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UMS Concert Program, Friday Oct. 03 To Oct 17: University Musical Society: Fall 2003 - Friday Oct. 03 To Oct 17 --

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Day
3
Month
October
Year
2003
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Rights Held By
University Musical Society
OCR Text

Season: Fall 2003
University Of Michigan, Ann Arbor

ums
University Musical Society
of the University of Michigan
Fall 2003 Season
125th ums season
university musical society
University of Michigan Ann Arbor
UMS leadership
Letters from the Presidents Letter from the Chair
Corporate Leaders Foundatio
UMS Board of Directors IS '
Advisory Committee m
UMS Staff Teacher Advwoly Committee
UMSservices 15 General Information
16 Tickets jH
17 Gift Certificates jjHlH
19 www.ums.org HPHR
UMSannats 21 UMS History K
22 UMS Choral Union WT"-thbbbj
23 Venues Burton Memorial Tower H
UMSexperience 27 The 125th UMS Season
30 Education & Audience Development
33 UMS Preferred Restaurant & Business Prograi
UMSsupport 35 Advisory Committee mM
35 Sponsorship & Advertising
37 Internships & College Work-Study Ushers)
37 BRAVO!
39 Support _____________
48 UMS Advertisers H
Frant Coven Miami City lallet (Philip Btrminghjm), Church of the Savior on llood (Jack tollman), Wynton Marsalis (Keith Major), Mark Rylance as Olivia in Globe Theatre's Twelfth Night, lack Coven Sketch of Igor Stravinsky by Pablo Picasso (lettmannCORBIS), loston Pops Esplanade Orchestra (Michael lutch). r
FROM THE U-M PRESIDENT
he University of Michigan joins the University Musical Society (UMS) in welcoming you to its 125th Anniversary Season. We are proud of the wonderful partnership between our two organizations and of the role of the University as co-sponsor of several events on this season's calendar. In addition to
reflecting the artistic beauty and passion that are integral to the human experience, these jointly sponsored events are also wonderful opportunities for University of Michigan students and faculty to
learn about the creative process and the sources of inspiration that motivate artists and scholars.
Several superb productions will result from our partnership. The current season includes an exciting collaboration of UMS, the University of Michigan Museum of Art, and the University's Center for Russian and East European Studies. This alliance is creating a multidisciplinary festival, Celebrating St. Petersburg, 300 Years of Cultural Brilliance. Among the brilliant offerings in the series is Alexander Pushkin's Boris Godunov, directed by Declan Donnellan, a Royal Shakespeare Company alumnus. It will be performed in Russian with English supertitles. The University and UMS will also jointly pres?ent an authentic Elizabethan production by Shakespeare's Globe Theatre: the witty comedy Twelfth Night, which will have a week of performances in the Michigan Union Ballroom. The historically accurate
production is presented in association with the 100th Anniversary Celebration of the Michigan Union.
We are delighted to welcome UMS back to Hill Auditorium in time to celebrate its 125th Anniversary with concerts and revelry between January 17-19. Some of the high?lights of the year will include a festive gala dinner full of surprises on January 17, and a rare appearance of the marvelous Orchestre Revolutionnaire et Romantique and the Monteverdi Choir on January 18. The weekend will conclude with the Jazz Divas Summit on January 19, as the University and UMS jointly commemorate Martin Luther King Jr. Day.
I want to thank the faculty and staff of the University of Michigan and the University Musical Society for their hard work and dedication in making our partnership a success. The University of Michigan is pleased to support the Univer?sity Musical Society during this exhilarating 0304 season, and we share the goal of making our co-presentations academic and cultural events that benefit the university community and the broadest possible constituency.
m
Sincerely,
Mary Sue Coleman
President, University of Michigan
FROM THE UMS PRESIDENT
hank you for joining us for this performance during UMS's historic _ 125th season. We appreciate your support of the performing arts and of UMS, and we hope that we'll see you at more of our programs during this milestone season. Check the complete listing of UMS's 0304 events beginning on p. 27 and on our web-
site at www.ums.org. UMS is the oldest university-related per?forming arts presenting organization in the United States. From its founding in 1879 as the Choral Union under
U-M Professor Henry Simmons Frieze to the current day, UMS has sought to bring to the community the very best in the performing arts from around the world. When I think about how UMS has been able to pursue and carry out this commit?ment to excellence for more than a century, six factors come to mind:
1) The incredible support of you, the audience. I place at the very top of this list the outstanding support UMS has received over its entire history from the people of Michigan and northern Ohio. By your faithful attendance and generous financial support -one of our most generous patrons has been a Choral Union Series subscriber for over 60 years -UMS has not only thrived locally but has become one of the leading presenters in the US. Internationally renowned artists and ensembles often tell us following their tours in the US that the Ann Arbor audi-
ence was the best on the tour -in its size, sophistication, and enthusiastic response. Thank you!
2) Our unique relationship with the University of Michigan. Years ago, enlightened leaders of both UM and UMS determined that UMS should be an independent organization, but one with a special affiliation with the University. This unique relationship has enabled us to develop many mutually beneficial programs that serve both the University and the larger community. While UMS does not receive general fund or student-fee support, we have been able to seek and receive special support from the University when we have faced an unanticipated challenge or an extraordinary artistic opportunity. Those who study uni?versitypresenter partnerships have told us that ours with U-M is the most effective in the US. To our most significant, long-time partner, we say thank you!
3) Abundant, high-quality performance venues. How fortunate that we have in a community of our size so many remark?able venues for our performances, includ?ing Hill and Rackham Auditoriums, Power Center, Mendelssohn Theatre, Michigan Theater, St. Francis of Assisi Catholic Church, EMU Convocation Center, and the others we use now and have used in the past. Such a diverse array of facilities enables us to provide an appropriate venue for whatever artistic genre we are present?ing. Please join us for the weekend events January 17-19 when UMS returns to the renovated and restored Hill Auditorium.
4) A century of bold impresarios. We need only to be reminded of former UMS President Charles Sink's ability to convince the most famous singer in the world, Enrico Caruso, to perform in Hill Auditorium in 1919 to appreciate the imagination, negoti?ating skills, and chutzpah that characterized the impresarios who led UMS through its first century. The last of this special group was Mr. Gail Rector, who led UMS with great distinction until his retirement in 1987 and who has recently returned from the south to live in Ann Arbor. When you see him at our concerts, please take a moment to thank him for his contributions to UMS. Gail and his predecessors continue to inspire the current UMS team every day as we recall their single-minded determina?tion to bring the very best to Ann Arbor, no matter what!
5) Outstanding volunteers. Put quite simply, UMS could not exist were it not for nearly 700 volunteers who serve UMS now and for the thousands of others who preceded them over the years. Each member of the 150-voice Choral Union, 300-member UMS Usher Corps, 39-member Teacher Advisory Committee, 10-member Student Intern Corps, 46-member Advisory Committee, 63-member Senate, and 34-member Board of Directors is a volun?teer, giving their time and talents to UMS. We are deeply grateful for their dedication and service.
6) Remarkable staff. I am privileged to work with unusually talented, creative, hardworking, and loyal staff colleagues. Frequent turnover is the norm for arts organizations, yet the team of UMS department heads has an average tenure with UMS of 11 years. This is remarkable. Each member of this team -Sara Billmann, Ben Johnson, John Kennard, Michael Kondziolka, and Susan McClanahan -has achieved a measure of national leader?ship in his or her respective areas of expertise. The remainder of the staff is comprised of equally dedicated colleagues who share the management team's commit?ment to serving the mission of UMS. We are pleased to recognize the contributions of UMS's longest serving staff member, Sally Cushing, when she celebrates her 35th anniversary with UMS this fall.
Feel free to get in touch with us if you have any questions or problems. The best place to begin is with our Ticket Office at 734.764.2538. 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, please send me an email message at kenfisch@umich.edu or call me at 734.647.1174.
Very best wishes,
Kenneth C. Fischer UMS President
LETTER FROM THE CHAIR
'elcome to the 0304 season! In the University Musical Society's 125th season, there is much to celebrate. We can look forward to the St. Petersburg celebration with Valery Gergiev and the Kirov Orchestra, the Globe Theatre's pro?duction of Twelfth Night, and the Israel Philharmonic among many. Most impor-
tantly, Saturday, January 17, 2004 brings an exciting concert that celebrates UMS's return to Hill Auditorium and 125 years of UMS history. Our tradition of bringing
excellent music, theater, and dance to the southeast Michigan community has grown to include education for the whole com?munity -school children, university students, and adults -and the creation of new and exciting works such as those that have come to us through the Royal Shakespeare Company.
The rich cultural history of UMS is one I know you want to continue. Many of you made extraordinary efforts to ensure our future by making an additional gift, or an increased gift, after you learned of our budgetary challenges last spring. We greatly appreciate your support, which helped to keep us on solid financial ground.
I hope you will continue to keep UMS high on your list of philanthropic priorities. If you haven't made a gift before, or haven't made a gift for some while, I hope you will consider doing so. In addition to your annual gift, you may be able to provide for UMS in a more substantial and longer-lasting way, with a gift to endowment or through a trust or bequest arrangement. Susan McClanahan, Director of Develop?ment, would be pleased to talk with you about ways of making your gift that will benefit you as well as UMS. Remember, your gift to UMS ensures the continuation of the brilliant programming and educa?tional activities for future generations.
Sincerely,
Prue Rosenthal
Chair, UMS Board of Directors
UMSleadership
Sandra Ulsh
Vice President and Executive Director, Ford Motor Company Fund -Biiiipl "Through music and the arts we are inspired to broaden our horizons, bridge differences among cultures and set our spirits free. We are proud to support the University Musical Society and acknowl?edge the important role it plays in our community."
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 sup?port 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 enriching the life of our community by our sponsorship of the 0304 season."
Erik W. Bakker
Senior Vice President, Bank One, Michigan "Bank One is honored to be a partner with the University Musical Society's proud tradition of musical excellence and artistic diversity."
Habte Dadi
Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organization that provides such an important service to Ann Arbor."
Greg Josefowicz
President and CEO, Borders Group, Inc. "As a supporter of the University Musical Society, Borders Group is pleased to help strengthen our community's commitment to and appreciation for artistic expression in its many forms."
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."
Clayton Wilhite
Managing Partner, CFI Group, Inc. "We're pleased to be in the group of community businesses that supports UMS Arts and Education. We encourage those who have yet to participate to join us. Doing so feels good."
Rhonda Davenport
Group Manager & First Vice President of Ann Arbor Region, Comerica Incorporated "Our communities are enriched when we work together. That's why we at Comerica are proud to support the University Musical Society and its tradition of bringing the finest in performing arts to our area."
Erin R. Boeve
Sales Manager, Crowne Plaza "The Crowne Plaza is a proud supporter and sponsor of the University Musical Society. The dedication to education through the arts is a priceless gift that continually enriches 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.' So do UMS programs. The DTE Energy Foundation salutes your efforts to enrich the quality of our lives through your music."
Edward Surovell
President, Edward Surovell Realtors "Edward Surovell Realtors and its 300 employees and sales associates are proud of our 20-year relationship with the University Musical Society. We honor its tradition of bringing the world's leading performers to the people of Michigan and setting a standard of artistic leadership recognized internationally."
Leo Legatski
President, Elastizell Corporation of America "UMS has survived the cancellations of September 2001, the renovation of Hill Auditorium, and budget cutbacks this past year. They need your support-more than ever--to continue their outstanding pro?gramming and educational workshops."
Brian Campbell
President & CEO, Kaydon Corporation "For over a century, the University Musical Society has been a national leader in arts presentation. Kaydon Corporation is honored to be counted among the supporters of this proud tradition of musical and artistic excellence."
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."
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 excellence which enhances and strengthens our community."
Erik H. Serr
Principal, Miller, Canfield, Paddock & Stone, P.L.C. "Miller Canfield is a proud supporter of the University Musical Society and its contribution to the culture of our community through its presen?tation of wonderful and diverse cultural events which contribute substantially to inspiration and enrichment of our community."
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."
Don Hawkins
Senior Vice President, Director of Community Affairs, TCFBank
"TCF Bank is pleased to join the University Musical Society to make the arts accessible to students of diverse backgrounds. How thrilling to see children's faces, experiencing their first performance as only UMS can present."
Sharon L. Beardman
Regional Vice President, TIAA-CREF Individual and Institutional Services, Inc.
"TIAA-CREF is proud to be associated with one of the best universities in the country and the great tradition of the University Musical Society. We celebrate your efforts and appreciate your commitment to the performing arts community."
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 provides the best in educational and artistic entertainment."
UMS gratefully acknowledges the support of the following foundations and government agencies.
$100,000 and above Association of Performing Arts
Presenters Arts Partners Program Doris Duke Charitable Foundation The Ford Foundation JazzNet Michigan Council for Arts and
Cultural Affairs The Power Foundation The Wallace Foundation
$50,000 99,999
Anonymous
Community Foundation for
Southeastern Michigan National Endowment for the Arts The Whitney Fund
$10,000 49,999
Continental Harmony
New England Foundation for the Arts
$1,000 9,999
Akers Foundation
Arts Midwest
Heartland Arts Fund
The Lebensfeld Foundation
Maxine and Stuart Frankel Foundation
Mid-America Arts Alliance
The Molloy Foundation
Montague Foundation
THE MOSAIC FOUNDATION
(of R. and P. Heydon) Sams Ann Arbor Fund The Sneed Foundation, Inc. Vibrant Ann Arbor Fund
UNIVERSITY MUSICAL SOCIETY
of the University of Michigan
UMS BOA,
DI RECTO
Prudence L. Rosenthal,
Chair Clayton Wilhite,
Vice-Chair Jan Barney Newman,
Secretary Erik H. Serr, Treasurer
Michael C. Allemang Janice Stevens Botsford Kathleen G. Charla Mary Sue Coleman Hal Davis
Sally Stegeman DiCarlo Aaron P. Dworkin David Featherman George V. Fornero Beverley B. Geltner
Debbie Herbert Carl Herstein Toni Hoover Alice Davis Irani Gloria James Kerry Barbara Meadows Lester P. Monts Alberto Nacif Gilbert S. Omenn Randall Pittman
Philip H. Power Doug Rothwell Judy Dow Rumelhart Maya Savarino Cheryl L. Soper Peter Sparling James C. Stanley Karen Wolff
(former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Lee C. Bollinger Paul C. Boylan Carl A. Brauer Allen P. Britton William M. Broucek Barbara Everitt Bryant Letitia J. Byrd Leon S. Cohan Jill A. Corr Peter B. Corr Jon Cosovich Douglas Crary
Ronald M. Cresswell Robert F. DiRomualdo James J. Duderstadt Robben W. Fleming David J. Flowers William S. Hann Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Kay Hunt Stuart A. Isaac Thomas E. Kauper David B. Kennedy Richard L Kennedy Thomas C. Kinnear F. Bruce Kulp
Leo A. Legatski Earl Lewis Patrick B. Long Helen B. Love Judythe H. Maugh Paul W. McCracken Rebecca McGowan Shirley C. Neuman Len Niehoff Joe E. O'Neal John D. Paul John Psarouthakis Rossi Ray-Taylor Gail W. Rector John W. Reed Richard H. Rogel Ann Schriber
Daniel H. Schurz Harold T. Shapiro George I. Shirley John O. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A. Solis Lois U. Stegeman Edward D. Surovell James L. Tclfer Susan B. Ullrich Eileen Lappin Weiser Gilbert Whitaker B. Joseph White Marina v.N. Whitman Iva M. Wilson
ADVISORY COMMITTEE
Louise Townley, Chair Raquel Agranoff, Vice
Chair Morrine Maltzman,
Secretary I
Jeri Sawall, Treasurer 1 Barbara Bach ?
Paulett M. Banks Milli Baranowski Lois Baru j
Kathleen Benton Mimi Bogdasarian
Jennifer Boyce Mary Breakey leannine Buchanan Victoria Buckler Laura Caplan Cheryl Cassidy Nita Cox Norma Davis Lori Director H. Michael Endres Nancy Ferrario Sara B. Frank
Anne Glendon Alvia Golden Kathy Hentschel Anne Kloack Beth Lavoie Stephanie Lord Judy Mac Esther Martin Mary Matthews Ingrid Merikoski Jeanne Merlanti Candice Mitchell
Bob Morris Bonnie Paxton ??? Danica Peterson Wendy Moy Ransom Swanna Saltiel Penny Schreiber Sue Schroeder Aliza Shevrin Loretta Skewes Maryanne Telese Dody Viola Wendy Woods
UMS STAFF
Administration
Finance
Kenneth C. Fischer, President
Elizabeth E. Jahn, Assistant to the
President John B. Kennard, Jr., Director of
Administration
Chandrika Patel, Senior Accountant John Peckham, Information Systems
Manager Alicia Schuster, Gift Processor
Choral Union
lerry Blackstone, Interim Conductor
and Music Director Jason Harris, Associate Conductor Steven Lorenz, Assistant Conductor Kathleen Operhall, Chorus Manager Jean Schneider, Accompanist Donald Bryant, Conductor Emeritus
Development
Susan McClanahan, Director
Mary Dwyer, Manager of Corporate
Support Julaine LeDuc, Advisory Committee
and Events Coordinator Lisa Michiko Murray, Manager of
Foundation and Government Grants M. Joanne Navarre, Manager of
Annual Fund and Membership Lisa Rozek, Assistant to the Director
of Development
EducationAudience Development
Ben Johnson, Director Amy Jo Rowyn Baker, Youth
Education Manager Erin Dahl, Coordinator Warren Williams, Manager
MarketingPublic Relations
Sara Billmann, Director Susan Bozell, Marketing Manager Nicole Manvel, Promotion Coordinator
Programming
Production
Michael J. Kondziolka, Director
Emily Avers, Production -
Administrative Director Jeffrey Beyersdorf, Technical
Coordinator
Jasper Gilbert, Technical Director Susan A. Hamilton, Artist Services
Coordinator Mark Jacobson, Programming
Manager Bruce Oshaben, Head Usher
Ticket Services
Nicole Paoletti, Manager Sally A. Cushing, Associate Jennifer Graf, Assistant Manager William P. Maddix, Assistant Manager
Work-Study
Jeff Barudin Nicole Blair Aubrey Lopatin Natalie Malotke Melissa McGivern Nadia Pessoa
Fred Peterbark '?-----,..
