carolyn and L. Thomas Conlin
Jim and Connie Cook
Jane Wilson Coon
Anne and Howard Cooper
Hugh and Elly 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
Charles and Julia Eisendrath
Leonard and Madeline Eron
Bob and Chris Euritt
Claudine Farrand and Daniel Moerman
Eric Fearon and Kathy Cho
David and )o-Anna Featherman
Yi-tsi M. and Albert Feuerwerker
Mrs. Gerald J. Fischer (Beth B.)
Ray and Patricia Fitzgerald
Bob and Sally Fleming
Otto and Lourdes E. Gago
Marilyn G. Gallatin
Bernard and Enid Galler
Marilyn Tsao and Steve Gao
Charles and Rita Gelman
James and Cathie Gibson
William and Ruth Gilkey
Drs. Sid Gilman and Carol Barbour
Richard and Cheryl Ginsburg
Paul and Anne Glendon
Alvia G. Golden and
Carroll Smith-Rosenberg Elizabeth Needham Graham Frances Greer John and Helen Griffith Leslie and Mary Ellen Guinn Julian and Diane I lull Robert M. and Joan F. Howe Dr. H. David and Dolores Humes Ann D. Hungerman Susan and Martin Hurwitz Stuart and Maureen Isaac Wallie and Janet Jeffries Timothy and Jo Wiese Johnson Robert L. and Beatrice H. Kahn Herbert Katz
Richard and Sylvia Kaufman David and Sally Kennedy Connie and Tom Kinnear Diane Kirkpatrick Jim and Carolyn Knake Victoria F. Kohl and Thomas Tecco Samuel and Marilyn Krimm Amy Sheon and Marvin Krislov Bud and Justine Kulka Ko and Sumiko Kurachi Barbara and Michael Kusisto Jill M. Latta and David S. Bach Ted and Wendy Lawrence Laurie and Robert LaZebnik Peter Lee and Clara Hwang Carolyn and Paul Lichter Evie and Allen Lichter Lawrence and Rebecca Lohr Leslie and Susan Loomans John and Cheryl MacKrell Sally and Bill Martin Natalie Matovinovic Chandler and Mary Matthews
Susan McClanahan and
Bill Zimmerman
Joseph McCune and Georgiana Sanders Rebecca McGowan and
Michael B. Staebler Ted and Barbara Meadows Andy and Candice Mitchell Therese M. Molloy Lester and Jeanne Monts Grant W. Moore Alan and Sheila Morgan Julia S. Morris
Brian and Jacqueline Morton Cruse W. and Virginia Patton Moss Eva L. Mueller
Martin Neuliep and Patricia Pancioli M. Haskell and Jan Barney Newman William and Deanna Newman Eulalic Nohrden Marylen and Harold Oberman Dr. and Mrs. Frederick C. O'Dell 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 Dr. and Mrs. Irving Rose Mrs. Doris E. Rowan Dr. Nathaniel H. Rowe James and Adrienne Rudolph Craig and Jan Ruff Alan and Swanna Saltiel Dick and Norma Sarns Meeyung and Charles R. Schmitter Mrs. Richard C. Schneider Sue Schroeder
Steven R. and Jennifer L. Schwartz Dr. John J. M. Schwarz Janet and Michael Shatusky Helen and George Siedel Donald C. and Jean M. Smith Susan M. Smith Carol and Irving Smokier Curt and Gus Stager Gus and Andrea Stager David and Ann Staiger Michael and Jeannette Bittar Stern Victor and Marlene Stoeffler Jan and Nub Turner Susan B. Ullrich
Joyce A. Urba and David J. Kinsella Michael L. Van Tassel Elly Wagner Florence S. Wagner John Wagner
Willes and Kathleen Weber Karl and Karen Weick Robert O. and Darragh H. Weisman Angela and Lyndon Welch Marcy and Scott Westerman
Principals, continued
Roy and JoAn Wetzel Harry C. White and Esther R.
Iris and Fred Whitehouse Max Wicha and
Sheila Crowley Marion T. Wirick and
lames N. Morgan Phyllis B. Wright Paul Yhouse Ed and Signc Young Gerald B. and
Mary Kay Zelenock
Dr. and Mrs. Robert G. Aldrich Michael and Suzan Alexander Anastasios Alexiou Dr. and Mrs. David G. Anderson Dr. and Mrs. Rudi Ansbachcr Elaine and Ralph Anthony Janet and Arnold Aronoff Norman E. Barnett Mason and Helen Barr Lois and David Baru Tom and Judith Batay-Csorba Dr. Wolfgang and Eva Bernhard John Blankley and
Maureen Foley Tom and Cathie Bloem Jane Bloom, MD and
William L Bloom Charles and Linda Borgsdorf David and Sharon Brooks Morton B. and Raya Brown Sue and Noel Buckner Trudy and Jonathan Bulkley Dr. Frances E. Bull H. D. Cameron
Douglas and Marilyn Campbell Bruce and Jean Carlson lack and Wendy Carman Marshall and Janice Carr Carolyn M. Carty and
Thomas H. Haug Tsun and Siu Ying Chang Hubert and Ellen Cohen Clifford and Laura Craig Jean Cunningham and
Fawwaz Ulaby Roderick and Mary Ann Daane Delia DiPietro and
Jack Wagoner, M.D. Patricia Enns Ms. Julie A. Erhardt Stefan S. and Ruth S. Fa jam Dr. and Mrs. S.M. Farhat Dr. and Mrs. lohn A. Faulkner Dcde and Oscar Feldman Dr. and Mrs. lames Ferrara Sidney and lean Fine Carol Finerman Clare M. Fingerle Hcrschel Fink
John and Karen Fischer
Guillcrmo Flores
Mr. and Mrs. George W. Ford
Phyllis W.Foster