Jennie Salmon Sean Walls
Interns
Michelle Jacobs
President Emeritus
Gail W. Rector
,ER AD VIS1
Fran Ampey Lori Atwood Robin Bailey Joe Batts Kathleen Baxter Elaine Bennett Lynda Berg Gail Bohner Ann Marie Borders David Borgsdorf
Sigrid Bower Susan Buchan Diana Clarke Hayes Dabney Wendy Day Susan Filipiak Jennifer Ginther Brenda Gluth i Barb Grabbe j Pamela Graff i
Nan Griffith Joan Grissing Lynn Gulick Carroll Hart Barb Harte Bill Hayes Sandy Hooker Susan Hoover Silka Joseph JeffKass
Rosalie Koenig Sue Kohfeldt Laura Machida Ken McGraw Patty Meador i Don Packard Susan Pollans i Katie Ryan ' Julie Taylor
U MS services
Barrier-Free Entrances ??
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for
Listening Systems feMitfB-
For hearing-impaired persons, the Power Center, Hill Auditorium, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Rackham Auditorium, and Power Center please call University Productions at 734.763.5213. For items lost at St. Francis of Assisi Catholic Church, Michigan Theater, Crisler Arena, Pease Auditorium, Michigan Union, Nichols Arboretum, U-M Sports Coliseum, or EMU Convocation Center, please call the UMS Production Office at 734.615.1444.
Parking
Please allow plenty of time for parking as the campus area may be congested. Parking is avail?able in the Liberty Square (formerly Tally Hall), Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures 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 com?plimentary parking passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for Hill Auditorium performances in the 0304 Choral
Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before each 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 visit the UMS website at www.ums.org.
Refreshments
Refreshments are served in the lobby during intermissions of events in the Power Center and Hill Auditorium, and are available in the Michigan Theater. Refreshments are not allowed in the seating areas.
Smoking Areas
University of Michigan policy forbids smoking in any public area, including the lobbies and
Latecomers
Latecomers will be asked to wait in the lobby until a predetermined time in the program, when they will be seated by ushers. UMS staff works with the artists to determine when late seating will be the least disruptive to the artists and other concertgoers.
1 n an effort to help reduce distracting i noises and enhance the theater-ing experience, Pfizer Inc is providing mplimentary Halls Mentho Lyptus ugh suppressant tablets to patrons tending UMS performances through-0304 season.
I Person
he UMS Ticket Office and the hiversity Productions Ticket Office ive merged! Patrons are now able to urchase tickets for UMS events and ; Jiool of Music events with just one lone call or visit.
a result of this transition, the walk-.? window is conveniently located at ,e League Ticket Office, on the north d of the Michigan League building at . 1 North University Avenue. The icket Office phone number and mail-ig address remain the same.
Note New Hours
"on-Fri: 9 am-5 pm _ t: 10am-lpm
By Phone 734.764.2538
Outside the 734 area code, call toll-free 800.221.1229
y Internet WWW.UITIS.Org
By Fax 734.647.1171
i
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.
90 mini
Returns
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the Ticket Office. Refunds are not available; however, you will be given a receipt for an income tax deduction. Please note that ticket returns do not count toward UMS membership.
Subscription Ticket Exchanges
Subscribers may exchange tickets free of charge. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance. You may fax a photo?copy of your torn tickets to 734.647.1171.
Single Ticket Exchanges
Non-subscribers may exchange tickets for a $5 per ticket exchange fee. Exchanged tickets must be received by the Ticket Office (by mail or in per?son) at least 48 hours prior to the performance. You may fax a photocopy of your torn tickets to 734.647.1171. Lost or misplaced tickets cannot be exchanged. :
Group Tickets
When you bring your group to a UMS event, you will enjoy the best the performing arts has to offer. You can treat 10 or more friends, co-workers, and family members to an unforgettable performance of live music, dance, or theater. Whether you have a group of students, a business gathering, a college reunion, or just you and a group of friends, the UMS Group Sales Office can help you plan the perfect outing. You can make it formal or casual, a special celebration, or just friends enjoying each other's company. The many advantages to booking as a group include:
reserving tickets before tickets go on sale to the general public
discounts of 15-25 for most performances
accessibility accommodations
no-risk reservations that are fully refundable up to 14 days before the performance
1-3 complimentary tickets for the group organizer (depending on size of group). Comp tickets are not offered for performances with no group discount.
For information, contact the UMS Group Sales Hotline at 734.763.3100 or umsgroupsales@umich.edu.
Discounted Student Tickets
Did you know Since 1990, students have pur?chased over 144,000 tickets and have saved more than $2 million through special UMS student programs! UMS's commitment to affordable stu?dent tickets has permitted thousands to see some of the most important, impressive and influential artists from around the world. For the 0304 sea?son, students 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 any event for 50 off the published price. This extremely popular event draws hundreds of students every fall -last year, students saved over $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 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 Student 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 0304 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.
Gift Certificates
Looking for that per?fect meaningful gift that speaks volumes about your taste
Tired ot giving flowers, ties or jewelryV Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than 80 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.
New This Year! UMS Gift Certificates are valid for 12 months from the date of purchase and do not expire at the end of the season.
oin the thousands of savvy people who log _ onto www.ums.org each month! ""
Why should you log onto www.ums.org
In September, UMS launched a new web site, , with more information that you can use: 7
Tickets. Forget about waiting in long ticket ines. Order your tickets to UMS performances online! You can find your specific seat location aefore you buy.
UMS E-Mail Club. You can join UMS's E-Mail Club, with information delivered directly to your inbox. Best of all, you can customize your account so that you only receive information you desire -including weekly e-mails, genre-specific event notices, encore information, edu?cation events, and more! Log on today!
Maps, Directions, and Parking. Helps you get where you're going...including insider parking tips!
Education Events. Up-to-date information detailing educational opportunities surround?ing each performance.
Online Event Calendar. Lists all UMS perform?ances, educational events, and other activities at a glance.
Program Notes. Your online source for per?formance programs and in-depth artist infor?mation. Learn about the artists and repertoire before you enter the performance!
Sound and Video Clips. Listen to recordings from UMS performers online before the concert.
CyberSavers. Special weekly discounts appear?ing every Wednesday, only available online.
Development Events. Current information on Special Events and activities outside the concert hall. Make a tax-deductible donation online!
UMS Choral Union. Audition information and performance schedules for the UMS Choral Union. !
Photo Gallery. Photos from recent UMS events and related activities.
Student Ticket Information. Current info on rush tickets, special student sales, and other opportunities for U-M students.
UMSannals
hrough an uncompromising commit?ment to Presentation, Education, j_ and the Creation of new work, the University Musical Society (UMS) __ serves Michigan audiences by bring?ing to our community an ongoing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live , performing arts world. Over its 125 years, strong leadership coupled with a devoted com?munity has placed UMS in a league of interna?tionally-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 commitment 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
Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
and world music performers, and opera and theater. Through educational endeavors, com?missioning 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 70 performances 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 and Ypsilanti.
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 organij zation that supports itself from ticket sales, j corporate and individual contributions, foun'. dation and government grants, special project support from U-M, and endowment income.
NION
' hroughout its 125-year history, the UMS Choral Union has performed with many of the world's distin?guished 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 performances of large-scale works for chorus and orchestra. Eleven 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 Meadow Brook for subscription performances of Stravinsky's Symphony of Psalms, John Adams' Harmonium, Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe and Brahms'
Participation in the Choral Union remains open to all by audition. Members share one common passion--a love of the choral art.
Ein deutsches Requiem, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
In 1995, the Choral Union began accepting 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. During the 9697 season, the Choral Union again expanded its scope to include per?formances with the Grand Rapids Symphony, joining with them in a rare presentation of Mahler's Symphony No. 8 (Symphony of a Thousand).
Led by interim conductor Jerry Blackstone, the Choral Union will open its current season with performances of Verdi's Requiem with th DSO in September. In December the chorus
will present its 125th series of annual perform?ances of Handel's Messiah. The Choral Union's season will conclude with a performance of William Bolcom's Songs of Innocence and of Experience in the newly renovated Hill Auditorium.
The Choral Union's 0203 season included 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. The Choral Union's sea?son concluded in March with a pair of magnifi?cent French choral works: Honegger's King David, accompanied by members of the Greater Lansing Symphony Orchestra, and Durufle's mystical Requiem, accompanied by internation?ally renowned organist Janice Beck.
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 theater favorites with Erich Kunzel and the DSO at Meadow Brook. The 72-voice Concert Choir drawn from the full chorus has performed Durufle's Requiem, the Langlais Messe Solennelte, 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. Comprised of singers from Michigan, Ohio and Canada, members of the Choral Union share one common passion -a love of the choral art. For more informa?tion about membership in the UMS Choral Union, e-mail choralunion@umich.edu or call 734.763.8997.
The 0304 UMS season will include performances by the world's celebrated music, dance and theater artists in 11 venues in Ann Arbor and Ypsilanti.
Hill Auditorium
he 18-month $38.6-million dollar renovations
to Hill began on May 13, 2002 overseen by Albert Kahn Associates, Inc., and historic preservation architects Quinn EvansArchitects. Originally built in 1913, current renovations will update Hill's infrastructure and restore much of the interior to its original splendor. Exterior renovations will include the reworking of brick paving and stone retaining wall areas, restoration of the south entrance plaza, the reworking of the west barrier-free ramp and loading dock, and improvements to landscaping.
Interior renovations will include the demo?lition of lower-level spaces to ready the area for future improvements, the creation of additional restrooms, the improvement of barrier-free cir?culation by providing elevators and an addition with ramps, the replacement of main-level seating to increase patron comfort, introduction of barrier-free seating and stage access, the replace?ment of theatrical performance and audio-visual systems, and the complete replacement of mechanical and electrical infrastructure systems for heating, ventilation, and air conditioning.
When it re-opens in January 2004, Hill Auditorium will seat 3,540.
www.plantext.bf.umich.eduplantextproject 7BurtonWebCam.html
Hill Auditorium Renovation Project Website
www.umich.eduurelhillindex.html
Hill Auditorium Construction Website at:
-.plantext.bf.umich.eduplantextprc
Power Center
he Power Center for the Performing Arts was
bred from a realization that the University of Michigan had no adequate proscenium-stage theater 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 built 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 the?ater." The Powers were immediately interested, realizing that state and federal government were unlikely to provide financial support for the construction of a new theater.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieves the seemingly contradictory combination of providing a soaring interior space with a unique level of intimacy. Architectural features include two large spiral staircases leading from the orchestra level to the balcony and the well-known mirrored glass panels on the exterior. No seat in the Power Center is more than 72 feet from the stage. The lobby of the Power Center features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
The Power Center seats approximately 1,400 people.
Rackham Auditorium
ifty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, Newberry Hall and the current 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 Rackham Auditorium, but also to establish a $4 million endowment to further the development of graduate studies. Even more remarkable than the size of the gift, which is still considered one of the most ambi?tious ever given to higher-level education, is the fact that neither of the Rackhams ever attended the University of Michigan.
Designed by architect William Kapp and architectural sculptor Corrado Parducci, Rackham Auditorium was quickly recognized as the ideal venue for chamber music. In 1941, the Musical Society presented its first chamber music festival with the Musical Art Quartet of New York performing three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
Michigan Theater
The historic Michigan Theater opened January 5, 1928 at the peak of the vaudeville movie 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. With broad community support, the Foundation has raised over $8 million to restore and improve the Michigan Theater. The beautiful interior of the theater was restored in 1986. In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addition, which also included expanded restroom facili?ties for the historic theater. The gracious facade and entry vestibule was restored in 2000 and the balcony and backstage restorations have been completed.
St. Francis of Assisi Catholic Church
In June 1950, Father Leon Kennedy was appointed 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 to more than 2,800 today. The present church seats 900 people and has ample free parking. In 1994 St. Francis purchased a splendid 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 contemplation of sacred a cap-pella choral music and early music ensembles.
Crisler Arena
Crisler Arena, home to the Michigan Wolverine basketball teams, stands as a tribute to the great Herbert O. "Fritz" Crisler, Michigan's third all-time winning football coach. Crisler served 10 years as Michigan's football coach (1938-1947) and 27 years as athletic director (1941-1968) of the University. The arena was designed by Dan Dworksky under the architec?tural firm of K.C. Black & C.L. Dworsky and opened in 1968. While serving as a site of Big Ten Conference championship events, Crisler has also played host to popular acts such as Pearl Jam, Bill Cosby, the Grateful Dead, and even Elvis Presley during his final concert tour. In 2002, UMS presented its first concert in Crisler Arena, the Boston Pops Esplanade Orchestra Christmas Concert. The popular ensemble returns for a repeat performance on Friday, December 5.
The facility has a capacity of 13,609.
Venues continue following your program insert.
urns
of the University of Michigan, Ann Arbor
Event Program Book
Friday, October 3 through Friday, October 17,'.
General Information
Children of all ages are welcome at UMS Family and Youth Performances. Parents are encour?aged 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 auditorium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
?T.......
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 prede?termined 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 "infor?mation superhighway" while you are enjoying a UMS event: electronic-beeping or chiming dig?ital 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 audi?torium 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.
St. Petersburg String Quartet -Maxim Mogilevsky r s
Friday, October 3, 8:00 pm Rackham Auditorium
Kirov Orchestra of the Mariinsky Theatre 11
Monday, October 6, 8:00 pm
Pease Auditorium Ypsilanti A
Michigan Chamber Player
Sunday, October 12, 6:00 pm
Rackham Auditorium __
La Venexiana -0p"
Thursday, October 16, 8:00 pm '"' St. Francis of Assisi Catholic Ch
Wynton Marsalis Quintet
Friday, October 17, 7:00 pm Friday, October 17, 9:30 pm Michigan Theater
WS Educational Events through Friday, October 17, 2003
All UMS educational activities are free and open to the public unless otherwise noted ($). Please visit www.ums.org for complete details and updates. For current information on Celebrating St. Petersburg, visi'f www.umich.edustpetersburg.
St. Petersburg String Quartet
String Quartet Master ClassArtist Interview
The St. Petersburg String Quartet coaches string students from the University of Michigan's School of Music. Following the master class, there will be an interview with the Quartet, discussing their career, Russian composers and string quartet repertoire. Saturday, October 4, 10:00 am 12 noon, School of Music, Stearns Building, Cady Room, 2005 Baits
Hill Auditorium Re-Opening Celebration!
Lecture Series: Great Musical Events of the University Musical Society at Hill Auditorium
The Ann Arbor District Library, in collabora?tion with UMS, is proud to present a series of five lectures by Library music specialist Richard LeSueur, highlighting some of the great musical events presented by UMS at Hill Auditorium over the last 90 years. This series is a must for lovers of both music and Ann Arbor history! For more information, contact the Ann Arbor District Library at 734.327.4200 or visit www.aadl.org.
All sessions held at the Ann Arbor District Library, Multi-Purpose Room, 343 S. Fifth Ave.
Part 1: The Early Years, 1913-1932 This first lecture will examine some of the most important concerts presented by UMS between 1913 and 1932. Recorded examples will include the Chicago Symphony, conducted by Stock at the May Festival; and Marguerite Matzenauer, in the first Choral Union concert. Sunday, September 14, 3:00-4:30 pm
Part 2: A Golden Age of Music During Troubled Times, 1933-1952
This talk will feature recordings by the Boston Symphony conducted by Serge Koussevitzsky; Vladimir Horowitz, Artur Schnabel, Jasha Heifetz and Kirsten Flagstad. Sunday, October 5, 3:00-4:30 pm
m
Part 3: The Golden Age Continues, 1953-1972
This talk will feature recordings by the Philadelphia Orchestra conducted by Eugene Ormandy; the New York Phlharmonic conducted by Leonard Bernstein; Yehudi Menuhin, Myra Hess, Joan Sutherland and Montserrat Caballe. Sunday, November 16, 3:00-4:30 pm
Part 4: Farewells and Welcomes, 1973-1992
This talk will feature recordings by the Vienna
Philharmonic conducted by Leonard Bernstein;
the Leipzig Gewandhaus Orchestra conducted
by Kurt Masur; James Galway, Valdimir Horowitz,
Arlcen Auger, Jessye Norman and Hakan
Hagegard.
Sunday, December 7, 3:00-4:30 pm
Part 5: The Best of the Rest: The Past Decade and a Look Toward the Current Season at Hill Auditorium
This talk will feature recordings by the Metropolitan Opera Orchestra conducted by James Levine; Ewa Podles, and Evgeny Kissin in addition to several performers scheduled for the current 0304 Choral Union Series. Sunday, January 11, 3:00-4:30 pm
Miami City Ballet
Study Club: Understanding Balanchine
A basic introduction to understanding ballet and the works of George Balanchine, led by Beth Genne, U-M Associate Professor of Dance Tuesday, October 7, 7:00-9:00 pm, Michigan League, Vandenberg Room, 911 N. University Ave.
Ballet Master Class
Advanced ballet technique. Led by the Ballet Master of the Miami City Ballet. To register, call Dance Gallery Studio at 734.747.8885. Friday, October 17, 7:00-9:00 pm, Dance Gallery Studios, 815 Wildt St.
UMS Artist Interview: Edward Villella, artistic director, Miami City Ballet
Interviewed by Beth Genne, U-M Associate Professor of Dance, and Christian Matjias, U-M Assistant Professor of Dance. Handpicked by George Balanchine to revolutionize the role of men in ballet, Kennedy Center Honoree and National Arts Award winner Edward Villella has left a lasting impact on the world of dance and contemporary culture. He currently enjoys international success as the founding artistic director of the Miami City Ballet, one of America's premiere ballet institutions, and is recognized widely for his contributions to the field of classical dance and arts in education. Saturday, October 18, 6:00 pm, Michigan League, Vandenberg Room, 911 N. University Ave.
Miami City Ballet: Balanchine and Stravinsky
A preview of the afternoon's ballet repertoire, led by Beth Genn?, U-M Associate Professor of Dance
Sunday, October 19, 1:00 pm, Michigan League, Hussey Room, 911 N. University Ave.
UMS and U-M Museum of Art Family Events
Join UMS and the U-M Museum of Art for a day of special family events. The day kicks off with a one-hour Family Performance by the Miami City Ballet from 1:00-2:00 pm at the Power Center. For ticket information, contact the UMS Ticket Office at 734.764.2538 or visit www.ums.org.
Following the performance, drop-in activities at the U-M Museum of Art include gallery exploration activities for families to do together, performance demonstrations and art-making projects. All activities are free. However, pre-registration is required for the oil pastel drawing workshop, "St. Petersburg Mirrored in Water," led by Elena Townsend-Efimova, founder of Ann Arbor's Talking Colors Art School. Pre-registration is required for the drawing workshop only. To reg?ister, call 734.647.0522. All children are admitted free to The Romanovs Collect: European Art From the Hermitage. Adult tickets are $8 and may be purchased through Tickets Plus (800.585.3737, ticketsplus.net, or at participating Meijer stores), or in person at the Museum. Saturday, October 18, 2:00-5:00 pm, U-M Museum of Art, Apse and Galleries, 525 South State St.
La Venexiana
Master ClassDemonstration:
Singing Early Music: Musical Rhetoric, Phrasing,
and Expression in Monteverdi's Madrigals
Led by Claudio Cavina, director, La Venexiana. Claudio Cavina, considered the preeminent "star" of contemporary madrigal interpretation and performance and members of La Venexiana will discussdemonstrate the textual poetry and music-making of the early 17th-century madrigal, highlighting the work of Monteverdi, long con?sidered the most daring and futuristic of all madrigal composers.
Thursday, October 16, 12:30-2:00 pm, School of Music, Blanche Anderson Moore Hall, 1100 Baits
Edward Surovell Realtors
present
St. Petersburg String Quartet
with :wmsx dmmm
Maxim Mogilevsky, Piano
Alia Aranovskaya, First Violin Aleksey Koptev, Viola
David Chernyavsky, Second Violin Leonid Shukaev, Cello
Friday Evening, October 3,2003 at 8:00 Rackham Auditorium Ann Arbor
Leonid Desyatnikov
Dmitri Shostakovich
Piotr Ilyich Tchaikovsky
Tracing AstOr (US Premiere)
' Aranovskaya, Koptev, Shukaev, Mogilevsky
Piano Trio No. 2 in e minor, Op. 67
Andante moderato Allegro con brio Largo Allegretto
Aranovskaya, Shukaev, Mogilevsky INTERMISSION
String Quartet No. 3 in e-flat minor, Op. 30
Andante sostenuto
Allegro vivo e scherzando
Andante funebre e doloroso ma con moto
Allegro non troppo e resoluto
St. Petersburg String Quartet
Fourth Performance
of the 125th Annual Season
Forty-First Annual Chamber Arts Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by Edward Surovell Realtors.
This performance is co-presented with the University of Michigan as part of a special U-MUMS partnership that furthers a mutual commitment to education, creation, and presentation in the performing arts.
Additional support provided by media sponsors WGTE and Michigan Radio.
Special thanks to Evan Chambers, Andrew Jennings, Bright Sheng, and the U-M School of Music Composition and String Departments for their participation in this residency.
The St. Petersburg String Quartet appears by arrangement with Lisa Sapinkopf Artists.
Large print programs are available upon request.
Tracing Astor "teaasata-sr--,
Born in 1955 in Kharkov, Russia
Leonid Desyatnikov was born in 1955 in Kharkov and graduated from the Leningrad Conservatory in 1978. His music has been per?formed at many major European festivals including Lockenhaus, Gstaad (Switzerland), and at Sviatoslav Richter's December Evenings. His symphonic piece Sketches for Sunset has been performed by leading German orchestras including the Deutsches Simphonie Orchester Berlin and the Symphony Orchestra of Gewandhaus (Leipzig).
Of particular popularity throughout the world are his transcriptions of works by Astor Piazzolla made at the request of Gidon Kremer, with whom Desyatnikov has a close collabora?tion; one of these works, the tango-operetta Maria de Buenos Aires was nominated for a Grammy award.
In the composer's own words:
Tracing Astor follows the traces of Piazzolla's piece Milonga per tre -but not only this piece. To be honest, my "Milonga" limps slightly, since it is mainly in 54 time.
Tracing Astor is an attempt to suggest and reflect the impressions aroused by the Argentinean master's music, sizing it up as cool-headedly as possible. I had to rein in what may be the most attractive sides of the "New Tango" style -its pathos and hyper-sexuality. I'd call this piece's humor "Piazzolla extra-dry."
Program note courtesy of Lisa Sapinkopf Artists.
Piano Trio No. 2 in e minor, Op. 67
Dmitri Shostakovich
Born September 25, 1906 in St. Petersburg
Died August 9, 1975 in Moscow
Russian composers had a tradition of com?memorating the departed with piano trios: Tchaikovsky wrote his piano trio in memory of Nikolai Rubinstein, Rachmaninoff his eligiaque in memory of Tchaikovsky, and Anton Arensky composed his celebrated trio in memory of the cellist Karl Davydov. Shostakovich might have been thinking about these antecedents when, upon learning about the death of his best friend Ivan Ivanovich Sollertinsky, he turned to this intimate chamber-music genre (to which he had contributed one other work in his entire life, a briefer essay dating from his youth). The two earlier composers had written musical eulogies to teachers and mentor figures who had been significantly older than they. Sollertinsky was only four years Shostakovich's senior, but he nevertheless played the role of a mentor to the composer: a musicologist of an extraordinarily broad knowledge of the reper?toire, he introduced his friend to many master?pieces (those of Gustav Mahler in particular). Sollertinsky died of a heart attack in February 1944, at the age of 42. "I have no words with which to express the pain that racks my entire being," a devastated Shostakovich wrote to their mutual friend Isaak Glikman.
There are sketches for a Shostakovich piano trio from late 1943, but these were not used in the work we know today. The e-minor trio took what for Shostakovich was an unusually long time to write; he spent much of the spring on the first movement alone, completing the other three during the summer, at the retreat of the Union of Soviet Composers in the village of Ivanovo.
Unlike the Tchaikovsky and Rachmaninoff trios, which follow a different scheme, Shostakovich adhered to the classical four-movement layout of the trio (as had Arensky). This allowed the composer to write music that wasn't tragic or elegiac all the way through, but
instead paid tribute to Sollertinsky's complex personality under many of its aspects. After all, the trio moves from a sad and mysterious opening to a wild and ferocious scherzo, from there to a lament in the form of a passacaglia (set of variations on an unchanging bass line), followed by the most famous part of the work, the "Jewish" finale. The funeral includes remi?niscences of the joyful moments experienced, but most importantly, it shows that joy and pain are inseparable and, as always in Shostakovich, laughter can turn into a bitter grimace any time and without warning.
The cello opens the work with its theme played in harmonics in an extremely high regis?ter. This eerie music, which seems to come from a great distance, later gives way to some angry and powerful outbursts. The second-movement scherzo seems to allude to Sollertinsky's sense of humor and the many happy moments the two friends had shared. The slow passacaglia is somber and mournful, and it is followed without pause by the dance finale. However, this is obviously not a happy ending. Much of the musical material is distort?ed klezmer (Jewish folk music), where the cheerful rhythms are combined with painful dissonant intervals in the melody. It is no coin?cidence that Shostakovich started to be drawn to Jewish music during the years of World War II and the Holocaust. One of Shostakovich's favorite composition students, Benjamin Fleischmann, had died in 1941 during the siege of Leningrad. Shostakovich was so fond of Fleischmann that he decided to complete the unfinished opera his student had left behind, Rothschild's Violin, after a short story by Chekhov. The memory of Fleischmann proba?bly played an important role in the shaping of the finale, in which the Jewish dance melodies sometimes take on a positively tragic tone. In addition, reminiscences of the earlier move?ments make the emotional content of the work even more ambivalent, and nothing seems to be resolved when the trio ends with a few broken chords and other isolated musical figures.
Shostakovich himself played the piano part when the trio received its world premiere in
Leningrad on November 14,1944. His col?leagues were Dmitri Zyganov (violin) and Sergei Shirinsky (cello).
Program note by Peter Laki.
String Quartet No. 3 in e-flat minor, Op. 30
Piotr Ilyich Tchaikovsky
Born May 7, 1840 in Kamsko-Votkinsk,
Vyatka province Died November 6, 1893 in St. Petersburg
Tchaikovsky wrote three string quartets, all between 1871 and 1876. Along with the two quartets of Borodin, these were the first impor?tant contributions to the quartet genre in Russia. Tchaikovsky's first two quartets were premiered by the Moscow String Quartet, led by the Prague-born Ferdinand Laub, the com?poser's colleague on the faculty of the Moscow Conservatory. After Laub's premature death in 1875, Tchaikovsky wrote his third quartet in his friend's memory.
The elegiac tone of String Quartet No. 3 anticipates that of Tchaikovsky's Piano Trio (1882), written to commemorate another friend and colleague, the pianist and composer Nikolai Rubinstein. Tchaikovsky chose a most unusual key, e-flat minor, for the main tonality of the quartet. The six flats (lowered notes) of that key produce a dark sound quality throughout most of the work.
The first movement opens with an extended slow introduction whose gloomy tone continues in the allegro moderato. After an extensive development and a dramatic high point where all four instruments reach triple forte in their highest registers, the slow introduction unexpect?edly returns for a soft and wistful conclusion.
The second movement is a quick scherzo in the much brighter key of B-flat Major, but notes borrowed from the minor mode frequent?ly cast a dark shadow over the lively rhythmic patterns. The middle section is dominated by a viola melody of a wide range and great emotional
intensity; the elfin scherzo material subsequently returns.
The third movement is a funeral march in a somber e-flat minor in which the muted strings play stark chordal progressions. The next section, reminiscent of chant, suggests an Orthodox funeral service according to some commentators. A new idea, more lyrical in nature, is juxtaposed with the funeral music. A return of the chant-like theme concludes the movement.
The finale, in a bright E-flat Major, seems to be inspired by Ukrainian folk music, similarly to Symphony No. 2 (1873). It is a brisk, dance-like movement in which the earlier tragedy gives way to happier feelings. There is only one moment of hesitancy after which the music bounces back with renewed energy, and the work ends with an exuberant coda.
Program note by Peter Laki.
. ne of the world's leading string quartets, the St. Petersburg String Quartet was founded as the Leningrad Quartet by Alia Aranovskaya and Leonid Shukaev, both graduates of the Leningrad Conservatory. The Quartet blazed a trail through international chamber music competi?tions, winning First Prize at the All-Soviet Union String Quartet Competition, the Silver Medal and a Special Prize at the Tokyo International Competition of Chamber Ensembles, First Prize and both Special Prizes at the Vittorio Gui International Competition for Chamber Ensembles in Florence, Italy, and First Prize and the "Grand Prix Musica Viva" at the International Competition for Chamber Ensembles in Melbourne, Australia.
When the city of Leningrad resumed its his?toric name, the Quartet changed its name to the St. Petersburg String Quartet. The Quartet has continued its ascendancy, building a reputa?tion of worldwide proportions including a Grammy nomination, "Best Record" honors in both Stereo Review and Gramophone magazines,
and the Chamber Music AmericaWQXR Prize for "Best CD of 2001." The Quartet held the respected position of Quartet-in-Residence at the Oberlin Conservatory of Music from 1996 until Spring 2003.
In 2003, the St. Petersburg String Quartet proudly commemorates the 300th anniversary of its namesake city and will be performing around the globe in events honoring the arts of St. Petersburg. These festive occasions, however, are just one piece of the renowned quartet's busy season. The group premiered Rhapsody for String Quartet and Guitar by Georgian compos?er Zurab Nadarejshvili (co-commissioned with guitarist Paul Galbraith) at Stanford University; has over 50 concerts scheduled across the US; appeared in London and Manchester, England as well as Berlin and Wiesbaden, Germany; and toured Italy and Holland.
Audiences from Toronto to Tokyo, from Lithuania to London and in music halls across the US give the St. Petersburg Quartet standing ovations. Recently, the St. Petersburg completed recording the complete works of Tchaikovsky for string quartet on Dorian, which follows the release of the complete Shostakovich cycle on Hyperion, a disc of Prokofiev's two quartets
and Nadarejshvili's String Quartet No. 1 and Glazunov's String Quartet No. 5 and his appeal?ing Novelettes on Delos.
Since 1999, Alia Aranovskaya, Leonid Shukaev and Maxim Mogilevsky have performed together as "The Brahms Trio." The Los Angeles Times called their debut "noble, heroic, bold, intimate, prayerful, ineffable."
This evening's performance marks the St. " Petersburg String Quartet's UMS debut. i
axim Mogilevsky was the last pupil of Anaida Sumbatian, teacher of the legendary Vladimir Ashkenazy. At 13 years old he debuted with the Moscow Philharmonic Orchestra. In 1990 a
Tchaikovsky Scholarship allowed him to study at The Juilliard School with Bella Davidovich. Mr. Mogilevsky received the "Angel Award" at the 1997 Edinburgh Festival. He made his US debut in Los Angeles on the "Gold Medal Series" at Ambassador Auditorium, Pasadena. He has appeared as soloist under Maestros Seiji Ozawa, Valery Gergiev and Gerard Schwarz. His per?formances have included the White Nights Festival of St. Petersburg, the Los Angeles Philharmonic Festival at the Hollywood Bowl, the Ravinia Festival, and the Cliburn Concert Series.
This evening's performance marks Maxim Mogilevsky's UMS debut. ,
UMS
and the
Friends of Beverley Geltner
present
Kirov Orchestra of the Mariinsky Theatre
Valery Gergiev, Music Director and Conductor
Monday Evening, October 6, 2003 at 8:00 Pease Auditorium Ypsilanti :
Piotrllykh Tchaikovsky Romeo and Juliet Fantasy Overture in b minor (1880)
Dmitri Shostakovich
Symphony No. 9 in E-flat Major, Op. 70
Allegro Moderato
Largo
Allegretto Allegro
INTERMISSION
Nikolai Rimsky-Korsakov
Scheherazade, Op. 35
Largo e maestoso Allegro non troppo
The Sea and Sinbad's Ship
Lento Andantino Allegro molto Vivace scherzando -'i Allegro moderato ed animato i The Story of the Kalander Prince
Andantino quasi allegretto
The Young Prince and the Young Princess Allegro molto Lento Allegro molto e frenetico Vivo -Spiritoso Allegro non troppo maestoso The Festival at Baghdad The Sea The Ship Goes to Pieces on a Rock Surmounted by a Bronze Warrior Conclusion
Fifth Performance
of the 125th Annual Season
125th Annual Choral Union Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Special thanks to Randall and Mary Pittman for their continued and generous support of the University Musical Society, both personally and through Forest Health Services.
This performance is sponsored by the friends of Beverley Geltner.
This performance is co-presented with the University of Michigan as part of a special U-MUMS partnership that furthers a mutual commitment to education, creation, and presentation in the performing arts.
Additional support provided by WGTE, Observer & Eccentric Newspapers, and Michigan Radio.
The Kirov Orchestra of the Mariinsky Theatre appears by arrangement with Columbia Artists Management, LLC.
Large print programs are available upon request.
Forest Health Services presents the 125th Annual Choral Union Series.
Romeo and Juliet Fantasy Overture in b minor
Piotr Ilyich Tchaikovsky jagi
Born May 7, 1840 in Kamsko-Votkinsk, :&M
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Vyatka province
Died November 6, 1893 in St. Petersburg
In the traditional classroom of Music 101, Russian music in the 19th century is usually divided into two factions: the nationalists and the "Westernizers." The first group was repre?sented by the "Five," also known as the "Mighty Handful" (Mussorgsky, Rimsky-Korsakov, Borodin, Balakirev, and Cui), while the other group was led by Tchaikovsky.
Life, however, is more complex than text?books would have it. The separation between those orientations was by no means always rigid. In fact, Tchaikovsky at one point came particularly close to the group of the "Five." That was when Mily Balakirev (1837-1910) took him under his wing, as he had done earlier with Rimsky-Korsakov and Mussorgsky. Balakirev was only a few years older than Tchaikovsky, Mussorgsky, or Rimsky, yet he had an acute critical mind and a charisma that made him the unofficial leader of his generation. Although he composed a great deal himself, he was far more important as a catalyst who inspired others and prodded them to write the works he himself was incapable of writing.
Tchaikovsky first came into Balakirev's orbit in January 1868, when the latter visited Moscow to attend the concerts given by Hector Berlioz. Eager to be accepted by the St. Petersburg group, Tchaikovsy sought Balakirev's support and, although he was a conservatory graduate, he wanted to see what he could learn from this crackpot genius. For his part, Balakirev wanted to win Tchaikovsky over to his own circle of proteges.
During this period, Tchaikovsky studied Balakirev's collection of Russian folksongs and arranged two dozen of them for piano duet. He also sent his symphonic poem Fatum to Balakirev, who conducted a performance in St. Petersburg and then proceeded to tear it to
shreds in a letter to the composer. (Tchaikovsky later destroyed the score of Fatum, but after his death it was reconstructed from the orchestral parts.)
Balakirev next suggested that Tchaikovsky tackle an orchestral piece based on Romeo and Juliet and gave him some fairly precise indica?tions on how to go about the project. (He him?self had been inspired by Shakespeare to write a King Lear overture shortly before.) Balakirev even gave his friend the four measures he want?ed the piece to start with, as well as a structural outline, complete with a sequence of themes, modulation plan, and other technical detail. Tchaikovsky didn't use the opening measures, but in other respects he followed the advice rather closely, at least as far as we can tell from his letters, where he freely acknowledged his debt. He sent his mentor the themes of his pieces for approval, something that didn't come easily to Balakirev: "The first theme is not at all to my taste," he declared. However, he found the great love theme "simply delightful."
I play it often, and I want very much to kiss you for it.... When I play [it] then I imagine you are lying naked in your bath and that Artot-Padilla herself is washing your tummy with hot lather from scented soap.
But Balakirev couldn't help adding some criticism even here:
There's just one thing I'll say against this theme; there's little in it of inner, spiritual love, and only a passionate physical languor (with even a slightly Italian hue) whereas Romeo and Juliet are decidedly not Persian lovers, but Europeans.
Tchaikovsky was careful not to show Balakirev the entire work until he had heard it as written. After the March 1870 premiere, however, he followed up on the criticism. He threw out the theme that Balakirev didn't like, wrote a new introduction, and revised the development and the coda. He now sent it to Balakirev, who shared it with his circle. The
influential critic Vladimir Stasov, a central fig?ure in that circle, exclaimed: "There were five of you; now you are six!" This judgment was pre?mature, however, for Tchaikovsky was to follow his own artistic path. As for the members of the "Five," even their association loosened after Balakirev's influence began to decrease in the 1870s. By the time Tchaikovsky returned to Romeo and Juliet in 1880, he was a mature com?poser who, although always sensitive to criti?cism, was no longer dependent on advice. He undertook some further cutting and pasting on his own, resulting in the final form of what is universally considered his first masterpiece.