Betsy Foxman and
Michael Boehnke Dr. Ronald Freed man Professor and
Mrs. David M. Gates Drs. Sieve Geiringer and
Karen Bantel
Thomas and Barbara Gelehrter Beverly Gershowitz Cozette Grabb
Dr. and Mrs. Lazar I. Greenfield David and Kay Gugala Carl and Julia Guldberg Don P. Hacfncr and
Cynthia J. Stewart Mr. and Mrs. Elmer F. Hamel Robert and Jean Harris Paul Hysen and Jeanne Harrison Clifford and Alice Hart Jeannine and Gary Hayden Henry R and Lucia Heinold Mrs.W.A. Hiltner Louise Hodgson John H.and
Maurita Peterson Holland Drs. Linda Samuelson and
Joel Howell
Eileen and Saul Hymans John and Gretchen Jackson Jean Jacobson Jim and Dale Jerome Emily Kennedy John Kennedy Dick and Pat King Hermine R. Klingler Philip and Kathryn Klmtworth Joseph and Marilynn Kokoszka Charles and Linda Koopmann Lee and Tcddi Landes Mr. John K. Lawrence Mr. and Mrs. Fernando S. Leon Jacqueline H. Lewis Daniel Little and
Bcrnadette Lintz E. Daniel and Kay Long Brigittc and Paul Maasscn Jeff Mason and Janet Netz Griff and Pat McDonald Marilyn J. Meeker Deanna Relyea and
Piotr Michalowski Jeanetteand Jack Miller Myrna and Newell Miller Cyril Moscow Edward C. Nelson Roy and Winnifrcd Pierce Stephen and Bettina Pollock Rick Price
Wallace and Barbara Prince Mrs. Gardner C. Quartern Mrs. Joseph S, Radom Dr. Jeanne Raisler and Dr.
Jonathan Allen Cohn Rudolph and Sue Rcichcrt Molly Rcsnik and John Martin
H. Robert and Kristin Reynolds Jay and Machree Robinson Peter C. Schaberg and
Norma ). Amrhein Rosalie and David Schottcnfcld Julianne and Michael Shea Thomas and Valerie Yova Sheets Howard and Aliza Shevrin Pat Shurc
Frances U. and Scott K. Simonds Irnia J. Sklenar Alene and Stephanie Smith Lloyd and Ted St. Antoine James Steward and Jay Pekala Jeff Stoller Prof. Louis J. and
Glennis M. Stout Dr. and Mrs. Stanley Strasius Charlotte B. Sundelson Bob and Betsy Teeter Elizabeth H. Thierae William C. Tyler Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachingcr Dr. and Mrs. Samuel C. Ursu Charlotte Van Curler Jack and Marilyn van der Velde Mary Vanden Belt Kate and Chris Vaughan Joyce L. Watson and
Martin Warshaw Robin and Harvey Wax Phil and Nancy Wedemeycr Raoul Weisman and
Ann Friedman Dr. Steven W. Werns Brymcr Williams Max and Mary Wisgerhof Dean Karen Wolff J. D. and Joyce Woods David and April Wright
ASSOCIATES $250-3499
Jesus and
Benjamin Acosla-Hughes Tim and Leah Adams Dr. Dorit Adler Robert Ainsworth Mr. and Mrs. Roy I. Albert Helen and David Aminoff David and Katie Andrea Harlene and Henry Appclman Jeff and Deborah Ash Mr. and Mrs. Arthur J. Ashe, III Dwight T. Ashley Dan and Monica Atkins Eric M. and Nancy Aupperle Robert L. Baird
Laurence R. and Barbara K. Baker Lisa and Jim Baker Barbara and Daniel Balbach Paulett Banks John K. I'l.irrli.iin David and Monika Barcra Mrs. ere M. Bauer (i.iry I:? ?? I 11 i.,ii and Karla Taylor
Professor and Mrs. Erling
Blondal Hengtsson Dr. and Mrs. Ronald M. Benson loan and Rodney Bent lames A. Bergman and
Penelope Hommel Steven I. Bernstein Donald and Roberta Blitz David and Martha Bloom Dr. and Mrs. Bogdasarian Victoria C. Botek and William
M. Edwards
Dr. and Mrs. Ralph Bozell Paul and Anna Bradley June and Donald R. Brown Donald and Lela Bryant Margaret E. Bunge Susan and Oliver Cameron Margot Campos feannette and Robert Carr Dr. and Mrs. Joseph C. Cerny Thomas Champagne and
Stephen Savage Dr. Kyung and Young Cho Robert J. Cicrzniewski Reginald and Beverly Ciokajlo Brian and Cheryl Clarkson Nan and Bill Conlin Merle and Mary Ann Crawford Peter C. and Lindy M. Cubba Richard J. Cunningham Marcia A. Dalbey Ruth E.Dai Dr. and
Mrs. Charles W. Davenport Ed and Ellie Davidson Peter A. and Norma Davis )ohn and lean Debbink Elena and Nicholas Delbanco Richard and Sue Dempsey Elizabeth Dexter lack and Claudia Dixon Judy and Steve Dobson Heather and Stuart Dombey Dr. Edward F. Domino Thomas and Esther Donahue John Dryden and Diana Raimi Rhetaugh Graves Dumas Swati Dutta Dr. Alan S. Eiscr Judge and Mrs. S. J. Elden Ethel and Sheldon Ellis Mr. John W. Etsweiler, 111 Mark and Karen Palahee Elly and Harvey Falit Dr. John W. Farah Drs. Michael and
Bonnie Fauman Joseph and Nancy Ferrario Karl and Sara Fiegenschuh Dr. James F. Filgas Susan Filipiak
Swing City Dance Studio C. Peter and Bev A. Fischer Gerald B. and
Catherine L. Fischer Susan R. Fisher and
John W. Waidley I Inward and Margaret Fox Jason 1. Fox Lynn A. Freeland Dr. Leon and Mania Friedman Lela I. Fuester