The Overture-Fantasy begins with a musi?cal portrait of Friar Laurence a Russian Friar Laurence, one might add, since the slow chorale melody is redolent of Russian Orthodox church music. A brief transition leads to a stormy alle?gro theme evoking the feud of the Montagues and the Capulets through the rapid alternations of the string and wind sections. The secondary subject is the love theme that made such a deep impression on Balakirev. The development leads to a climactic point where the "feud" music is combined with the Friar Laurence theme, played fortissimo by the brass. In the recapitulation, the love theme is further altered and its hidden motivic connections with the "feud" music are revealed. Finally, the love theme is restated in a tragic tone as the lovers' fate is sealed. The sadness of this passage antici?pates the end of Symphony No. 6 -the last music Tchaikovsky ever wrote -in melodic shape, the repeated notes in the accompaniment, and even the key (b minor). But whereas Tchaikovsky ended Symphony No. 6 in a quadruple pianissimo, in Romeo and Juliet he interrupted the love melody to conclude with a few dry and merciless fortissimo chords.
'The Belgian soprano Desiree Artot was the only woman with whom Tchaikovsky had ever been in love. He was devastated when she married the Spanish baritone Mariano Padilla y Ramos. This happened shortly before the composi?tion of Romeo and Juliet.
Symphony No. 9 in E-flat Major, Op. 70
Dmitri Shostakovich
Born September 25, 1906 in St. Petersburg
Died August 9, 1975 in Moscow
Does a symphony number nine always have to be a Ninth Symphony In 1945, this question was debated in the highest artistic and political circles in the Soviet Union. Some members of those circles were plainly disappointed when Dmitri Shostakovich, the greatest symphonic composer in the country, failed to deliver the monumental choral work they felt they had every right to expect after the end of World War II. A grandiose "Ode to Joy" in honor of the victorious Red Army seemed to be in order (and maybe on order, too).
Yet Shostakovich was unable or unwilling (or possibly both) to write such a piece. The words of Testimony, the famous but not entirely trustworthy book of Shostakovich memoirs published by Solomon Volkov, definitely have a ring of truth here: "I couldn't write an apotheo?sis to Stalin. I just couldn't." And we know that he did try, but the solemn Choral Ninth never got off the ground.
Instead, we now have a Ninth that is cheerful to the point of sounding comical and -this is what the official critics couldn't swallow -on the verge of sarcasm. Was it really sarcasm If it was, what did that sarcasm mean Is the symphony about having fun, or is it making fun...and if so, of what and of whom Or is there a tragic "subtext" lurking underneath the joyful surface, as one Russian critic suggested, comparing Shostakovich's humor to Charlie Chaplin's There are no answers to any of these questions, and only one thing is certain: Shostakovich utterly enjoyed having the whole world guessing at his intentions.
What critics didn't seem to realize--viewing the work exclusively in relation to the year 1945 in which it was written--was that Shostakovich was reconnecting here with the style of his own Symphony No. 1, which he had composed almost 20 years earlier as a young man of 19. Not since Symphony No. 1 had Shostakovich's music been
so playful and ironic. Maybe there is a deeper symbolism in the fact that, with the renewal of hope at war's end, a "rejuvenated" composer was revisiting the emotional landscapes of his early days.
Another possible model may have been the First Symphony of Shostakovich's great rival Prokofiev, the famous "Classical" Symphony. Like that work, Shostakovich's Symphony No. 9 begins by masquerading as a Haydn symphony, but it destroys that appearance much faster and much more drastically than Prokofiev had done back in 1917. Shostakovich follows his Haydnesque first theme with a hilariously sim?ple second idea consisting of only a few notes and introduced by the piccolo against an "oom-pah" accompaniment evoking circus music. Like Haydn and Prokofiev, Shostakovich repeats the entire exposition of the first movement -a gesture that unmistakably belongs to the 18th century. And even though the circus theme undergoes a rather dramatic development in the middle of the movement, the recapitulation is again uproariously and irreverently funny.
The second movement is much more serious: it begins with a quiet and introspective clarinet solo that evolves into an intimate chamber-music episode for woodwinds. A second idea, for strings, is rather menacing, but then the quiet opening melody returns, now played by the flute and later by the piccolo. The ending is like a dream one of Shostakovich's most romantic moments.
Next comes a scherzo, as one might expect. The melody skips merrily from key to key, and the orchestration is particularly witty: the woodwinds begin all by themselves, then the strings and, later, the brass instruments assume the leading role. Almost imperceptibly, the mood darkens and the scherzo takes on a more and more dramatic character, until an ominous brass signal announces a somber largo, the most tragic moment of the work. The solo bas?soon delivers a recitative-like solo. It sounds like a solemn speech, perhaps a funeral oration in memory of the war victims. Then, the same solo bassoon suddenly turns from funeral ora?tor into a buffoon as a playful new melody gets
the finale underway. The rhythm suggests a dance, but the melody, with its many tonally ambiguous half-steps, is not exactly jubilant in character. The ambiguity continues as the cheerful march rhythms are combined with a melody that refuses to give up those "tragic" half-steps. Eventually, after a tremendous crescendo, the music reaches a bright E-flat Major as the main theme appears in the full orchestra. From here, it is a triumphant proces?sion right to the end, yet its members sound more like circus clowns than the soldiers of the Red Army. The vexing questions arise again: did Shostakovich desecrate this moment of national glory Or was he merely letting his hair down and celebrating peace in the company of fun-loving friends with a bottle of good vodka, instead of visualizing an Army parade and an official, cliche-ridden speech by Comrade Stalin In the end, we might as well accept the fact that Shostakovich took a break from the grandiose rhetoric of his Symphonies No. 7 and 8 (he would return to them in his Tenth). The difference with those works is not that Symphony No. 9 is cheerful all the way; we have seen that it has its serious, even tragic moments. Rather, it conveys its message in a different style. Yet, perhaps surprisingly, it also has some parallels with that light-hearted neo-classicism that many of Shostakovich's more fortunate contemporaries, from Stravinsky to Milhaud and Poulenc, had also been practicing, each in his own way, in the West, where they didn't have to fear that their stylistic choices might have political consequences.
Scheherazade, Op. 35
Nikolai Rimsky-Korsakov
Born March 18, 1844 in Tikhvin, Russia
Died June 21, 1908 in Lyubensk, near St. Petersburg
A Thousand-and-One Nights, also known as The Arabian Nights, is one of the best-known of Oriental stories. Originally written in Arabic and arranged in its present form in the 15th century, it became known in the West in the
18th, when it was translated first into French and then into other languages. The splendid tales of Ali Baba and the Forty Thieves, Sinbad the Sailor, and others have delighted many gen?erations of readers, both young and old.
Nikolai Rimsky-Korsakov had firsthand knowledge of the life of sailors, having taken a two-and-a-half-year cruise to the New World and throughout the Mediterranean as a naval officer in the early 1860s. About 25 years later, in 1888, he wrote Scheherazade, in which he strove to capture the general atmosphere of The Arabian Nights but without trying to provide musical illustrations for individual stories. As he explained in his memoirs, he wished to cre?ate "an orchestral suite in four movements, closely knit by the community of its themes and motifs, yet presenting, as it were, a kaleido?scope of fairy-tale images and design of Oriental character."
In fact, the "community of themes and motifs" is one of the most striking features in the work. Although the four movements con?trast strongly in tempo and character, two main motifs are heard throughout the piece and are subjected to many variations that change the rhythm and the orchestration but never the basic melody. The first of these two motifs is announced at the very beginning of the piece by the strings in unison, the second immediate?ly afterwards by the solo violin, which will play a prominent role in all four movements. The themes represent the two protagonists of the story, Sultan Shahriar and his wife Scheherazade.
At the beginning of the score, Rimsky-Korsakov summed up the story that serves as the starting point to all the other stories:
The Sultan Shahriar, convinced of the false?hood and inconstancy of all women, had sworn an oath to put to death each of his wives after the first night. However, the Sultana Scheherazade saved her life by arousing his interest in the tales which she told during the 1001 nights. Driven by curiosity, the Sultan postponed her execu?tion day to day and at last abandoned his sanguinary design.
Scheherazade told miraculous stories to the Sultan. For her tales she borrowed verses from the poets and words from folksongs combining fairy-tales with adventure.
As the various stories unfold, the two princi?pal themes constantly remind us of Scheherazade telling them and Shahriar listening. Rimsky-Korsakov originally provided the individual movements with descriptive titles, later to be omitted from the printed score. Those titles were: "The Sea and Sinbad's Ship," "The Story of the Kalandar Prince," "The Young Prince and the Young Princess," and "Festival at Baghdad -The Sea The Ship Goes to Pieces on a Rock Surmounted by a Bronze Warrior Conclusion." Rimsky-Korsakov thought of these stories as separate, unconnected episodes and pictures from the Arabian Nights, scattered through all four movements of my suite."
The brilliance of Rimsky-Korsakov's melodic imagination is matched in Scheherazade by his exceptional skill as an orchestrator: the numer?ous solos (violin, cello, flute, oboe, clarinet, bassoon, trumpet, harp) are carefully chosen for their specific tone colors. The various instruments blend in novel ways that influenced many composers of the subsequent generation, including Rimsky-Korsakov's most famous pupil, Igor Stravinsky.
Program notes by Peter Laki.
alery Gergiev is internationally rec?ognized as one of the most outstand?ing musical figures of his generation. His inspired leadership as Artistic and General Director of the Mariinsky Theatre in St. Petersburg, Russia, where he oversees the Kirov Orchestra, Ballet, and Opera, has brought universal acclaim to this distin?guished organization. Together with the Kirov Opera and Orchestra, Maestro Gergiev has toured extensively throughout North America and Europe, as well as to China, Japan, South America, Australia, and Israel. In addition to his
leadership of the Mariinsky Theatre, he is also the Principal Conductor of the Rotterdam Philharmonic, Artistic Director of the Rotterdam PhilharmonicGergiev Festival, which is presented each September, Director and Founder of the Mikkeli International Festival in Finland, and Principal Guest Conductor of the Metropolitan Opera.
Maestro Gergiev celebrates two important occasions during 2003: his 50th birthday (which was in May) and the 300th Anniversary of the founding of St. Petersburg, for which he created an extraordinary three-month "Stars of the White Nights" Festival that opened on May 3. The Festival, in addition to performances by the Kirov Opera, Ballet, and Orchestra, featured major international ensembles such as the Vienna Philharmonic, Israel Philharmonic, World Orchestra for Peace, Royal Ballet of Covent Garden, Hamburg Ballet, and the New York City Ballet.
At the Festival, Maestro Gergiev conducted the Kirov's first complete Ring Cycle in more than a century, new productions of Tchaikovsky's Eugene Onegin, and The Enchantress and Verdi's La Traviata. He also conducted the "300 Years of St. Petersburg" Gala concert that featured Renee Fleming, Olga Borodina, Anna Netrebko, Karita Mattila, Bryn Terfel, and Dmitri Hvorostovsky and was attended by 50 interna?tional heads of state.
This fall, Mr. Gergiev had the distinct honor of conducting the opening night at the Metropolitan Opera with La Traviata on September 29 and the opening night of Carnegie Hall's season with a Gala concert fea?turing his own Kirov Orchestra on October 1, with concerts following through the weekend. He also conducted the premiere of the Metropolitan Opera's Stravinsky Triple Bill (Le Sacre du Printemps, Le Rossignol, and Oedipus Rex) and returns to the MET during the winter of 2004 to conduct the new produc?tion of Salome.
Maestro Gergiev made his Kirov Opera debut in 1978 with War and Peace and was appointed Artistic Director and Principal Conductor in 1988. His international awards
include the Dmitri Shostakovich Award and the Golden Mask Award, the most prestigious the?ater prize in Russia. Musical America honored him as "Conductor of the Year," and he was named the People's Artist of Russia, the coun?try's highest cultural award.
Valery Gergiev has recorded exclusively for Universal (Philips) Classics since 1989. His recent releases with the Kirov Orchestra include Rimsky-Korsakov's Scheherazade, which has been internationally acclaimed as one of the best recordings of this work.
This evening's performance marks Valery Gergiev's fourth appearance under UMS auspices. He made his UMS debut in November 1992 as conductor of the Kirov Orchestra in Hill Auditorium.
he Kirov Orchestra has a long and distinguished history as one of the oldest musical institutions in Russia. Founded in the 18th century during the reign of Peter the Great, it was known before the revolution as the Russian Imperial Opera Orchestra. Housed in St. Petersburg's famed Mariinsky Theatre (named for the favorite daughter of Czar Nicholas I) since I860, the Orchestra entered its true "golden age" during the second half of the 19th century under the music direction of Eduard Napravnik (1839-1916). Napravnik single-handedly ruled the Imperial Theatre for more than half a century (from 1863-1916) and under his leadership, the Mariinsky Orchestra was recognized as one of the finest in Europe. He also trained a generation of outstanding conductors, developing what came to be known as "the Russian school of conducting."
The Mariinsky Theatre has also been the birthplace of numerous operas and ballets, which have come to be regarded as master?pieces of the 19th and 20th centuries. World-premiere performances include Mussorgsky's Boris Godunov; Rimsky-Korsakov's The Snow Maiden and Legend of the Invisible City of Kitezh; Tchaikovsky's Iolanta, Swan Lake, Nutcracker and Sleeping Beauty, as well as operas by Shostakovich and ballets by Khachaturian.
Piotr Ilyich Tchaikovsky was closely associ?ated with the Mariinsky Theatre, not only con?ducting the orchestra but also premiering his Symphony No. 5, fantasy-overture Hamlet, and Symphony No. 6. Sergei Rachmaninoff conduct?ed the orchestra on numerous occasions, including premieres of his cantata Spring and symphonic poem, The Bells. The orchestra also premiered the music of the young Igor Stravinsky, including his Scherzo Fantastique and suite from The Firebird ballet.
Throughout its history, the Mariinsky Theatre has presented works by Europe's leading opera composers -Handel, Rossini, Gounod, and Wagner. In 1862, Verdi's La Forza del Destino was given its world premiere at the theatre in the presence of the composer.
Wagner was a favorite at the Mariinsky Theatre, where his operas were frequently performed from the 19th through the beginning of the 20th centuries.
By 1917, the orchestra's name had changed to The Royal Imperial Theatre Orchestra and was regarded as St. Petersburg's most renowned symphony orchestra.
Renamed the Kirov during the Soviet era, the orchestra continued to maintain its high artistic standards under the leadership of Evgeni Mravinsky and Yuri Temirkanov. Since Valery Gergiev became artistic director in 1988, the Kirov has forged important relationships with the world's great opera houses, among them London's Royal Opera House, the San Francisco Opera, Paris Op6ra de la Bastille, and the Metropolitan Opera. Soon after the city of Leningrad was renamed St. Petersburg, the Kirov Theatre reverted to its original title of the Mariinsky Theatre, home to the Kirov Opera, the Kirov Ballet, and the Kirov Orchestra.
The Kirov Orchestra today is one of the world's most traveled orchestras, touring to Japan and China, and regularly in Europe, often with its own series or festival of concerts. The Orchestra has toured the US eight times since its 1992 debut at Lincoln Center. This current tour, in which the orchestra opens the Carnegie Hall season, will be its second short tour of the US in eight months.
This evening's performance marks the Kirov Orchestra's fourth appearance under UMS auspices. The Orchestra made its UMS debut in November 1992.
Gazprom is the general sponsor of the Mariinsky Theatre and the Kirov Orchestra.
Valery Gergiev and the Kirov Orchestra record exclusively for Philips.
Kirov Orchestra of the Mariinsky Theatre
Valery Gergiev, Music Director and Conductor W0$M
First Violins
Leonid Veksler, Principal Lyudmila Chaykovskaya,
Principal Tatiana Frenkel Mikhail Rikhter Vscvolod Vasilycv Leonid Kirichenko Boris Vasilyev Anton Kozmin Nina Pirogova Lolita Silvian Ildar Gatov Irina Sukhorukova Anna Glukhova Khristian Artamonov Mikhail Tatarnikov Maria Pimenova
Second Violins
Georgy Shirokov, Principal Maria Safarova, Principal Zhanna Abdulaeva Viktoria Schukina Svetlana Zhuravkova Marchel Bezhenaru Mark Kogan Victoria Kakicheva
Violas
Yury Afonkin, Principal Vladimir Litvinov Lina Golovina Ekaterina Garsina Karine Barsegian Alexey Kluev Andrey Petushkov Elena Solovyeva Leonid Lobach Svetlana Sadovaya Dmitry Pitulko
Olios
Zenon Zalitsaylo, Principal
Mikhail Slavin, Principal
Olcg Sendetsky
Nikolay Vasilyev
Tamara Sakar
Oksana Moroz
Natalia Baykova
Sarkis Ginosyan
Nikolay Oginets
Ekaterina Travkina
Basses
Kirill Karikov, Principal Vladimir Shostak, Principal Denis Kashin Sergey Trafimovich Evgeny Mamontov Maxim Afanasyev Igor Eliseev
Flutes
Valentin Cherenkov Denis Lupachev Ekaterina Rostovskaya Margarita Maystrova
Oboes
Alexander Trushkov Sergey Bliznetsov Pavel Terentiev Alexander Sveshnikov
Clarinets Ivan Tersky Viktor Kulyk Dmitry Kharitonov Anatoly Shoka Yury Zyuryaev
Bassoons
Igor Gorbunov Rodion Tolmachev Valentin Kapustin Alexander Sharykin
Horns
Igor Prokofiev Stanislav Tses Stanislav Avik Vladislav Kuznctsov Yury Akimkin Valcry Papyrin Andrey Antonov Petr Rodin
Trombones
Andrey Smirnov Igor Iakovlev Fedor Arkhipov Victor Shirokov Mikhail Seliverstov j Nikolai Timofeev
Nikolay Slepnev 4
Percussion
Andrey Khotin Yury Alexeev Mikhail Peskov Yury Mischenko Arseny Choupliakov Evgeny Zhikalov
Harps
Lyudmila Rokhlina Elizaveta Alexandrova
OrganPiano
Olga Bystrova
Orchestra Manager
Vladimir Ivanov
Stage Hands
Petr Smirnov Zufar Abdullin
Administration
Olga Nikolaeva
Columbia Artists
Management, LLC. Tour Direction: R. Douglas Sheldon, Senior
Vice President Karen Kloster, Tour
Coordinator Nathan Scalzonc, Managerial
Assistant Elizabeth E. Torres, Program
Manager
Ann Woodruff, Tour Manager Peggy Langille, Hotel Advance Bernard Muller, Conductor
Maria Keith, Backstage Ma nagerIn terpreter Maestro Tour & Travel, Hotels Sintec-Tur, Air
UMS
presents
Michigan Chamber Players
Faculty Artists of the University of Michigan School of Music
Lynne Aspnes, Harp Aaron Berofsky, Violin Susan Botti, Soprano [Catherine Collier, Piano Anthony Elliott, Cello
Annie Guenette, Violin Andrew Jennings, Violin Amy Porter, Flute Yizhak Schotten, Viola
Sunday Evening, October 12, 2003 at 6:00 Rackham Auditorium Ann Arbor
Camille Saint-Saens
Susan Botti
Fantasy for Violin and Harp, Op. 124
Aspnes, Berofsky
Pig Dreams: Scenes from the Life of Sylvia
Her Secret The Bride Pigsong Her Prayer Her Vision Winterpig
Botti, Porter, Aspnes
INTERMISSION
Antonin Dvofdk
Piano Quintet in A Major, Op. 81
Allegro, ma non tanto Dumka: Andante con moto Scherzo (Furiant): Molto Vivace Finale: Allegro
Jennings, Guenette, Schotten, Elliott, Collier
Sixth Performance of the 125th Annual Season
The photographing or sound recording of this concert or possession of any device for such photograph?ing or sound recording is prohibited.
Thanks to all of the U-M School of Music Faculty Artists for their commitment of time and energy to this special UMS performance.
Large print programs are available upon request.
Fantasy for Violin and Harp, Op. 124
Camille Saint-Saens
Born October 9, 1835 in Paris
Died December 16, 1921 in Algiers
Pig Dreams
Susan Botti
Born April 13, 1962 in Wichita Falls, Texas
Sylvia, a Hampshire pig, came to live with the artist Liebe Coolidge in northeastern Vermont when she was a very young piglet. A brilliant animal, in the tradition of the Learned Pigs of the 18th and early 19th centuries, she was not only house-trained (a considerable achievement for the porcine physiology) but when she grew up and became a mother, she also house-trained her own piglets just as a cat trains its kittens. Athletic and philosophical, Sylvia was highly peripatetic and loved to take long, brisk cross?country walks with her human and canine friends, as well as to muse and meditate. It was only with old age that Sylvia was obliged to curtail her outdoor expeditions and also (due to regrettably inconvenient dimensions) the amount of time she spent in the human indoor environment which she was so interested in studying and to which her presence added such charm.
Pig Dreams had its premiere at The New School in New York City in June 1996.
Program note by poet Denise Levertov.
Piano Quintet in A Major, Op. 81
Antonin Dvorak
Born September 8, 1841 in Miihlhausen
Died May 1, 1904 in Prague
Harpist Lynne Aspnes began her training in her native Minnesota. She holds a BFA degree from the University of Minnesota, a Master of Music degree from the San Francisco Conservatory of Music, and the Doctor of Musical Arts degree from the Manhattan School of Music. Ms. Aspnes is currently Professor of Harp and Chair of the String Department at the U-M School of Music. With VocalEssence (the Plymouth Music Series of Minnesota), Ms. Aspnes has recorded for the CRI, ProArte, RCA Red Seal, and Virgin Classics labels. With organist John Walker, and the choir of the Riverside Church, New York, Ms. Aspnes has recorded for the Pro Organo label, works by Gabriel Faure and Marcel Grandjany. With the late Sir Peter Pears, she has recorded Benjamin Britten's Canticle V: The Death of Saint Narcissus 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 contribu?tor to The American Harp Journal.
This evening's performance marks Lynne Aspnes' seventh appearance under UMS auspices.
Aaron Berofsky has won international critical acclaim as both a soloist and a chamber musician. He has soloed with orchestras in the US, Germany, Italy, and Canada. As a recitalist, he has performed in New York and Chicago, most recently at the Symphony Center and on the Dame Myra Hess Memorial Concerts Series. He regularly appears at festivals throughout North America and Europe, including the International Deia Festival in Spain, the Adriatic Chamber Music Festival in Italy, the Skaneateles Festival in New York, Steamboat Springs in Colorado, Springfest in Ann Arbor, Garth Newel in Virginia, the Speedside and Guelph Spring Festivals in Canada, and the Oregon Symphony's annual "Mozart 'Til Midnight" gala. As first violin?ist in the Chester String Quartet, Mr. Berofsky has appeared at Carnegie's Weill Recital Hall in New York and the Corcoran Gallery in Washington DC. Highlights of recent seasons have included the New York premiere and recording of Aaron Jay Kernis' 100 Greatest Dance Hits, two complete cycles of the Beethoven string quartets and recordings of Haydn's Op. 74 Quartets and the complete Mozart Flute Quartets. The Quartet has been featured on
NPR's Performance Today and on CBC Radio. Mr. Berofsky received his Master's degree from The Juilliard School as a student of Dorothy DeLay. Other teachers include Glenn Dicterow, Robert Mann and Elaine Richey. Mr. Berofsky joined the U-M School of Music faculty in 2002 after teaching at Indiana University in South Bend. He can be heard on the Sony, New Albion, Audio Ideas, and Chesky labels.
This evenings performance marks Aaron Berofsky's second appearance under UMS auspices.
Composer and singer Susan Botti received her Bachelor of Music from the Berklee School in Boston and her Masters in Music Composition from the Manhattan School of Music. For the next two seasons, Ms. Botti will be the third Daniel R. Lewis Young Composer Fellow with the Cleveland Orchestra. Her most recent orchestral work, EchoTcmpo (for soprano, percussion and orchestra), was commissioned and premiered by the New York Philharmonic (with Ms. Botti and Christopher Lamb as soloists). A commission from the Orpheus Chamber Orchestra for solo violin and chamber orchestra, Within Darkness, was pre?miered at Carnegie Hall and The Kennedy Center in 2000. Composerconductor Tan Dun has created several major works that highlight her vocal talents, including the role of "Water" in his internationally renowned opera, Marco Polo that she premiered and subsequently performed in Europe and Asia, and at the New York City Opera. Ms. Botti is an Assistant Professor of Composition at the U-M School of Music.
77ijs evening's performance marks Susan Botti's UMS debut.
Katherine Collier has had a distinguished and versatile career as a soloist, chamber music artist, and accompanist. She received her bachelors and masters degrees from the Eastman School of Music. Ms. Collier was the First Prize winner of the National Young Artist's Competition and the Cliburn Scholarship Competition and was the recipient of a Rockefeller Award. She won a Kemper Educational Grant to study at the Royal College of Music in London, England, where she completed postgraduate work. Ms. Collier is an active collaborator with such artists as Joshua Bell,
Ani Kavafian, Edgar Meyer, David Shifrin, Eddie Daniels, and members of the Tokyo, Emerson, and Ying Quartets. She has concertized throughout Europe and the US and has performed at the Aspen Music Festival, Interlochen, Meadowmount, and Skaneateles. She tours extensively with her husband, violist Yizhak Schotten, and they are founders and music directors of the Maui Chamber Music Festival, where they perform each summer. They are also music directors of the Strings in the Mountains Festival in Colorado. Their duo recording on CRI Records was selected for three months as "Critics' Choice" by High Fidelity Magazine. Ms. Collier also appears on the Pandora, Pearl, Crystal, and Centaur labels.
This evening's performance marks Katherine Colliers 11th appearance under UMS auspices.
Anthony Elliott, protege of Janos Starker and Frank Miller, has achieved a multi-faceted career as a cellist, conductor, and teacher. He was the first cellist to win the Feuermann International Cello Competition, and was the highest ranked American in the Concours Cassado in Florence, Italy. He has appeared as a soloist with major orchestras including the New York Philharmonic, the Detroit Symphony, the Minnesota Orchestra, the Vancouver Symphony, and the CBC Toronto Orchestra. As a chamber musician, he appears at Aspen, Sitka, the Seattle Chamber Music Festival and Bargomusic and has performed with members of the Chamber Music Society of Lincoln Center and with members of the Juilliard, Emerson, and Concord String Quartets. Mr. Elliott has conducted at the KentBlossom Music Festival, the Texas Music Festival, and the Marrowstone Music Festival. He currently leads the Michigan Youth Orchestra at the University of Michigan. He has been a member of the faculty at the U-M School of Music since 1994.
This evening's performance marks Anthony Elliott's 13th appearance under UMS auspices.
Violinist Annie Guenette completed her bache?lor's performance degree in 2001 at the University of Montreal under Jean-Francois Rivest. She is now pursuing her master's degree at the University of Michigan with Yehonatan Berick.
Ms. Guenette has participated in various summer music festivals including Spoleto, Banff and Aspen.
She was also invited to Poland for participation in the Ninth Annual Audio Art Festival. Last year, she performed solo violin with both the University of Montreal Orchestra and the Trois-Rivieres Symphonic Orchestra and presented a recital for Radio-Canada's "Jeunes artistes."
This evening's performance marks Annie Guenettc's VMS debut.
Andrew Jennings graduated from The Juilliard School. He was a founding member of the Concord String Quartet, a new ensemble that quickly gained international recognition by winning the Naumberg Chamber Music Award in 1972 and also performed more than 1200 concerts through?out the US, Canada, and Europe. Specializing in the performance of new works, this Quartet gave more than 50 premieres and commissions; it also performed the standard repertory and 32 cycles of the complete Beethoven quartets and made numer?ous recordings, three of which were nominated for Grammy Awards. Mr. Jennings maintained his association with this Quartet until it disbanded in 1987. The Concord Trio, which Mr. Jennings sub?sequently formed with Norman Fischer and Jeanne Kierman, debuted in 1993. He currently devotes his summers to chamber music instruction at the Tanglewood Music Center in Massachusetts and to the Musicorda School for Strings Holyoke Massachusetts. His recordings can be found on RCA, Nonesuch, Vox, Turnabout, Equilibrium, Danacord and MMO.
This evening's performance marks Andrew Jennings' 16th appearance under UMS auspices.
Flute professor Amy Porter has performed as principal flute with the orchestras of Atlanta, Houston and Boston and as soloist with the orchestras of Atlanta, Houston, New Hampshire, Kansas City, and Ann Arbor. International prizes include the 2001 "Deuxieme Prix" and the "Alphonse Leduc Prize;" 1993 Kobe International Flute Competition in Kobe, Japan; the Special Prize for the best performance of the commissioned work required at the National Flute Association Competition in Minnesota; and the Ima Hogg Competition in Houston. Recent CD releases include the premiere recording of William Bolcom's Lyric Concerto with the U-M Symphony Orchestra
on the Equilibrium label. Chamber music record?ings include Conversations and Soiree Sweets with the Atlanta Chamber Players on ACA Digital. Ms. Porter has toured Japan and Southeast Asia as concerto soloist with the New York Symphonic Ensemble and has given recitals and master classes around the world. She made her New York debut in 1987 in Weill Hall at Carnegie. She has been heard in recital on NPR, featured on the cover of Flute Talk magazine and highlighted on PBS's Live From Lincoln Center. Amy Porter received her Bachelors and Masters Degree from The Juilliard School in New York under the tutelage of Samuel Baron and Jeanne Baxtresser.
This evening's performance marks Amy Porter's fifth appearance under UMS auspices.
Yizhak Schotten's solo appearances have included performances with conductors Seiji Ozawa, Thomas Schippers, Sergiu Commissiona, Joseph Swensen, and Arthur Fiedler. He has concertized around the world and throughout the US. Formerly a member of the Boston Symphony Orchestra, he subsequently became principal violist of the Cincinnati and Houston symphony orches?tras. He is the music director of the Maui Chamber Music Festival, Strings in the Mountains Festival and SpringFest in Ann Arbor. In 1997, he repre?sented the US as a judge and performer at the Tertis International Viola Competition in England. Mr. Schotten was the Artistic Director of the XIV International Viola Congress and has been a fea?tured artist at six other international Congresses. His CRI recording was chosen as "Critics' Choice" for three months in High Fidelity magazine. Pearl Records recently included his playing on its anthology History of the Recording of the World's Finest Violists. He has given recitals and master classes in England, at the Tertis International Competition, the Menuhin School, the Guildhall School of Music, and Royal College of Music. He has also given master classes in Israel at the Tel-Aviv and Jerusalem Academies of Music, and at the Sydney Conservatorium of Music in Australia.
This evening's performance marks Yizhak Schotten's 19th appearance under UMS auspices.
UMS
presents
La Venexiana
Claudio Cavina, Director
Valentina Coladonato, Soprano
Claudio Cavina, Alto
Giuseppe Maletto, Tenor
Sandro Naglia, Tenor
Matteo BelJotto, Bass
Andrea Perugi, Organ and Harpsichord
Alessandro Grandi
Claudio Monteverdi
Monteverdi
Monteverdi
Alessandro Grandi
Thursday Evening, October 16, 2003 at 8:00
St. Francis of Assisi Catholic Church Ann Arbor
Anima mea liquefacta est
Five Voices and Organ
Nigra sum
Soprano and Continuo
Ego flos cam pi
Alto and Continuo
In te Domine speravi
Two Tenors and Continuo
Salve regina
Alto, Tenor, Bass and Continuo
Anima quam dilexi
Five Voices and Continuo
Pulchra es
Two Tenors and Continuo
Didt mi hi
Soprano, Alto and Continuo
Longe a te
Five Voices and Continuo
0 Jesu, mea vita
Five Voices and Continuo
INTERMISSION
Music ofClaudio Monteverdi
Ch'io non t'ami, cor mio (Third Book)
Five Voices ;aarsss
Vaga su spina ascosa (Seventh Book)
Two Tenors, Bass and Harpsicord
Occhi un tempo, mi a vita (Third Book)
Five Voices -fcS&s
Quel sguardo sdegnosetto (Canzonette) '"r
Soprano and Continuo
Alcun non mi consigli (Ninth Book)
Alto, Tenor, Bass and Continuo
Gira il nemico insidioso (Eighth Book) Alto, Tenor, Bass and Continuo
Lamento d'Arianna (Sixth Book) Five Voices and Continuo
Seventh Performance of the 125th Annual Season
Ninth Annual
Divine Expressions Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Special thanks to Stephano Mengozzi and Louise Stein for their participation in this residency.
La Venexiana appears by arrangement with Shupp Artists Management.
Large print programs are available upon request.
UMS
presents
LaVenexiana SI
Claudio Cav in a, Di rector
Anima mea liquefacta est
Anima mea liquefacta est,
quia Deus meus ignis consumens est.
O ignis, qui numquam extingueris, ';
o amor, qui numquam vinceris,
o dulcedo amoris, o suavitas languoris.
Anima mea liquefacta est,
quia Deus meus amor meus est.
Nigra sum
Nigra sum sed formosa,
filiae Jerusalem.
Ideo dilexit me rex --????-
et introduxit me in cubiculum suum et dixit milii:
"Surge, arnica mea, et veni. . lam hiems transiit, imber ,
abiit et recessit.
Flores apparuerunt in terra nostra; tern pus putationis advenit"
Ego flos campi
Ego flos campi, et lilium convallium.
Sicut lilium inter spinas,
sic arnica mea inter filias.
Sicut malus inter ligna silvarum,
sic dilectus meus inter filios.
Sub umbra illius quern desideraveram set"
et fructus eius dulcis gutturi meo.
In te Domine speravi S
In te Domine speravi,
non confundar in aetemum.
In justitia tua libera me. gjg
Inclina ad me aurem tuam, .
accelera ut eruas me. -Vj.'
Esto michi in Deum protectorem
Et in domum refugii, ut salvum me facias.
My soul is dissolved -
My soul is dissolved, !
for my God is a consuming fire. O fire, which nothing can extinguish, ? O love, which nothing can conquer,
0 sweet love, O tender languor. .: My soul is dissolved, :
For my God is my love. ? ."
1 am black ' ,
I am black but comely, ; , ?.. ?
O ye daughters of Jerusalem. Therefore the king hath loved me and hath brought me into his chambers and hath said unto me: , '?-?
"Arise up, my love, and come awayf! For lo, the winter is past, the rains are;
over and gone.
the flowers appear in our land; The time of pruning is at hand."
I am the rose of Sharon
I am the rose of Sharon, the lily of the valley.
As a lily among brambles, -?
So is my love among maidens. '
As an apple tree among the trees of the woods,
So is my beloved among men. , "
With great delight I sat in his shadow,
And his fruit was sweet to my taste. .
In you, O Lord, I have put my trust
In you, O Lord, I have put my trust, let me never be put to shame. In your justice set m? ' " Incline your ear to me, " "'" and speedily rescue me. Be to me the God who protects me And a stronghold to save me.
Salve Regina
Salve Regina,
mater misericordiae, ...... '"'"
vita, dulcedo, et spes nostra, salve.
Ad te clamamus, exules filii Evae,
ad te suspiramus gementes et flentes
weeping in hac lacrimarum valle.
Eja ergo, advocata nostra,
illos tuos misericordes oculos
ad nos convene.
Et Jesum benedictum fructum ventris tui
nobis post hoc exilium ostende.
O clemens, o pia,
o dulcis virgo Maria.
Anima quam dilexi
Anima quam dilexi me deseris
Misera es et caeca.
Ego redemite cruore meo,
ut gloria aeterna fruere;
tu nunc a me recedis '
nee cogitas infelix horrendas penas
et inferna monstra revertere ad
verum Deum tuum.
5 "l".
Pulchra es '???? Pulchra es, arnica mea, suavis et decora, Filia Jerusalem. Averte oculos tuos a me, quia ipsi me avolare fecerunt.
Dicit mihi
Dicit mihi, Filia Jerusalem, ? ubi est dilectus meus, ?,. quia amore langueo
O pulcherrima mulierum, :' qualis est dilectus tuus
Dilectus meus candidus et rubicundus, : electus ex millibus. s
Vidi speciosam sicut columbarum ,.j ascendentem desuper rivulos aquarum ;' cuius inestimabilis odor ij
erat nimis in vestimenta eius. i
Trahe me; post te curremus ;
in odorem unguentorum suorum. Exultabimus et laetabimur in eum, alleluia.
Hail, holy Queen
Hail, holy Queen,
mother of mercy,
our life, our sweetness, and our hope, hail.
To thee do we cry, poor banished children of Eve.
To thee do we send up our sighs, mourning and
in this vale of tears.
Turn, then, most gracious advocate,
thine eyes of mercy
towards us.
And show us the blessed fruit of thy womb, Jesus,
after this our exile.
O kind, O loving,
O sweet virgin Mary.
O soul whom I have loved
0 soul whom I have loved do you forsake me you are in distress, and blind.
1 have redeemed you by my blood that you might enjoy eternal glory; you now withdraw from me
nor think unhappily of the dreadful punishments and infernal monsters, and be returned ''" '' to your true God.
Thou art fair
Thou art fair, my love, ;
beautiful and comely, O Daughter of Jerusalem, Turn thine eyes from me, _.. -J
for they have made me flee away.