Mr. and Mrs. William Fulton I larriet and Daniel Fusfeld Deborah and Henry Gerst Elmer G. Gilbert and Lois M. Verbrugge Matthew and Debra Gildea lames and lanet Gilsdorf Maureen and David Ginsburg Albert and Almeda Girod Irwin Goldstein and
Martha Mayo
William and Sally Goshorn F.nid M. Gosling Charles and lanet Goss Michael L. Gowing Maryanna and
Dr. William H. Graves, III Jerry M. and Mary K. Gray I.ila and Bob Green Victoria Green and Matthew Toschlog Sandra Grcgerman Bill and Louise Gregory Raymond and Daphne M. Grew Mark and Susan Griffin Werner H. Grilk Dick and Marion Gross Bob and lane Grover Susan and lohn Halloran Ciaribel Halstead Yoshiko Hamano Tom Hammond Lourdes S. Bastos Hansen David B. and Colleen M. Hanson Martin I), and Connie D. Harris Nina E. Hauser
Kenneth and Jeanne Heininger Paula B. Mencken and
George C. Collins I. Lawrence and
Jacqueline Stearns Henkel Dr. and Mrs. Keith S. Henley Kathy and Rudi Hentschcl Mr. and Mrs. William B. Holmes lohn I. Hritz, r. lane H. Hughes Dr. and Mrs. Ralph M. Hulctt lewel F. Hunter Marilyn C. Hunting Thomas and Kathryn Huntzicker Robert B. Ingling Margaret and Eugene Ingram Kent and Mary Johnson Paul and Olga lohnson Stephen Joscphson and Sally Fink Douglas and Mary K.ilni Dr. and Mrs. Mark S. Kaminski George Kaplan and Mary Haan Arthur A. Kaselcmas Professor Martin E. Katz lulie and Phil Kearney lames A. Kelly and
Mariam C. Noland lohn B. and Joanne Kennard Frank and Patricia Kennedy Mr. and Mrs. Roland Kibler Donald F. and Mary A. Kiel Mrs. Rhca K. Kish Paul and Dana Kiwner lames and Jane Kister Dr. David F.. and Heidi
Castleman Klein Steve and Shira Klein
I .mi-i Klem
Anne Kloack
Thomas and Ruth Knoll
Dr. and Mrs. Melvyn Korobkin
Bert and Geraldine Kruse
David W. Kuehn and Lisa A. Tedesco
Mrs. David A. Lanius
Mr. and Mrs. Henry M. Lapeza
Neal and Anne Laurence
Beth and George LaVoie
David Lebenbom
Cyril and Ruth l.cder
John and Theresa Lee
Frank U-gacki and Alicia Torres
Jim and Cathy Leonard
Sue Leong
Carolyn Lcpard
Myron and Bobbie Levine
Donald J. and Carolyn Dana Lewis
Ken and lane Lieberthal
Leons and Vija Liepa
Rod and Robin Little
Vi-Cheng and Hsi-Yen Liu
Joan Lowenstein and lonathan Trobe
Ronald l-onghofcr and Norma McKenna
Richard and Stephanie Lord Charles and )udy Lucas Carl I. Lutkehaus Pamela I. MacKintosh Virginia Mahle Latika Mangrulkar Melvin and Jean Manis Nancy and Philip Margolis Ann W. Martin and Russ Larson lames E. and Barbara Martin Vincent and Margot Massey Dr. and Mrs. Ben McCallistcr Margaret E. McCarthy Ernest and Adelc McCarus Margaret and
Harris McClamroch Michael G. McGuire lames Mclntosh Nancy A. and Robert E. Meader Gerlinda S. Melchiori Ph.D. Ingrid Mcrikoski Bernicc and Herman Merte George R. and Brigitte Men: Henry D. Messer Carl A. House Ms Heidi Meyer Shirley and Bill Meyers Mr. and Mrs. Eugene Miller Sonya R. Miller Edward and Barbara Mills Thomas Mobley William G. and
Edilh O. Moller, r. lane and Kenneth Moriarty Thomas and Hedi Mulford Gerry and Joanne Navarre Frederick C Ncidhardl and
Gennaine Chipault Alexander Nelson fames G. Nelson and
Kathcrine M. fnhmon Laura Nilzberg and
I Carli
Arthur and Lynn Nushaum Dr. Nicole Obregon
Robert and Elizabeth Oneal Constance and David Osier Marysia Ostafin and
George Smillie Drs. Sujit and Uma Pandit William and Hedda Panzer Nancy K. Paul Wade and Carol Peacock Zoe and loe Pearson Karen Tyler Perry Mr. and
Mrs. Frederick R. Pickard Wayne Pickvet and Bruce Barrett Frank and Sharon Pignanclli Richard and Meryl Place Donald and Evonne Plantinga Bill and Diana Pratt Jerry and Lorna Prescott Larry and Ann Preuss J. Thomas and Kathleen Pustcll Leland and
Elizabeth Quackenbush Patricia Randle and James Jim and leva Rasmusscn Anthony L. Reffells and
Elaine A. Bennett Jack and Margaret Ricketts Constance O. Rincharl Kathleen Roelofs Roberts Mr. and Mrs. Stephen J. Rogers Robert and Joan Rosenblum Mr. Haskcll Rothstein Doug and Sharon Rothwell Sally Rutzky Arnold SamerofT and
Susan McDonough Ina and Terry Sandalow Miriam Sandwciss lohn and Rcda Santinga Michael and Kimm Sarosi Dr. Stephen J. and Kim R. Saxe Gary and Arlcne Saxonhousc Albert J. and Jane L. Saycd Frank J. Schauerte Richard Black and
Christine Schesky-Black David and Marcia Schmidt lean Scholl David E. and
Monica N. Schtcingart Richard A. Seid Mrs. Harriet Sclin Judith and Ivan Sherick George and Gladys Shirley Jean and Thomas Shopc Hollis and Martha A. Showallcr John ami Arlene Shy Carl Simon and Bobbi Low Robert and Elaine Sims Tim and Marie Slotlow Carl and Jari Smith Mrs. Robert W. Smith Dr. Elaine R. Sillier Arthur and Elizabeth Solomon Yoram and Eliana Sorokin Tom Sparks
Urry and Doris Sperling Jeffrey I). Spindlcr Burnette Staeblcr Gary and Diane Stahle Prank l. Stella Rick and Lia Stevens Stephen and Gaylc Stewart
Ellen M. Strand and
Dennis C. Regan Donald and Barbara Sugerman Richard and Diane Sullivan Brian and Lee 'la I hot Margaret Talhurlt and
lames Peggs Eva and Sam Taylor Slcphan Taylor and
Elizabeth Stumbo James L and Ann S. Telfer Paul and fane Thielking Edwin . Thomas Bette M. Thompson Nigel and Jane Thompson Dr. and Mrs. Robert F. Todd Patricia and Tern] Tompkins Dr. and Mrs. Merlin C. Townlcy Jim Toy
Bill and Jewell Tuslian Tanja and Rob Van der Voo Lourdes Velez, MD Wendy L. Wahl and
William R. Lee Charles R. and
Barbara H.Wallgren Carol Weber Deborah Webster and
George Miller liwrence A. Wcis Susan and Peter Westerman Iris and Fred Whitehouse Leslie Clare Whitfield Professor Steven Whiting Nancy Wiernik Reverend Francis F-. Williams Christine and Park Willis Thomas and Iva Wilson Beverly and Hadley Wine Beth and I. W. Winsten Lawrence and Mary Wise Charles Witke and Aileen Garten Charlotte A. Wolfe Al and Alma Wooll Don and Charlotte Wychc Richard Varmain MaryGrace and lorn York Ann and Ralph Youngren Gail and David Zuk
Ronald Albucher and Kevin Pfau Gordon and Carol Allardyce Phyllis Allen
Richard and Bcttye Allen Barbara and Dean Alscth Forrest Alter Richard Anidur Dr. and
Mrs. Charles T. Anderson Joseph and Annette Anderson (Catherine M. Andrea I ill B. and
Thomas J. Archambeau M,D. Helen Arisiar-Dry Bert and Pal Arrmtrong Thomas and Mary ArmMrong r.i.ird and Hllcn A meson lack and fill Arnold Dr. and Mrv AlUn Ash
Advocates, continued
lames and Doris August John and Rosemary Austgen Erik and Linda Lee Austin Ronald and Anna Marie Austin William E. and
Patricia K. Austin, Jr. Shirley and Donald Axon Virginia and Jerald Bachman Mr. Robert M Bachteal Mark Baerwolf Prof, and Mrs. J. Albert Bailey Joe and Helen Logelin Helena and Richard Balon Maria Kardas Barna Laurie and Jeff Barnett Robert and Carolyn Bartle Leslie and Anita Bassetl Francis J. Bateman Charles Baxter
Deborah Bayer and Jon Tyman Kenneth C. Beachler fames and Margaret Bean Frank and Gail Beaver Robert Beckley and
Judy Dinesen Nancy Bender Walter and Antje Benenson Mr. and
Mrs. Ib Bentzen-Bilkvist Dr. Rosemary R. Berardi Helen V. Berg
James K. and Lynda W. Berg Harvey Berman and
Rochelle Kovacs Berman Kent Berridge Gene and Kay Berrodin Mark Bertz
Ralph and Mary Beuhler X Patrick and Sarah Bidigare Rosalyn Biederman Christopher Bigge Eric and Doris Billes lack Billi and Sheryl Hirsch Sara Billmann and Jeffrey Kuras William and Ilene Birge Elizabeth S. Bishop Leslie and Roger Black Martin and Mary Black Mary StefTek Blaske and
Thomas Blaske Mark and Lisa Bomia Seth Bonder
Harold W. and Rebecca S. Bonnell Lynda Ayn Boone Ed and Luciana Borbcly Morris and Reva Bornstein Jeanne and David Bostian Jim Botsford and
Janice Stevens Botsford Bob and Jan Bower William R. Brashear Enoch and Liz Brater Mr. and Mrs. Gerald Bright Paul A. Bringer Olin and Aleeta Browder Linda Brown and Joel Goldberg Edward and Jeanette Browning Molly and John Brueger John and Nancy Buck Elizabeth Buckner and
Patrick Herbert Marilyn Burhop Joanne Cage
Brian and Margaret Callahan Louis and Janet Callaway Barb and Skip Campbell Susan Y. Cares
James and Jennifer Carpenter Dennis B. and
Margaret W. Carroll
John and Patricia Carver
Cynthia Castecl
Margaret and William Cavency
K. M. Chan
Samuel and Roberta Chappcll
Felix and Ann Chow
Catherine Christen
Edward and Rebecca Chudacoff
Sallic R. Churchill
Nancy Cilley
Barbara Cingel
Donald and Astrid Cleveland
Mr. FredW.Cohrs
Willis Colburn and Denise Park
Michael and Marion T. Collier
Ed and Cathy Colone
Wayne and Melinda Colquitt
Kevin and Judith Compton
M. C. Conroy
Jeff Cooper and Peggy Daub
Mr. and Mrs. Herbert Couf
Brian T. and Lynne P. Coughlin
Marjorie A. Cramer
Richard and Penelope Crawford
Mary C. Crichton
Mr. and Mrs. James I. Crump
Peggy Cudkowicz
Townlcy and )oann Culbcrtson
John and Carolyn Rundell Culotta
Marcio Da Fonseca
Mr. and Mrs. ohn R. Dale
Marylec Dalton
Mr. and
Mrs. Robert L. Damschrodcr Timothy and Robin
Mr. and Mrs. Norman Dancy Stephen Darwall and