Tell me
Tell me, Daughter of Jerusalem, where is my beloved,
for whom I languish with love '
0 most beautiful of women, ? what kind of person is your beloved -dLi.
My beloved, beautiful and ruddy,
chosen from thousands. ?.
1 have seen beauty as of doves ascending from above streams of water whose priceless scent . was so much in his garments. ;.;
Draw me; we will run after you
in the scent of his ointments. ? . ???id'--'
We will exult and be joyful in him, alleluia.O
Longe a te
Longe a te, mi Jesu;_______
crucior in dolore.
O dulcedo suavis,
O Jesu, veni ad me:
gratia tua iuva me in afflictione me,
incende meum cor amore tuo
et ure renes, et moriar beatus.
O Jesu, mea vita
O Jesu, mea vita,
in quo est vera salus;
o lumen gloriae, amate Jesu.
O cara pulchritudo, tribue mihi tuam
dulcedinem mellitlua gustandam.
O vita mea, o gloria coelorum,
ah restringe me tibi in aeternum.
O Jesu, lux mea, spes mea, cor meum,
o Jesu mea vita.
Ch'io non t'ami, cor mi
(B. Guarini)
Ch'io non t'ami, cor mio
Ch'io non sia la tua vita, e tu la mia
Che per novo desio
e per nova speranza i' t'abbandoni
Prima che questo sia
morte non mi perdoni;
ma se tu sei quel cor onde la vita f
m'e si dolce e gradita,
fonte d'ogni mio ben, d'ogni desire,
come poss'io lasciarti e non morire
'v "
Far from you
Far from you, my Jesus,
I am tormented in grief. __;
O agreeable sweetness, . , s
O Jesus, come to me:
with your grace, help me in my affliction
inflame my heart with your love
and burn my soul, and I will die blessed.
O Jesus, my life ' ?'
O Jesus, my life, """t'-
in whom is true salvation, ;
O light of glory, beloved Jesus. "
O dear beauty, bestow on me
your sweetness, flowing with honey.
O my life, O glory of the heavens,
ah, bind me fast to you forever.
O Jesus, my light, my hope, my heart,
O Jesus, my life.
How can I not love you, my heart,
ass
How can I not love you, my heart
How can I not be your life and you mine
How can I leave you for a new
desire or a new hope . ?$
Before that could happen
may I die;
but if you are that heart in which life , ;
is so sweet and agreeable to me,
source of all happiness, of all desire, '??
how could I leave you and not die 1
Vaga su spina ascosa
(G. Chinbrera)
Vaga su spina ascosa
e rosa rugiadosa
ch'a l'alba si diletta
mossa da fresca auretta;
ma piu vaga e la rosa
de la guancia amorosa
ch'oscura e discolora .., -..,?
le guance dell'Aurora.
Addio, Ninfe de' fiori
e Ninfe de gli odori; ?
Primavera gentile, '
statti pur con Aprile:
che piu vaga e piu vera
mirasi Primavera
su quella fresca rosa
de la guancia amorosa "
ch'oscura e discolora
le guance dell'Aurora. ?'
Occhi un tempo, mia vita (B. Guarini) ,
Occhi un tempo, mia vita, occhi di questo cor fido sostegno, voi mi negate, ahime, l'usata aita. Tempo e ben di morire: a che piu tardo M
A che torcete il guardo ; Forse per non mirar ?
come v'adoro Mirate almen ch'io moro! .:
Quel sguardo sdegnosetto
Quel sguardo sdegnosetto, lucente e minaccioso, r quel dardo velenoso ' vola a ferirmi il petto; A bellezze ond'io tutt'ardo, e son da me diviso; piagatemi col sguardo, i sanatemi col riso. .. Armatevi, pupille, ' d'asprissimo rigon versatemi sul core un nembo di faville. Ma il labbro non sia tardo a rawivarmi ucciso: 1 feriscami quel sguardo, ??

Lovely midst the hidden thorns
Lovely midst the hidden thorns
lies the dewy rose,
that buds at daybreak
stirred by a fresh breeze;
but lovelier still is the rose
of the amorous cheek
which overshadows and outdoes
the cheeks of Dawn.
Farewell, Nymphs of the flowers
and Nymphs of their perfumes;
gentle Spring,
remain with April;
for more lovely and more real
is Spring seen
in that fresh rose
of the amorous cheek
which overshadows and outdoes
the cheeks of Dawn.
Eyes that were once my life
Eyes that were once my life,
eyes that were the faithful refuge of this heart,
you deny me, alas, your usual help.
It is time to die:
why delay any longer
Why do you turn away your gaze
Could it be in order not to see how much
I adore you Look at least to see that I am dying!. i..,..
That disdainful little glance
That disdainful little glance,
t bright and menacing, that poisonous dart flies toward me to wound my breast; ''.
beauties I burn for, -
and I am beside myself; ';. wound me with your glance, I heal me with your smile. . J ! Arm yourselves, eyes, ;', "; with staunch rigor: . & Jpour out on my heart ' .
a cloud of sparks. But may the lips not be tardy to revive me from death: '1 wound me with your glance, ' '
mm-
ma sanami quel riso. Begl'occhi, a 1'armi, a l'armi: io vi preparo il seno; gioite di piagarmi infin ch'io venga meno. E se da vostri dardi io rester6 conquiso, ferischino quei sguardi, ma sanimi quel riso.
Alcun non mi consigli
Alcun non mi consigli
se ben il cor perdei,
ch'abbandoni colei
ch'e la mia vita, ancor che cruda e fera,
che se ben vuol ch'io pera
e che la speme mia ne port'il vento
non me n'adiro, no, non me ne pento.
Ben s'afifatica in vano
chi m'addita il mio male
e 'I contrastar non vale
che belta ch'e severa un cor diletta:
si dolce e la saetta
che se ben brama il cor fiamma e tormento
non me n'adiro, no, non me ne pento.
Perche' Io stral di morte
esce dagli occhi belli,
perche gl'auri capelli
son la catena, e quel tenace nodo
in cui stretto mi godo,
e perche se le piace il mio lamento
non me n'adiro, no, non me ne pento.
but heal me with that smile.
Beautiful eyes, to arms, to arms:
I am preparing my heart for you;
take joy in wounding me
until I faint.
And if by your arrows
I shall be conquered,
let those glances wound,
but heal me with that smile.
Let no one advise me
Let no one advise me
even though I'd lose my heart,
to abandon the one
that is my life, although cruel and painful,
because if she wishes that I should perish
and my life should be tossed to the wind
I will not get angry, no, I'll not regret it.
He indeed labors in vain
who points out my sickness
and to fight it will be useless
because a cruel beauty delights the heart:
so sweet is the arrow
that even if the heart desires flame and torment
I will not get angry, no, I'll not regret it.
Because the arrow of death
goes out from the beautiful eyes,
because the golden hair
is the chain, and that strong knot
in whose restraints I rejoice,
and because if my lament please her :i
I will not get angry, no, I'll not regret it
; Gira il nemico insidioso r(G.Stwzzi)
'? Gira il nemico insidioso Amore la rocca del mio core. ; Su, presto, ch'egli e qui poco lontano: ? armi alia mano!
1 Not lasciamo accostar, ch'egli non saglia
sulla fiacca muraglia,
ma facciam fuor una sortita bella;, [? butta la sella! 'r..
' Armi false non son, ch'ei s'avvicina col grosso alia cortina. ' Su, presto, ch'egli e qui poco discosto, .? r tutti al suo posto!
con impeto gagliardo. Su presto, ch'egli e qui senza alcun fallo, ?' tutti a cavallo! :g5SSai86Sfc'1'"
' Non e piii tempo, ohime, ch'egli ad un tratto del cor padron s'e fatto. A gambe; a salvo chi si pu6 salvare: all'andare! ?'' " " ' '? ;
d'un tiranno protervo,
che'l vincitor dentro alia piazza grida: ;
"Foco, ammazza!" _,,
Lamento d'Arianna
Lasciatemi morire; ?,
e che volete voi che mi conforte in cosi dura sorte, in cosi gran martire Lasciatemi morire.
O Teseo, o Teseo mio,
si che mio ti vo' dir, che mio pur sei,
benche t'involi, ahi crudo, a gli occhi miei.
Volgiti, Teseo mio,
volgiti, Teseo, o Dio. JSs&feSsiRSSsL?.
Volgiti indietro a rimirar colei
che lasciato ha per te la patria e il regno,
e in questa arena ancora,
cibo di fere dispietate e crude,
lasciera l'ossa ignude.
O Teseo, o Teseo mio, _
Se tu sapessi, o Dio, ",.. .
Love, the insidious enemy
WYWj
Love, the insidious enemy, surrounds the fortress of my heart. Come, be quick, for he is now hard by: take up your weapons!
Let him not approach, nor let him climb
the feeble battlements;
but let us mount a fine charge:
addle the horses! ...?-
These are no fake weapons; he approaches the outer wall in force. Come, be quick, for he draws near: every man to his post!
He would assault the ramparts of the eyes _ with debonair audacity.
Come, be quick, for he is here, no doubt about it: to horse, one and all! jj
Alas, 'tis too late, for he, in a trice,
has overpowered my heart.
To your heels; let all who can, escape: ??
Away, away! -.'?-? ??.?:?.
My heart, flight is useless, you are lost "and a slave to an overweening tyrant,
for the conqueror, already in the citadel, cries:;1 "Fire, slaughter!" ... : .-..
Arianna's lament "
Let me die;
why do you wish me to be consoled
to this cruel fate, ; ....
to this great suffering '
Let me die. ,.--'?. -?'
0 Theseus, O my Theseus
1 want to call you mine, since you are mine, even though you flee, ah cruel one, from my eyes. Return, my Theseus
return, Theseus, O God.
Turn back to see the one
who for you has left fatherland and kingdom,
and who yet in this land,
a prey to pitiless and cruel beasts,
will leave her naked bones.
O Theseus, O my Theseus,
if you knew, O God,
se tu sapessi, ohime, come s'affanna
la povera Arianna,
forse, pentito,
rivolgeresti ancor la prora al lito.
Ma con l'aure serene
tu te ne vai felice et io qui piango;
a te prepara Atene
liete pompe superbe, et io rimango
cibo di fera in soiitarie arene;
te l'uno e 1'altro tuo vecchio parente
stringera lieto, et io
piii non vedrowi, o madre, o padre mio.
Dove, dove e la fede che tanto mi giuravi Cosi nell'alta sede tu mi ripon de gli avi Son queste le corone onde m'adorni il crine Questi gli scettri sono, queste le gemme e gli ori: lasciarmi in abbandono a fera che mi stracci e mi divori! Ah Teseo, ah Teseo mio, lascerai tu morire,
invan piangendo, invan gridando aita, la misera Arianna che a te fidossi e ti die gloria e vita
Ahi, che non pur risponde.
Ahi, che piii d'aspe e sordo a miei lamenti!
O nembi, o turbi, o venti,
sommergetelo voi dentr'a quell'onde.
Correte, orchi e balene,
e delle membra immonde
empiete le voragini profonde!
Che parlo, ahi, che vaneggio
Misera, ohime, che chieggio
O Teseo, o Teseo mio,
non son, non son quell'io,
non son quell'io che i feri detti sciolse:
parlo l'affanno mio, parlo il dolore;
parl6 la lingua si, ma non gia il core.
if you knew, alas, how tormented is
poor Arianna,
perhaps, repentent,
you would turn your ship towards these shores.
But, with the serene breezes
you go off happy, and I weep here;
for you Athens prepares
joyous and superb festivities, and 1 remain
a prey to wild beasts on these solitary shores;
each of your old parents
will embrace you in joy, and I -_?
will see you no more, o mother, o father mine. '.
Where, where is the faith that you so swore to me Is this then the ancestral high seat that you set me on Are these the crowns
with which you adorn my head
These are the sceptres, .;
these the jewels and the gold: ;
to leave me abandoned !
to the wild beasts who tear and devour mer Ah, Theseus, ah, my Theseus, ?
will you let me die, ??
weeping in vain, crying out in vain for help, wretched Arianna
who was faithful to you and gave you -I glory and life .3
Ah, he replies not!
Ah, more deaf than the asp is he to my laments!
O clouds, O storms, O winds,
drown him in those waves.
Rush, orcas and whales, ,;
and with his corrupted limbs i
fill up the deep abyss!
What am I saying, ah, what raving is this.':
Wretched, alas, what have I asked
O Theseus, O my Theseus,
no, it is not 1,
it is not I who hurl such curses:
my anguish spoke, my pain:
yes, my mouth spoke, but not yet my heart
he motets that comprise the first part of our program reflect the musical culture in northern Italy during the 17th century. Ludovico Grossi's Concerti _ ecclesiastic:, Op. 12 revolutionized the )olyphonic motet tradition long associated nth the composers Tomas Luis de Victoria and
ilestrina, by being the first publication of acred vocal music to include a basso continuo. Alessandro Grandi was a student of Schiitz and Gabrieli in Venice, and succeeded Monteverdi in his posts at Venice and Ferrara. Ignatio Donati held a long succession of posts at several cathe?drals in Italy, including Urbino, Ferrara, Lodi, and Milan. His output is almost exclusively church music, and his concertato motets for several voices and continuo stand out as some of the most revered pieces in his canon. I Claudio Monteverdi's Vespers stem from the composer's Mantuan period and embodies the expressiveness and heightened awareness to the text that characterized the northern Italian con?certato style. He appears to have shared the atti?tude of his German contemporary Heinrich Schutz, another great composer of both sacred and sec?ular genres, who regarded the text as the founda?tion of musical substance: Prima le parole e poi la musica. It is hardly surprising that Monteverdi was drawn to the madrigal, the perfect genre for the juxtaposition of cerebral expression and musical affect. From his first book of secular madrigals in 1587 through the posthumous Ninth Book of 1651, his works evolved from five-voice poetic settings to strikingly original concertato duets with basso continuo and obbli-gato instruments that broke new ground in terms of dissonance and polyphonic texture. It is curious to note that the Neoplatonic aesthetic concerning the faithful mirroring of the poetry went hand in hand with the custom of reusing secular vocal works as sacred con-trafacta. Between 1607 and 1609, a priest from Milan, Aquilino Coppini, produced three volumes of spiritual madrigals drawn from the contents of Monteverdi's Fourth and Fifth (1605) madrigal books, skillfully replacing the original, floridly erotic texts with edifying Latin verses intended
to encourage spiritual growth. Monteverdi . himself would later follow suit and publish a ?-reworking of his famous Lamcnto d'Arianna (which closes this evening's program) as Pianto della Madonna. Apparently Counter-Reformation fervor would impose any effective means to further its spiritual aims.
he name La Venexiana is taken from an anonymous Renaissance comedy, a masterpiece of Italian theater for its use of language, a combination of Italian and dialect, and for its insightful ren?dering of society and manners. In taking on this name, La Venexiana attempts to convey in its musical interpretations all the theatricality, attention to language in all its subtlety, and cel?ebration of contrasts between the refined and the popular, the sacred and profane that char?acterize our culture today.
The members of La Venexiana are some of the most experienced European performers in the early music field, especially in the Italian Madrigal repertoire. They have established a new style in Italian early music performance: a warm, truly Mediterranean blend of textual declamation, rhetorical color and harmonic refinement. jiL
La Venexiana has performed at numerous major festivals and concert series around the world including the Musikverein's Golden Hall in Vienna, De Singel in Antwerp, and the Brugge Festival. In the US, it has performed in New York City, Tucson, San Diego, San Francisco, and Seattle.
La Venexiana's recordings of madrigals by Monteverdi, D'India, Luzzaschi, Marenzio and Gesualdo have won it much public notice and critical acclaim. Other awards include the "Diaspon d'Or" in September 1999, November 1999, and October 2001, and the "Editors' Choice of Repertoire" in December 1999. Recently, the ensemble received the 2001 Gramophone Award and the 2002 Cannes Classical Award.
This evening's performance marks La Venexiana's UMS debut.
UMS
and --------
Pfizer Global Research and Development
Wynton Marsalis Quintet
Wynton Marsalis, Trumpet Wess Anderson, Alto and Soprano Saxophones Eric Lewis, Piano '
Carlos Henriquez, Bass tmW?mesm?i$: Ali Jackson, Drums aS?$5,-a&

Friday Evening, October 17, 2003 at 7:00 Friday Evening, October 17, 2003 at 9:30 Michigan Theater Ann Arbor
Tonight's programs will be announced by the artists from the stage.
Eighth and Ninth Performances of the 125th Annual Season
Tenth Annual r,--Jazz Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Tonight's performances are sponsored by Pfizer Global Research and Development, Ann Arbor Laboratories.
Special thanks to Dr. David Canter of Pfizer Global Research and Development, Ann Arbor Laboratories for his generous support of the University Musical Society.
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 WEMU, WDET, Michigan Chronicle, and Michigan Front Page.
The Steinway piano used in this evening's performances is made possible by Hammell Music, Inc., Livonia, Michigan.
The Wynton Marsalis Quintet appears by arrangement with Ted Kurland Associates.
Large print programs are available upon request.
ew artists in history have had as dramatic and lasting an impact on their craft and on popular culture as Wynton Marsalis. A brilliant musician and prolific composer whose record?ings have sold more than nine million copies worldwide, Mr. Marsalis' exploration of diverse musical styles and structures has forever changed jazz's standing in the music world. Long form works such as Citi Movement, In This House, On This Morning, Blood on the Fields, and All Rise have shown jazz to be as powerful, as complex, and as thought-provoking as any symphonic or operatic composition, without sacrificing the accessibility and spirit at the heart of this innately American art form.
At the same time, Mr. Marsalis has had an equally significant role in developing young musicians, preserving the history of jazz, and creating new jazz fans by expanding the music's vocabulary as well as initiating young listeners. Under his direction, New York City's Jazz at Lincoln Center (J@LC) program has initiated hundreds of musicians and thousands of fans into the jazz world and successfully served the needs of the existing jazz community. Mr. Marsalis has helped to build the program into an internationally recognized force in the per?forming arts. As Artistic Director of J@LC, Mr. Marsalis has been able to highlight the music of many of jazz's preeminent performers includ?ing Thelonius Monk, Duke Ellington, Count Basic, Dizzy Gillespie, John Coltrane, Miles Davis, Gerry Mulligan, and Chico O'Farrill. The culminating achievement of J@LC will be the completion of Rose Hall, a $125-million complex that will be the first-ever concert space acoustically designed for jazz.
In 1997, Mr. Marsalis broke the barriers between classical and jazz in his epic oratorio on slavery, Blood on the Fields. The thought-provoking three-hour work earned Mr. Marsalis a Pulitzer Prize an honor that had previously been reserved only for traditional classical com?posers. In 1996, his 26-part National Public Radio series, Making the Music, and his four-part PBS series, Marsalis on Music, won him a Peabody Award. ?