Rosemarie Hester I i.ii I nul.i and Robert Dascola Carol Dasse Ruth E. Dalz Sally and lack Dauer Mr. and Mrs. Arthur W. Davidge Mark and Jane Davis State Rep. and
Mrs. Gene De Rossctt Dr. and Mrs. Raymond F. Decker Joe and Nan Decker Peter and Deborah Deem Rossana and George DeGrood George and Margaret DeMuth Pamela DeTullio and
Stephen Wiseman Don and Pam Devine Martha and Ron DiCecco Timothy L. Dickinson and
Anja Lehmann Andrzej and Cynthia Dlugosz Ruth J. Doane Mrs. Ruth P. Dorr-Maffett Bill and Mary Doty Victor and Elizabeth Douvan Roland and Diane Drayson Mary I. Dubois Ronald and Patricia Due Connie R. Dunlap Richard F. Dunn lean and Russell Dunnaback Dr. and Mrs. Wolf Duvernoy Gavin Eadie and Barbara Murphy Anthony and Sarah Earley Richard and Myrna Edgar Morgan H. and Sara O. Edwards Vcrnon . and Johanna Ehlers Karen Eisenbrey Chris and Betty Elkins Lawrence Ellenbogcn Anthony and Paula Elliott Julie and Charles Ellis
H. Michael and Judith L Endres and Hmil Engel Karen Epstein and
Dr. Alfred Franzblau Steve and Pamela Ernst Dorothy and Donald Eschman Mr. and Mrs. Robert B. Fair, Jr. Garry and Barbara Faja Inka and David Felbcck David and Karen Feldman Phil and Phyllis Fcllin Larry and Andra Ferguson Dennis and Claire Fernly Carol Fierke Lydia H. Fischer Dr. and Mrs. Richard L. Fisher Beth and Joe Fitzsimmons George and Kathryn Foltz Susan Goldsmith and
Spencer Ford Burke and Carol Fossee Scott Fountain William and Beatrice Fox Dan and Jill Francis Hyman H. Frank Lora Frankel Lucia and Doug Freeth Richard and Joann Freethy Otto W. and Helga B. Freitag Sophia L. French Joanna and Richard Friedman Marilyn L Friedman and
Seymour Koenigsberg Susan Froelich and
Richard Ingram Gail Frames Jerry Frost Ms. Carolyn Frost Joseph E. Fugere and
Marianne C. Mussett Douglas J. Futuyma Frances and Robert Gamble Mr. and Mrs. James E. Gardner Karen Gardstrom Joann Gargaro
R. Dennis and Janet M. Garmer Jack J. and Helen Garris C. Louise Garrison lanet and Charles Garvin Tom Gasloli
Wood and Rosemary Geist Michael and
Ina Hanel-Gerdenich W. Scott Gerstenberger and
Elizabeth A. Sweet Leo and Renale Gerulaitis Beth Genne and Allan Gibbard Paul and Suzanne Gikas Zita and Wayne Gillis Joyce and Fred Ginsberg Kathleen Glezcn Mr. and Mrs. Robert Gold Ed and Mona Goldman Mrs. Eszter Gombosi Mitchell and Barbara Goodkin Selma and Albert Gorlin William and Jean Gosling Kristin A. Goss
Christopher and Elaine Graham Helen M. Graves Isaac and Pamela Green Deborah S. Grecr Linda Gregerson and
Steven Mullaney G. Robinson and Ann Gregory Linda and Roger Grekin Lauretta and Mm Gribble Rita and Bob Grierson Laurie Gross Robin and Stephen Gruber
Arthur W. Gulick, M.D. Lorraine Gutierrez and
Rohert Peyser Barbara H. Hammitt Dora E. HampJ Don and an Hand Grace H. Hanninen Rachel Brett Harley Stephen G. and
Mary Anna Harper Ed Sarath and Joan Harris Laurelynne D. and
George Harris Susan Harris lames R. Hartley Anne M. Heacock Henry and Mary S. Healey Dr. and Mrs. James Heiter William C. Heifer Sivana Heller Dr. and
Mrs. John W. Henderson Karl Henkcl and Phyllis Mann Al and Jolene Hcrmalin Jeanne Hernandez Ken and Carrie Herr Roger and Dawn Hertz Ronald D. and Barbara J. Hertz Roger F. Hewitt John and Martha Hicks Herb and Dec Hildebrandt Peter G. Hinman and
Elizabeth A. Young James and Ann Marie Hitchcock Frances C. Hoffman Carol and Dieter Hohnke Scott M. Holda Gad Holland Mrs. Howard Holmes Kenneth and Joyce Holmes Dave and Susan Horvath Paul Hossler Dr. Nancy Houk James and Wendy Fisher House Jeffrey and Allison Housner Gordon Housworth Kenneth and Carol Hovey Mrs. V. C. Hubbs Jude and Ray Huetteman Harry and Ruth Huff JoAnnc W. Hulce Alan and Karen Hunt Virginia E. Hunt Edward C. Ingraham Perry Irish Kali Israel
Sid and Harriet Israel Judith G. fackson Prof, and Mrs. John H. Jackson David Jahn Elizabeth lahn Donald E. and
Vivienne B. fahnckc Dr. and Mrs. Joachim Janecke Nick and Julia Janosi Dean and Leslie Jarrett Jeff lavowiaz and
Ann Marie Petach Marilyn G. Jeffs Frances and lerome Jelinek Keith D. and Kathryn H. Jensen Margaret Jensen Christopher P. and
Sharon lohnson Mark and Linda Johnson Constance L. Jones Dr. Marilyn S. Jones Paul R. and Meredyth Jones Mary Kalmes and
Larry Friedman
Allyn and Sherri Kantor Mr. and Mrs. Irving Kao Mr. and Mrs. Wilfred Kaplan Carol and H. Peter Kappus Alex and Phyllis Kato Deborah and Ralph Katz Allan S. Kaufman, M.D. Dennis and Linda Kayes Brian Kelley Richard Kennedy Linda D. and Thomas E. Kcnney George L. Kenyon and
Lucy A. Waskell
David J. and JoAnn Z. Kcosaian Nancy Keppelman and
Michael Smerza John Kiely
Paul and Leah Kileny Jeanne M. Kin Howard King and Elizabeth
Jean and Arnold Kluge Dr. and Mrs. William L. Knapp Rosalie and Ron Koenig Michael I. Kondziolka Alan and Sandra Kortesoja Dr. and Mrs. Richard Krachenberg Jean and Dick Kraft Barbara and Ronald Kramer Doris and Don Kraushaar Edward and Lois Kr.iyn.ik Sara Kring William G. Kring Alan and fean Krisch Mr. and Mrs. John Lahiff Tim and Kathy Laing Mr. and Mrs. Seymour Lampert Henry and Alice Landau David and Darlene Landsittel Jerry and Marilyn Largin Carl F. and Ann L. La Rue Judith and Jerold Lax Fred and Ethel Lee Diane Lehman Jeffrey Lehman Ann M. Leidy Richard and Barbara Leite Derick and Diane Lenters Richard LeSucur David E. Levine Harry and Melissa LeVine George and Linda Levy David Lewis
Norman and Mira Lewis Ralph and Gloria Lewis Robert and Julie Lewis Tom and Judy Lewis Arthur and Karen Lindcnberg Mark Lindley and Sandy Talbott Dr. and Mrs. Richard H. Lineback Michael and Dcbra Lisull Margaret K. Liu and
Diarmaid M. O'Foighil Dr. and Mrs. F.A.Locke Dr. Lennart H. Lofstrom Julie M. Loftin Jane Lombard David Lootens Florence Lopatin Armando Lopez Rosas Barbara R. and Michael Lott Christopher and Carla Loving Lynn Luckenbach Marjory S. Luther Elizabeth L. Lutton William T. Lyons Walter Allen Maddox Morrine Maltzman Pia Maly Sundgren Pearl Manning
Sheldon and Geraldine Markcl
Erica and Harry Marsden
Irwin and Fran Martin
H.L. Mason
Wendy Massard
Debra Mattison
lanet Max
Glenn D. Maxwell
Carole Mayer
Olivia Maynard and
Olof Karlstrom Patrick McConnell Bob and Doris Melling Allen and Marilyn Menlo Lori and im Mcrcier Arthur and Elizabeth Messiter Helen Metzner Don and Lee Meyer Mrs. Suzanne Meyer Leo and Sally Micdlcr William and Joan Mikkclsen Carmen and Jack Miller Gerald A. and Carol Ann Miller Bob and Carol Milstein James and Kathleen Mitchiner Elaine Mogcrman Olga Ann Moir Mary Jane Molesky Mr. Erivan R. Morales and
Dr. Seigo Nakao Jean Marie Moran and
Stefan V. Chmielewski Arnold and Gail Morawa Robert and Sophie Mordis Dr. and Mrs. George W. Morley A. A. Moroun John and Michelle Morris Rick Motschall James and Sally Mueller Bernhard and Donna Muller Marci and Katie Mulligan Lisa Murray and Mike Gatti Lora G. Myers Lorraine Nadelman and
Sidney Warschauslcy Arthur and Dorothy Nesse Sharon and Chuck Newman William and Ellen Newsom Mr. and Mrs. James K. Newton John and Ann Nicklas Mrs. Marvin Nichuss Richard and Susan Nisbett Donna Parmelce and
William Nolting Christer and Outi Nordman Richard and Caroline Norman Richard S. Nottingham Jolanta and Andrzej Nowak Patricia O'Connor Maury Okun and Tina Topalian Elizabeth Olson and Michele Davis Nels R. and Mary H. Olson Paul L. and Shirley M. Olson Kathleen 1. Operhall Fred Ormand and
lnli.i Broxholm
David Orr and Gwynnc Jennings Dr. Jon Oscherwiiz Mr. and Mrs. James R. Packard Daniel and Laura Palomaki Anthea Papists Donna D. Park Bill and Katie Parker Sarah Parsons Robert and Arlene Paup William and Susan Pcnner Steven and Janet Pcpc Mr. Bradford Perkins Susan A. Perry
Advocates, continued
Douglas Phelps and
Gwendolyn Jessie-Phelps Nancy S. Pickus Robert and Mary Ann Pierce William and Betty Pierce Dr. and Mrs. James Pikulski Susan Pollans and Alan Levy Patricia J. Pooley Robert and Mary Pratt Jacob M. Price Tony and Dawn Procassini Lisa M. Profera Ernst Pulgram Jonathan Putnam Dr. G. Robina Qualc-Leach Mr. and Mrs. Mitchell RadclitT Dr. and Mrs. Robert Rapp Mr. and
Mrs. Robert H. Rasmussen Maxwell and Marjorie Reade Richard and Patricia Redman Michael J. Redmond Russ and Nancy Reed Dr. and Mrs. lames W. Reese Mr. and Mrs. Stanislav Rehak Mr. and
Mrs. Bernard E. Reisman J. and S. Remen Anne and Fred Remley Duane and Katie Renken Nancy Reynolds Alice Rhodes Lou and Sheila Rice Walton and Sandra Rice lames and Helen Richards Carol P. Richardson Betty Richart Lita Ristine
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$100,000 and above
Ford Motor Company Fund Forest 1 lealth Services
Corporation Pfizer Global Research and
Development: Ann Arbor
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$20,000-$49t999 Borders Group, Inc. DaimlerChrysler
Corporation Fund Office of the Senior Vice
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Company, Inc.