It is likely that Mr. Marsalis' ability to artic?ulate and communicate the story of jazz has contributed to his international prominence. Recognized worldwide as a towering figure on the cultural landscape, Mr. Marsalis has been awarded the "Grand Prix du Disque" of France, the Edison Award of the Netherlands and has been named an Honorary Member of England's Royal Academy of Music. Domestically, he has been honored with nine Grammy awards for his jazz and classical recordings. Last year, he was given the Black History Makers Award.
Simultaneously educating and expanding the audience for the traditional jazz canon, while redefining the tremendous value and sub?stance of jazz and the blues, Wynton Marsalis has erased countless musical boundaries. He has shown the music world both the worth of jazz's established swing and the promise of its power and depth.
This evenings performances mark Wynton Marsalis' seventh and eighth appearances under UMS auspices. In February 1997, Mr. Marsalis appeared under UMS auspices in presentation of his Pulitzer Prize-winning oratorio Blood on the Fields in Hill Auditorium. He made his UMS debut in January 1996 with the Lincoln Center Jazz Orchestra. Tonight also marks the Wynton Marsalis Quintet's UMS debut.
Venues, continued from page 24
EMU Convocation Center
" n exciting new era in EMU athletics was set in motion in the fall of 1998 with the opening of the $29.6-million Convocation Center. The Barton-Malow Company along with the architectural firm Rossetti Associates , of BirminghamThe Argos Group began con?struction on the campus facility in 1996. The Convocation Center opened its doors on December 9, 1998 with a seating capacity of 9,510 for center-stage entertainment events. UMS has presented special dance parties at the EMU Convocation Center every April since 1998, and this year's popular concert features Orchestra Baobab on Saturday, April 17. m "
J
Michigan Union Ballroom L______
'he Michigan Union Ballroom is a new venue i to UMS in its 125th season, specifically selected for seven performances by Shakespeare's Globe Theatre of Twelfth Night. The Michigan Union Ballroom recreates the intimate ambiance of the Globe Theatre in London. The Michigan Union celebrates its 100th anniversary this season.
Nichols Arboretum
In 1998, UMS presented performance artists Eiko and Koma in two special performances that took place (literally!) in the Huron River. This year, UMS is pleased to return to Nichols lArboretum for a special season opening event by U Theatre: Drummers of Taiwan. __..
Pease Auditorium
ease Auditorium is a classic concert hall on I" the campus of Eastern Michigan University. It is located on College Place at the intersection of West Cross Street in Ypsilanti.
Originally built in 1914, Pease Auditorium has been renovated three times: in the late 1950s, in 1960 to accommodate installation of an AeolianSkinner organ and most recently in 1995 when complete interior refurbishing was completed and an addition was constructed. The auditorium also was made completely barrier free.
Pease Auditorium can seat up to 1,541 concertgoers.
U-M Sports Coliseum
Located on the corner of Fifth Avenue and Hill Street, the Sports Coliseum is primarily used for the Intramural Program and the Club Sports Program. The Sports Coliseum, a converted ice rink, is a 36,000 sq. ft. multi?purpose facility used for rentals, expos, and shows and is also home to the UM Men's Varsity Gymnastics Team.
UMS presents its first performances in the Sports Coliseum, a critically-acclaimed pro?duction of Pushkin's Boris Godunov, featuring star actors from some of Moscow's best theater companies and television series. The produc?tion design features a 50-foot catwalk with the audience seated on either side. UMS and the production team from Russia visited several potential sites for the production and selected this venue. Audience members will be seated in chairs on risers on either side of the stage.
Burton Memorial Tower
een from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor land?marks. Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet. UMS administrative offices returned to our familiar home at Burton Memorial Tower in August 2001, following a year of significant renovations to the University landmark.
This current season marks the third 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.
ience
September 2003
Tues Sfi U Theatre Drummers of Taiwan:
Season Opening Event
Fri-Sat 19-20 U Theatre Drummers of Taiwan: The Sound of Ocean
October s jf m
Fri 3 St. Petersburg String (Jiartet?
Sun 12
Thur 16
Fri 17
Sat-Sun 1-2
Thur 6
Sat 8
Tues 11
TTiwr 13
Tues-Sun 18-23
Sat-Sun 6-7
Michigan Chamber Pfcyersfree admission)
La Venexiana
Wynton Marsalis Quintet
Miami City Ballet One-Hour Family Performance
Miami City Ballet: BalanchineStravinsky
Vadim Repin, violin
Pushkin's Boris Godunov
Suzanne Farrell Ballet: BalanchineTchaikovsky
November
Pushkin's Bon's Godunov
St. Petersburg Academic Capella Choir
Chava Alberstein
Doudou N'Diaye Rose and Les Rosettes "
Charles Lloyd Quintet
Shakespeare's Globe Theatre: Twelfth Night
December
Boston Pops Esplanade Handel's Messiah
istmas Concert
lease note that a complete listing of all UMS Educa?tional programs is conveniently located within the concert pro?gram section of your program book and is posted on the UMS website at www.ums.on
g January 2004
'?' Sat 17 Hill Auditorium Celebration ________
Sun 18 Orchestre Revolutionnaire et Romantique and
The Monteverdi Choir Mon 19 Jazz Divas Summit: Dianne Reeves, Dee Dee Bridgewater &
Regina Carter
Fri 30 Emerson String Quartet Sat 31 Simon Shaheen and Qantara
February
Sun 8 Michigan Chamber Players (free admission) Thur 12 Hilary Hahn, violin ;
Sat 14 Canadian Brass Valentine's Day Concert liur-Sat 19-21 Children of Uganda -,?-w-.
Fri 20 Cecilia Bartoli, mezzo-soprano and ?iO' Orchestra of the Age of Enlightenment
March
Thur-Sun 4-7 Guthrie Theater: Othello
Fri-Sat 12-13 Merce Cunningham Dance Company
Sun 14 Kronos Quartet
Fri 19 Ornette Coleman
Sat 20 Israel Philharmonic
Sun 21 Takacs Quartet
Thur 25 The Tallis Scholars
Sat 27 Jazz at Lincoln Center's Afro-Latin Jazz Orchestra
April
ihur 1 Lang Lang, piano
FrZSat 2-3 Lyon Opera Ballet: Philippe Decoufle's Tricodex
Sat 3 Lyon Opera Ballet One-Hour Family Performance
Thur 8 William Bolcom's Songs of Innocence and of Experience
Thur 15 Alfred Brendel, piano
Fri 16 Girls Choir of Harlem
Sat 17 Orchestra Baobab Senegalese Dance Party
Sun 18 Shoghaken Ensemble
Thur 22 Karita Mattila, soprano
Fri 23 Rossetti String Quartet with Jean-Yves Thibaudet, piano
Sat 24 Caetano Veloso
Sat 15 Ford Honors Program: Artist to be Announced
onsidered one of the top performing arts educational programs in the country, UMS strives to illuminate the performing arts through education and community engagement, offering audiences a multitude of opportunities to make con?nections 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 0304 educational activities will be announced one month prior to the event. For more information about adult education or community events, please visit the website at www.ums.org, e-mail umsed@umich.edu, or call 734.647.6712. Join the UMS E-Mail Club for regular reminders about educational events.
Artist Interviews
These in-depth interviews engage the leading art-makers of our time in conversations about their body of work, their upcoming perform?ance, 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 the audience a greater appreciation of a specific subject matter within the context of the performance prior to attending the show.
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 conver?sation about the themes and meanings within the performance, as well as the creative process.
Immersions
A series of events focused on a theme, culture, art form, or artist that may include master classes, films, panels and community engage?ment events. 0304 Immersions will include "St. Petersburg 300," Simon Shaheen and Qantara, and the Merce Cunningham Dance Company.
Artists-in-Residence
Many artists remain in Michigan beyond their performances for short periods 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 0304 season, major residencies include Simon Shaheen, Children of Uganda, Merce Cunningham, and Ornette Coleman.
MS has a special commitment to educat?ing the next generation. A number of programs are offered for K-12 students, educators, and families to further develop understanding and exposure to the arts. For 3 information about the Youth, Teen, and Family Education Program, visit the website at www.ums.org, e-mail umsyouth@umich.edu, JH 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 0304 Youth Performance Series features:
U Theatre: The Sound of Ocean
Doudou N'Diaye Rose and Les Rosettes
Regina Carter and Quartet
Simon Shaheen and Qantara
Children of Uganda
Guthrie Theater: Shakespeare's Othello
Girls Choir of Harlem
Educators who wish to be added to the youth performance mailing list should call 734.615.0122 or e-mail umsyouth@umich.edu,
Primary supporters of the Youth Education Program are:
A complete listing of Education Program supporters are listed online at www.ums.org.
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 workshop series will feature a return engagement by noted workshop leader Sean Layne, who will lead two
Preparing for Collaboration: Theater Games and Activities that Promote Team-Building and Foster Creative and Critical Thinking
Moments in Time: Bringing Timelines to Life Through Drama
Workshops focusing on UMS Youth Performances are:
Celebrating St. Petersburg led by UMS, U-M Museum of Art, U-M Center for Russian and Eastern European Studies, and Wild Swan Theater
Introduction to West African Percussion led by Carol P. Richardson
Understanding the Arab World and Arab Americans led by Deana Rabiah, ACCESS
Arts Advocacy: You Make the Difference led by Lynda Berg
Music of the Arab World: An Introduction led by Simon Shaheen
Behind the Scenes: Children of Uganda led by Alexis Hefley and Frank Katoola
For information or to register for a workshop, please call 734.615.0122 or e-mail umsyouth@umich.edu.
Special Discounts for Teachers and Students to Public Performances
UMS offers group discounts to schools attend?ing evening and weekend performances not offered through our Youth Education Program. Please call the Group Sales Coordinator at 734.763.3100 for more information.
UMS Teen Ticket
UMS offers area teens the opportunity to attend performances at significantly reduced prices. For more information on how to access this program, call 734.615.0122 or e-mail umsyouth@umich.edu.
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 collaborative efforts to make the arts integral to education and creates professional development opportu?nities for educators.
Family Programming and Ann Arbor Family Days
These one-hour or full-length performances and activities are designed especially for children and families. UMS provides child-friendly, informa?tional materials prior to family performances.
Miami City Ballet
Boston Pops Esplanade Orchestra
Wild Swan Theater's The Firebird
Children of Uganda
Lyon Opera Ballet
Ann Arbor Family Day -Saturday, April 3, 2004. Many Ann Arbor organizations are joining together to offer families a day of performances, master classes, workshops, and demonstrations. Watch for more information on Ann Arbor Family Days in January 2004.
Volunteers Needed
The UMS Advisory Committee provides important volunteer assistance and financial support for these exceptional educational pro?grams. Please call 734.936.6837 for information about volunteering for UMS Education and Audience Development events.
Restaurant & Lodging Packages
For complete information on UMS's Restaurant & Lodging Packages, please visit us online at www.ums.org.
UMS Preferred Restaurant and Business Program
Join us in thanking these fine area restaurants and businesses for their generous support of UMS:
Amadeus Restaurant
122 East Washington -
665.8767
Blue Nile Restaurant
221 East Washington -
998.4746
The Earle Restaurant
121 West Washington -
994.0211
Gratzi
326 South Main -
888.456.DINE
Great Harvest Bread
Company
2220 South Main 996.8890
La Dolce Vita
322 South Main 669.9977
Paesano's Restaurant
3411 Washtenaw 971.0484
Real Seafood Company
341 South Main-
888.456.DINE
Red Hawk Bar 8c Grill
316 South State 994.4004
110 East Washington -
213.1700
Sweetwaters Cafe
123 West Washington -
769.2331
Weber's Restaurant
3050 Jackson 665.3636
Zanzibar
216 South State-994.7777
UMS Preferred Businesses Format Framing and Gallery 1123 Broadway 996.9446 King's Keyboard House 2333 East Stadium -
Parrish Fine Framing and Art 9 Nickels Arcade 761.8253 Schlanderer & Sons 208 South Main 662.0306
UMS Delicious Experiences
Back by popular demand, friends of UMS are offering a unique donation by hosting a variety of dining events to raise funds for our nationally recognized educational programs. Thanks to the generosity of the hosts, all proceeds from these delightful 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 or visit UMS online at www.ums.org.
UMSsupport
MS volunteers are an integral part of the success of our organization. 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 activi?ties, including staffing the education residency activities, assisting in artist services and mailings, escorting students for our popular youth per?formances and a host of other projects. Call 734.936.6837 to request more information.
he 46-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 support to our ever-expanding educational programs. If you would like to become involved with this dynamic group, please call 734.647.8009.
SPONSORSHIP & ADVERTISIN'
Advertising --------
When you advertise in the UMS program book you gain season-long visibility among ticket-buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to performance experience. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book.
Sponsorship
As a UMS corporate sponsor, your organization 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 treas?ures, 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, call 734.647.1176.
Internships & College Work-Study
Internships with UMS provide experience in performing arts administration, marketing, ticket sales, programming, production and arts education. Semesterand year-long unpaid 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, , ticket sales, fundraising, arts education, arts programming 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.
Ushers
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 pro?gram books and providing that personal touch which sets UMS events above others. The UMS Usher Corps comprises over 300 individuals who volunteer their time to make your concert-going experience more pleasant and efficient. The all-volunteer group attends J 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 or e-mail fohums@umich.edu. ; ---------
SUPPORT FOR THE UNIVERSITY MUSICAL SOCIETY
his performance--and all of UMS's nationally recognized artistic and educational programs -would not be possible without the generous support of the community. UMS gratefully acknowledges the following individ?uals, businesses, foundations and government agencies -and those who wish to remain anonymous -and extends its deepest gratitude for their support. This list includes current donors as of August 1,2003. Every effort has been made to ensure its accuracy. Please call 734.647.1175 with any errors or omissions.
UMS is PROUD to be
a MEMBER of the FOLLOWING ORGANIZATIONS
Ann Arbor Area Convention & Visitors Bureau
ArtServe Michigan
Association of Performing Arts Presenters Chamber Music America
International Society for the Performing Arts
Michigan Association of Community Arts Agencies
National Center for Nonprofit Boards State Street Association
SOLOISTS
$25,000 or more Mrs. Gardner Ackley Hattie McOmber Randall and Mary Pittman Philip and Kathleen Power
MAESTROS
$10,000-$24,999
Carl and Isabelle Brauer
Ronnie and Sheila Cresswell
Robert and Pearson Macek
Tom and Debby McMullen
Mrs. Robert E. Meredith
M. Haskell and Jan Barney Newman
Gilbert Omenn and Martha Darling
Prudence and Amnon Rosenthal
Ann and Clayton Wilhite
VIRTUOSI
$7,500-$9,999 Maurice and Linda Binkow Don and Judy Dow Rumelhart Ed and Natalie Surovell
CONCERTMASTERS
$5,000-$7,499
Michael Allemang
Herb and Carol Amster
Ralph Conger
Douglas D. Crary
Mr. Michael J. and Dr. Joan S. Crawford
Beverley and Gerson Geltner
Sue and Carl Gingles
David and Phyllis Herzig
Toni M. Hoover
John and Patricia Huntington
Leo and Kathy Legatski
Dr. and Mrs. Richard H. Lineback
Paul and Ruth McCracken
Charlotte McGeoch
Charles H. Nave
John and Dot Reed
Loretta M. Skewes
James and Nancy Stanley
Susan B. Ullrich
Dody Viola
PRODUCERS , ,
$3,500-4,999
Essel and Menakka Bailey
Kathy Benton and Robert Brown
Barbara Everitt Bryant
Dr. Kathleen G. Charla
Dave and Pat Clyde
Katharine and Jon Cosovich
Mr. and Mrs. George W. Ford '
Betty-Ann and Daniel Gilliland
Drs. Sid Gilman and Carol Barbour
Debbie and Norman Herbert
Shirley Y. and Thomas E. Kauper
Robert and Gloria Kerry
Lois and Jack Stegeman
Lois A. Theis
Marina and Robert Whitman
Marion T. Wirick and James N. Morgan
LEADERS
$2,500-$3,499
Bob and Martha Ause
Raymond and Janet Bernreuter
Edward and Mary Cady
Thomas and Marilou Capo
Maurice and Margo Cohen
Mary Sue and Kenneth Coleman
Al Dodds
Jim and Patsy Donahey
Mr. and Mrs. Thomas C. Evans
Ken and Penny Fischer
Ilene H. Forsyth
Michael and Sara Frank
Linda and Richard Greene
Carl and Charlene Herstein
Janet Woods Hoobler
Keki and Alice Irani
David and Sally Kennedy
Connie and Tom Kinnear
Henry Martin and Paula Lederman
Marc and Jill Lippman
Natalie Matovinovic
Judy and Roger Maugh
Susan McClanahan and
Bill Zimmerman Eleanor and Peter Pollack Jim and Bonnie Reece Barbara A. Anderson and
John H. Romani Sue Schroeder Helen and George Siedel '?!
Steve and Cynny Spencer !____
Don and Toni Walker
B. Joseph and Mary White j
PRINCIPALS
$1000-$2,499 :
Dr. and Mrs. Gerald Abrams ..... ,.,
)im and Barbara Adams Bernard and Raquel Agranoff Michael and Suzan Alexander Dr. and Mrs. David G. Anderson Rebecca Gepner Annis and Michael Annis
Jonathan W. T. Ayers
Lesli and Christopher Ballard
Dr. and Mrs. Robert Bartlett
Astrid B. Beck and David Noel Freedman
Ralph P. Beebe
Patrick and Maureen Belden
Harry and Betty Benford
Ruth Ann and Stuart J. Bergstein
Suzanne A. and Frederick J. Beutler
Dr. and Mrs. Ronald Bogdasarian '
Elizabeth and Giles G. Bole
Sue and Bob Bonflcld
Charles and Linda Borgsdorf
Laurence and Grace Boxer -------
Dale and Nancy Briggs
William and Sandra Broucek
Jeannine and Robert Buchanan a
Sue and Noel Buckner 1
Lawrence and Valerie Bullen
Laurie Burns
Mr. and Mrs. Richard J. Burstein
Letitia J. Byrd
Amy and Jim Byrne
Betty Byrne
Barbara and Albert Cain
Michael and Patricia Campbell
Carolyn M. Carty and Thomas H. Haug
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
Hubert and Ellen Cohen
Nan and Bill Conlin
Jane Wilson Coon and A. Rees Midgley, Jr.