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(MS gratefully acknowledges
the support of the following foundations atul government agencies:
$100,000 and above
The Ford Foundation JazzNetDoris Duke Charitable
Foundation Michigan Council for Arts and
Cultural Affairs The Power Foundation Wallace-Reader's Digest Funds
S50,000-S99,999 Community Foundation for
Southeastern Michigan The Whitney Fund
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Presenters Arts Partners
Program National Endowment for
the Arts New England Foundation for
the Arts National Dance Project
$l,000-$9,999 Arts Midwest Gelman Educational
Foundation Heartland Arts Fund The Ibensfcld Foundation Mid-America Arts Alliance Molloy Foundation Montague Foundation THE MOSAIC FOUNDATION
(of R. and P. Heydon) Sams Ann Arbor Fund Ronlie EdwardsVibrant Ann
Arbnr Fund
$100-$999 Erb Foundation Maxineand Stuart Frankel Foundation
Contributions have been received in honor andor mentor)' of the following individuals:
Essel and Menakka Bailey
T. Earl Douglass
Alice Kelsey Dunn
Michael Govving
Dr. William Haeck
Carolyn Houston
Harold Jacobson
loel Kahn
Elizabeth E. Kennedy
Ted Kennedy, r.
William McAdoo
Frederick N. McOmbcr
Gwen and Emerson Powrie
Professor Robert Putnam
Ruth Putnam
Steffi Reiss
Margaret Rothstein
Eric H. Rothstein
Ned Shure
Dora Maria Sonderhoff
Wolfgang F. Stolper
Diana Stone Peters
Isaac Thomas
Charles R. Tieman
Brands V. Viola 111
Horace Warren
Carl H. Wilmot
Peter Holderness Woods
Elizabeth Yhouse
The Burton Tower Society recog?nizes and honors those very v cialfriends who have included UMS in their estate plans. UMS is grateful for this important support, which will continue the i;mii traditions of artistic excel?lence, educational opportunities and community partnerships in future years.
Orol ami Ik'rli Aimut
Dr. ami Mrs. David (i. Anderson
Mr. Neil I'. Anderson
Catherine S. Arcure
Mr. Ilillieri Beyer
Elizabeth Biihop
li ami Mrs. I'al E. lloromly I virin Bryant
I'ai anil teorge ' batai
Mr. and Mr. John Alden ( larl
Douglai D.Crary
ii Michael and ludith L i ndrei
Beverlcy and Gcrson Geltner ohn and Martha Hicks Mr. and Mrs. Richard Ives Marilyn Jeffs Thomas C. and
Constance M. Kinnear Charlotte McGeoch Michael G. McGuirc Dr. Eva Mueller Len and Nancy NiehofT Dr. and
Mrs. Frederick C O'Dell 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 I. Skelnar Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wetzel Mr. and Mrs. Ronald G. Zollars
The future success of the University Musical Society is secured in part by income from UMS's endowment. UMS extends its deepest appreciation to the many donors who have established andor contributed to the following funds.
H. Gardner Ackley
Endowment Fund Amster Designated Fund Catherine S. Arcure Endowment
Choral Union Fund Hal and Ann Davis Endowment
Ottmar Eberbach Funds Epstein Endowment Fund JazzNet Endowment Fund William R. Kinncy
Endowment Fund NEA Matching Fund Palmer Endowment Fund Mary R. Roniig-deYoung Music
Appreciation Fund Ourlc A. Sink Memorial Fund Catherine S. ArcureHerbert F.
Sloan Endowment Fund University Musical Society
Endowment Fund
a-i Rentals, Inc
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Ann Arbor Art Center
Ann Arboi Womcn'i' lltyOub
Arboi Brewing lo.
Aslilrt MeWI
Avantl Designer! I lu' Back Alley Gourmet k..... .f i lardwam
Lois .ind David Baru
Baxter's Wine Shop
Kathleen Beck
Bella Ciao Trattoria
Kathy Benton and Bob Brown
The Blue Nile Restaurant
Bodywise Therapeutic Massage
Mimi and Ron Bogdasarian
Borders Book and Music
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By the Pound
Cafe Marie
Cappellos Hair Salon
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D'Amato's Italian Restaurant
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Great Harvest Bread Company
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John's Pack & Ship
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1-aky's Salon
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Leopold Bros. Of Ann Arbor
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Mainstreet Ventures
Emesi and Jeanne Merlanti
lohn Metzger
Michael Susanne Salon
Michigan Car Services, Inc. and
Airport Sedan, LTD Moe Sport Shop.-. Inc. Robert and Melinda Morris loaiinc Navarre Nicola's Books, Little Professor
Book Co.
Paesano's Restaurant Pfizci Global Research and
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Orchestra 44 Automated Resource
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Import Center
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Furniture Service 40 Miller, Canfield,
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of Ann Arbor 24 Sweetwaters Cafc 40 Ufer&Co. 38 UM Museum of Art 32 UMS Development 16 UM School of Music 40 United Bank & Trust 42 University Commons
Blue Hill
Development 28 WDET 10 WEMU 32 WGTE 30 WKAR C WUOM
Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music
Lynne Aspnes, Hnrp Andrew Barnhart, Cello Eileen Brownell, Cello Katri Ervajnaa, Cello Soren Hermansson, Horn Freda Herseth, Soprano
Martin Katz, Piano Mary Ellen Morris-Kim, Cello Fred Orinand, Clarinet Carmen Pelton, Soprano Jonathan Shames, Conductor
Duets, Op. 63
Felix Mendelssohn
Ich wollt, meine Lieb' ergosse sich, No. 1 (Heinrich Heine)
Ich wollt, meine Lieb' ergosse sich all
ill ein einzig Wort, Das gab ich den luft'gen Winden,
die trugen es lustig fort.
Sie tragen zu dir, Geliebte,
das lieberfullte Wort; Du hoerst es zu jeder Stunde,
du horst es an jedem Ort.
Und du hast zurn nachtlichen Schlummer
geschlossen die Augen k.iiiin. So wird dich mein Bild dich verfolgen,
bis in den tiefeten Trauin.
I Want to Pour Out All My Love, No. 1
I want to pour out all my love to you
in just one word, Which 1 would give to the eager breezes
to carry it forth.
They would bring it to you, Beloved,
this word full oflove; You would hear it every hour,
in every place.
And when you had scarcely closed your eyes
in nocturnal slumber, My picture would follow you
in your deepest dream.
Abscliiedslied der Zugvogel, No. 2 (August Heinrich Hoffmann von Fallersleben)
Wie war so schon doch Wald und Feld!
Wie ist so traurig jetzt die Welt! Min ist die schone Sommerzeit
und nach der Freude kam das Leid.
Wir wufiten nichts von Ungemach, wir safien unterm Laubesdach
Vergnilgt und froh beim Sonneiischein, und sangen in die Welt hinein.
Wir armen Voglein trauern sehr, wir haben keine Ileimat mehr,
Wir miiSen jetzt von hinnen flielin, und in die weite Fremde ziehn!
Farewell Song of the Birds of Passage, No. 2
How beautiful it was in wood and field!
How sad the world is now! Gone is the lovely summertime,
and after joy came sorrow.
We knew nothing of grief,
we sat in the shelter of the grove
Pleasant and happy in the sunshine, we sang out into the world.
We poor birds mourn so,
for we have no longer any home,
We must now flee from her
and drift through the wide aJien world!
Volkslied ("O wert thou in the cauld blast"), No. 5 (Ferdinand Freiligrath)
O wert thou in the cauld blast on yonder lea, My plaidie to the angry airt I'd shelter thee. Or did misfortune's bitter storms around thce blavv, Thy bield should be my bosom to share it a'.
Or were I in the wildest waste, sae black and bare, The desert were a paradise if thou were there. Or were I monarch of the globe with thee to reign, The brightest jewel in my crown wad be my queen.
Maiglockchen und die Blumelein, No. 6 (Hoffman von Fallersleben)
Maiglftckchen lautet in dem Tlial,
das klingt so hell und fein: "So kommt zum Reigen aJlzumal,
ihrlieben Blumelein!" Die Blumchen, blau und gelb und weiG,
die kommen all herbei, VergiBmeinnicht und Ehrenpreis und
Veilchen sind dabei.
Maiglockchen spielt zum Tanz im Nu
und aJle tanzen dann; Der Mond sieht ihnen freundlich zu,
hat seine Freude dran. Den Junker Reif verdroG das sehr,
er kommt in's Thai hinein, Maiglockchen spielt zum Tanz nicht mehr,
fort sind die Bliimelein.
Doch kaum der Reif das Thai verla'Gt,
da rufet wieder schnell Maiglockchen ai dem Friihlingsfest und
lautet doppelt hell. Nun halt's auch mich nicht mehr zu Haus,
Maiglockchen ruft auch mich; Die Blumchen gehn zum Tanz hinaus,
zum Tanze geh auch ich.
Maybells and the Little Flowers, No. 6
The maybell rings in the valley,
it resounds so brightly and delicately: "Come on, everyone to the dance,
you lovely blossoms'" Flowers, blue, yellow and white,
they all come, Forgetmenots and violets
are there too.
The maybell plays a merry tune
and everyone dances; The moon looks down friendly,
and is overjoyed to see them. But this irritated Jack Frost so,
he came down into the valley, The maybell plays no more,
and the blossoms are gone.
But as soon as frost left the valley,
quickly called again The maybell to the host of spring and
resounded doubly bright. Now even I cannot stay at home,
the maybell is calling me too; And if the blossoms are going to the dance,
I will go also.
Being Beauteous
Hans Werner Henzc (Arthur Rimbaud)
Dcvant une neige un ?tre
de Beaute de haute taille. Des sitTlements de mort et des cercles
de inusique
sourde font inonter, s'elargir et trembler cornme un spectre ce corps adore: des
biessures ecarlates et noires eclatent dans
les chaires superbes. Les couleuis propres de la vie se foncent,
dansent, et se degagent autour de la Vision, sur le chantier. Et les frissons s'elevent et grondent, el la
saveur forcenee de ces effets se
chaigeant avec les sifQements mortels et les rauques
musiques que le monde, loin derriere nous, lance sur notre mere
de beaute, elle recule, elle se dresse. Oh! nos os sont revetus d'un nouveau
corps amoureux.
0 la face cendree, l'ecusson de crin,
les bras de cristal! Le canon sur lequel je dois m'abbatre a
travers la melee des arbres et de Fair leger!
Against a background of snow,
a tall Being of Beauty. Death's wheezing and circles of muffled
music cause
this adored body to rise, to swell, to quiver like a spectre; scarlet and black wounds
break out on the glorious flesh.
The true colors of life deepen,
dance and detach themselves around the Vision in the making. And tremors rise and rumble, and the
frenzied flavor of these effects,
being burdened with the dying gasps and mucous
music that the world, far behind us, hurls at our mother
of beauty, recoils and rears up. Oh! Our bones are dressed in a new and
loving body.
Ah! The ashen face, the horsehair
escutcheon, the crystal arms! the cannon at which 1 must charge across
the tangle of trees and soft air!

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