Anne and Howard Cooper
Susan and Arnold Coran
Paul N. Courant and Marta A. Manildi
George and Connie Cress
Kathleen J. Crispell and Thomas S. Porter
Richard J. Cunningham
Roderick and Mary Ann Daane
Peter and Susan Darrow
Pauline and Jay J. De Lay
Lloyd and Genie Dethloff
Steve and Lori Director
Andrzej and Cynthia Dlugosz
Molly Dobson
Jack and Alice Dobson
Elizabeth A. Doman
John Dryden and Diana Raimi
Dr. and Mrs. Theodore E. Dushane
Joan and Emit Engel
Bob and Chris Euritt
Eric Fearon and Kathy Cho
David and Jo-Anna Featherman
Dede and Oscar Feldman
Yi-tsi M. and Albert Feuerwerker
Bob and Sally Fleming
John and Esther Floyd
Marilyn G. Gallatin
Bernard and Enid Galler
Thomas and Barbara Gelchrter
Beverly Gershowitz
William and Ruth Gilkey
Alvia G. Golden and
Carroll Smith-Rosenberg
Elizabeth Needham Graham
Susan Smith Gray and Robert Gray
Dr. John and Rcnec M. Grcdcn
Jeffrey B. Green
John and Helen Griffith
Carl and Julia Guldberg
Martin D. and Connie D. Harris
Julian and Diane Hoff
Robert M. and Joan F. Howe
Drs. Linda Samuelson and Joel Howell
Dr. H. David and Dolores Humes
Susan and Martin Hurwitz
Stuart and Maureen Isaac
Timothy and Jo Wicse Johnson
Robert L. and Beatrice H. Kahn
Herbert Katz
Richard and Sylvia Kaufman
James and Patricia Kennedy
Dick and Pat King
Diane Kirkpatrick
Carolyn and Jim Knake
Joseph and Marilynn Kokoszka
Michael and Phyllis Korybalski
Samuel and Marilyn Kritnm
Amy Sheon and Marvin Krislov
Bud and Justine Kulka
Barbara and Michael Kusisto
Jill M. Latta and David S. Bach
Laurie and Robert LaZebnik
Peter Lee and Clara Hwang
Donald J. and Carolyn Dana Lewis
Carolyn and Paul Lichter
Dr. and Mrs. Allen and Evie Lichter
Daniel Little and Bernadette Lintz
Lawrence and Rebecca Lohr
Leslie and Susan Loomans
Mark and Jennifer LoPatin
Richard and Stephanie Lord
Lawrence N. Lup, DDS
John and Cheryl MacKrell
Catherine and Edwin L. Marcus
Nancy and Philip Margolis
Sally and Bill Martin
Chandler and Mary Matthews
Carole Mayer
Joseph McCune and Georgiana Sanders
Rebecca McGowan and Michael B. Staebler
Ted and Barbara Meadows
Henry D. Messer Carl A. House
Andy and Candice Mitchell
Therese M. Molloy
Lester and Jeanne Monts
Alan and Sheila Morgan
Jane and Kenneth Moriarty
Julia S. Morris
Melinda and Bob Morris
Brian and Jacqueline Morton
Eva L. Mueller
Martin Neuliep and Patricia Pancioli
Donna Parmelee and William Nolting
Marylen and Harold Oberman
Dr. and Mrs. Frederick C. O'Dell
Robert and Elizabeth Oneal
Constance and David Osier
Mitchel Osman, MD and
Nancy Timmerman William C. Parkinson Dory and John D. Paul Margaret and Jack Petersen Elaine and Bertram Pitt
Principals, com.
Richard and Mary Price Donald H. Regan and
Elizabeth Axelson Ray and Ginny Reilly Bernard E. and
Sandra Reisman Duane and Katie Renken Kenneth J. Robinson Mr. and Mrs. Irving Rose Doug and Sharon Rothwell Dr. Nathaniel H. Rowe Craig and Jan Ruff Dr. and Mrs. Frank Rugani Alan and Swanna Saltiel lohn and Reda Santinga Maya Savarino David and Marcia Schmidt Meeyung and
Charles R. Schmitter Mrs. Richard C. Schneider Rosalie and David
Schottenfeld Steve and Jill Schwartz lohn J. H. Schwarz Erik and Carol Serr Janet and Michael Shatusky Carl P. Simon and Bobbi Low Frances U. and
Scott K. Simonds Lloyd and Ted St. Antoine Victor and Marlene Stoeffler Dr. and Mrs. Stanley Strasius Virginia G. Tainsh Jim Toy
Jack and Marilyn van der Velde Elly Wagner Florence S. Wagner Willes and Kathleen Weber Elise Weisbach Dr. Steven W. Werns Marcy and Scott Westerman Roy and loAn Wetzel Harry C. White and
Esther R. Redmount Max Wicha and Sheila Crowley Dr. and Mrs. Max Wisgerhof II Robert and Betty Wurtz Paul Yhouse Edwin and Signe Young Gerald B. and
Mary Kate Zelenock
BENEFACTORS
$500-$999
Dr. and Mrs. Robert G. Aldrich Anastasios Alexiou Christine Webb Alvey David and Katie Andrea Dr. and Mrs. Rudi Ansbacher Janet and Arnold AronofT Robert L. Baird Paulett Banks M. A. Baranowski Norman E. Barnett Mason and Helen Barr L. S. Berlin Philip C. Berry John Blankley and Maureen Folcy Donald and Roberta Blitz
Tom and Cathie Bloem fane Bloom, MD and
William L. Bloom Mr. and Mrs. Richard Boyce Dr. and Mrs. Ralph Bozell Joel Bregman and
Elaine Pomeranz June and Donald R. Brown Morton B. and Raya Brown Trudy and Jonathan Bulkley Edwin and Judith Carlson Bruce and Jean Carlson Jim and Priscilla Carlson Jack and Wendy Carman Marshal] and lanice Carr Tsun and Siu Ying Chang Dr. Kyung and Young Cho Alice S. Cohen Charles and Kathleen Davenport Marnee and John DeVine Lorenzo DiCarlo and
Sally Stegeman DiCarlo Jack and Betty Edman Judge and Mrs. S. J. Elden Patricia Enns Elly and Harvey Falit John W. Farah DDS PhD Claudine Farrand and
Daniel Moerman Irene Fast
Dr. and Mrs. John A. Faulkner Sidney and Jean Fine Carol Finerman Clare M. Fingerle Hcrschcl Fink
Mrs. Gerald J. Fischer (Beth B.) John and Karen Fischer Ray and Patricia Fitzgerald Dr. Ronald Freedman Harriet and Daniel Fusfeld Otto and Lourdes E. Gago Professor and
Mrs. David M. Gates Drs. Steve Geiringer and
Karen Bantel Paul and Anne Glendon Jack and Kathleen Glezen William and Sally Goshorn Cozette Grabb
Dr. and Mrs. Lazar J. Greenfield Seymour D. Greenstone Ken and Margaret Guire Don P. Haemcr and
Cynthia J. Stewart Mr. and Mrs. Elmer F. Hamel Clifford and Alice Hart Sivana Heller J. Lawrence and
Jacqueline Stearns Henkel Kathy and Rudi Hcntschel Herb and Dee Hildebrandt Mrs. W.A. Hiltncr Sun-Chien and Betty Hsiao Mrs. V. C. Hubbs Ann D. Hungcrman Thomas and Kathryn Huntzkker Eileen and Saul Hymans Jean Jacobson Rebecca S. Jahn Wallie and Janet Jeffries Jim and Dale Jerome Herbert and Jane M. Kaufer Emily Kennedy Dr. David E. and
Heidi Castleman Klein
Hermine R. Klingler Philip and Kathryn Klintworth Charles and Linda Koopmann Dr. and Mrs. Melvyn Korobkin Bert and Catherine La Du Ted and Wendy Lawrence Mr. John K. Lawrence Mr. and Mrs. Fernando S. Leon lacqueline H. Lewis E. Daniel and Kay Long Brigitte and Paul Maassen Marilyn Mason Michael G. McGuire Bernice and Herman Mertc Myrna and Newell Miller Edward Nelson Eulalie Nohrden Marysia Ostafin and
George Smillie Wallace and Barbara Prince Mrs. Gardner C. Quarton Mrs. Joseph S. Radom Jeanne Raisler and Jon Cohn Ms. Claudia Rast Ms. Rossi Ray-Taylor Molly Rcsnik and John Martin Maria and Rusty Restuccia Jay and Machrec Robinson Dr. Susan M. Rose Mrs. Doris E. Rowan James and Adrienne Rudolph Paul and Penny Schreiber Terry Shade
Howard and Aliza Shevrin George and Gladys Shirley Pat Shure
Robert and Elaine Sims Irma J. Sklenar Herbert Sloan
Donald C. and Jean M. Smith Gus and Andrea Stager Curt and Gus Stager James C. Steward Prof. Louis J. and
Glennis M. Stout Ellen and Jeoffrey K. Stress Charlotte B. Sundelson Bob and Betsy Teeter Paul and Jane Thielking Elizabeth H. Thieme Dr. and Mrs. Merlin C. Townley Joan Lowenstein and
Jonathan Trobe Jeff and Lisa Tulin-Silver Dr. Sheryl S. Ulin and Dr.
Lynn T. Schachinger Joyce A. Urba and
David J. Kinsella Charlotte Van Curler Harvey and Robin Wax Lawrence A. Weis Robert O. and
Darragh H. Wcisman Raoul Weisman and
Ann Friedman Angela and Lyndon Welch Reverend Francis E. Williams Lawrence and Mary Wise David and April Wright Mayer and Joan Zald
ASSOCIATES
$250-$499
Jesus and Benjamin Acosta-Hughes
Michael and Marilyn Agin
Robert Ainsworth
Helen and David Aminoff
Douglas B. Anderson
Harlene and Henry Appelman
lack and Jill Arnold
Jeff and Deborah Ash
Mr. and Mrs. Arthur J. Ashe, III
Dwight T. Ashley
Dan and Monica Atkins
Linda Bennett and Bob Bagramian
Lisa and Jim Baker
Reg and Pat Baker
Barbara and Daniel Balbach
Gary and Cheryl Balint
Me Dnth RarrUnctJn
John R. Bareham David and Monika Barera Lois and David Baru Lourdes Bastos Hansen Tom and Judith Batay-Csorba Francis ). and Lindsay Batcman Gary Beckman and Karla Taylor Professor and
Mrs. Erling Blondal Bengtsson Dr. and Mrs. Ronald M. Benson Dr. Rosemary R. Berardi James A. Bergman and
Penelope Hommel
Dan and Irene Biber Jack Billi and Sheryl Hirsch Roger and Polly Bookwalter Victoria C. Botek and
William M. Edwards Paul and Anna Bradley William R. Brashear David and Sharon Brooks Dr. Frances E. Bull Susan and Oliver Cameron Valerie and Brent Carey Jeannctte and Robert Carr Dr. and Mrs. Joseph C. Cerny Dr. Kathleen G. Charla Kwang and Soon Cho Reginald and Beverly Ciokajlo Brian and Cheryl Clarkson Harvey Colbert Wayne and Melinda Colquitt Malcolm and Juanita Cox Clifford and Laura Craig Merle and Mary Ann Crawford Peter C. and Lindy M. Cubba Mary R. and John G. Curtis Sunil and Merial Das Art and Lyn Powrie Davidge John and Jean Debbink Elena and Nicholas Dcibanco Elizabeth Dexter Judy and Steve Dobson Thomas and Esther Donahue Cecilia and Allan Dreyfuss Elizabeth Duell Martin and Rosalie Edwards Charles and Julia Eisendrath Dr. Alan S. Eiser Sol and Judith Elkin Janet Fain
Phil and Phyllis Fellin Joseph and Nancy Ferrario Stephen and Ellyce Field Dr. James F. Filgas Susan Filipiak
Swing City Dance Studio Beth Fischer
Gerald B. and Catherine L Fischer C. Peter and Bev A. Fischer
Dennis Flynn
Howard and Margaret Fox
Paula L. Bockcnstcdt and
David A. Fox Jason I. Fox Betsy Foxman and
Michael Bochnke Lynn A. Freeland Richard and Joann Frecthy Dr. Leon and Marcia Friedman Mr. and Mrs. William Fulton Thomas I. Garbaty Deborah and Henry Gerst Elmer G. Gilbert and
Lois M. Verbrugge Maureen and David Ginsburg Irwin Goldstein and Martha Mayo Enid M. Gosling lames W. and Maria ). Gousseff Michael L. Gowing Maryanna and
Dr. William H. Graves III Bob Green
Bill and Louise Gregory Raymond and Daphne M. Grew Werner H. Grilk Susan and John Halloran Yoshiko Hamano Tom Hammond Robert and Sonia Harris Paul Hysen and Jeanne Harr Naomi Gottlieb Harrison and
Theodore Harrison DDS Jcanninc and Gary Hayden Henry R. and Lucia Heinold Rose and John Henderson Dr. and Mrs. Keith S. Henley Louise Hodgson
Mr. and Mrs. William B. Holmes Dr. Ronald and Ann Holz Dave and Susan Horvath
Marilyn C. Hunting Robert B. Ingling David Jahn Kent and Mary Johr Paul and Olga Johnson Ellen C. Johnson Arthur A. Kaselemas James A. Kelly and
Mariam C. Noland Frank and Patricia Kennedy Donald F. and Mary A. Kiel Rhea Kish
Paul and Dana Kissner Steve and Shira Klein Laura Klcm Jean and Arnold Kluge Thomas and Ruth Knoll fohn Kosclka Bert and Geraldine Kruse Mrs. David A. Lanius Mr. and Mrs. Henry M. Lapeza Neal and Anne Laurance Beth and George LaVoie Cyril and Ruth Lcder )ohn and Theresa Lee Jim and Cathy Leonard Sue Leong Myron and Bobbie Levine
Rod and Robin Little Vi-Cheng and Hsi-Yen Liu Naomi E. Lohr Ronald Longhofcr and
Norma McKenna Florence LoPatin
r'jlfi I I MlLnnc
Edward and Barbara Lynn Pamela J. Mac Kin tosh Melvin and lean Manis
Jenifer Martin Margaret E. McCarthy Ernest and Adele McCarus Margaret and Harris McGamroch James M. Beck and
Robert J. McGranaghan Nancy A. and Robert E. M ' Ingrid Mcrikoski George R. and Brigitte Mer2 Shirley and Bill Meyers Mr. and Mrs. Eugene Miller Edward and Barbara Mills Kathryn and Bertlcy Moberg Mr. and Mrs. William Moeller Olga Ann Moir William G. and Edith O. Moller, In
Gavin Eadie and Barbara Murphy Gerry and Joanne Navarre Frederick C. Neidhardt and
Germainc Chipaull lames G. Nelson and
(Catherine M. Johnson Richard and Susan Nisbett Laura Nitzbcrg and Thomas Carii Maury Okun and Tina Topalian Drs. Sujit and Uma Pandit William and Hedda Panzer Nicole Paoletti Donna D. Park Karen M. Park Joyce Phillips
Mr. and Mrs. Frederick R. Pickard Wayne Pickvet and Bruce Barrett Roy and Winnifred Pierce Donald and Evonne Plantinga Bill and Diana Pratt Larry and Ann Preuss
i _l._J__I L'l:_1_it. r__I__l__L.
Jim and leva Rasmussen Anthony L. Reffells and
Elaine A. Bennett Constance O. Rinehart Gay and George Rosenwaid Mr. Haskell Rothstein Ina and Terry Sandalow Michael and Kimm Sarosi ' Mike Savitski
Dr. Stephen J. and Kim R. 5 Frank I. Schauerte Mary A. Schicve Sue Schroeder Jean and Thomas Shope Hollis and Martha A. Showalter Alida and Gene Silverman Scott and Joan Singer John and Anne Griffin Sloan Tim and Marie Slottow Carl and Jari Smith Alcnc Smith Dr. Elaine R. Soller Hugh and Anne Solomon Arthur and Eliza1--uc-1" James A. Somers Yoram and Eliana Sorokin Tom Sparks Jeffrey D. Spindler Allen and Mary Spivcy Judy and Paul Spradlin Burnette Staebler Gary and Diane Stahle James L. Stoddard Brian and Lee Talbot Eva and Sam Taylor Edwin . Thomas Bettc M. Thompson Nigel and Jane Thompson Claire and Jerry Turcotte Mr. James R. Van Bochovc Hugo and Karla Vandersy] Marie Vogt Harue and Tsuguyasu Wada
Bruce and Raven Wallace
Carol Weber John Weber Deborah Webster and George Mill
Leslie Clare Whitfield Professor Steven Whiting Nancy Wiernik Cynthia and Roy Wilbanks .Mine Marie and Robert J. Willis Lois Wilson-Crabtree
Charles Witke and Aileen Gattcn
Charlotte A. Wolfe
Al and Alma Wooll
Frances A. Wright
Don and Charlotte Wyche
Richard Yarmain
MaryGrace and Tom York
Corporate Fund
$100,000 and above Ford Motor Company Fund Forest Health Services
Corporation University of Michigan Pfizer Global Research and
Development: Ann Arbor
Laboratories
$20,000-S49,999 Bank of Ann Arbor Borders Group, Inc.' DaimlerChrysler Foundation Kaydon Corporation KeyBank TIAA-CREF
$10,000-$19,999 ? Bank One
Brauer Investment Company CFI Group
Comerica Incorporated DTE Energy Foundation McKinley Associates Sesi Lincoln Mercury Volvo Mazda
$5,000-$9,999 Ann Arbor Automotive Butzel Long Attorneys Crowne Plaza Edward Surovcll Realtors Elastizell Corporation of
America
MASCO Charitable Trust Miller Canfield Paddock and
Stone P.L.C. National City Bank TCF Bank Thomas B. McMullen
Company
$l,000-$4,999
Blue Nile
Bosart Financial Group
Chase Manhattan Mortgage
Joseph Curtin Studios
Lewis Jewelers
ProQuest
Quinn EvansArchitects
Republic Bancorp
United Bank & Trust
S100-S999
ABN AMRO Mortgage Group.
Inc.
Adult Learning Institute Ayse's Courtyard Cafe Ann Arbor Builders Ann Arbor Commerce Bank Bed & Breakfast on Campus Burns Park Consulting Clark Professional Pharmacy Coffee Express Comcast
Edward Brothers, Inc. Garris, Garris, Garris & Garris,
P.C.
Malloy Incorporated Michigan Critical Care
Consultants Rosebud Solutions Seaway Financial
SeloShevel Gallery Swedish Women's Educational Association
Foundation & Government Support
UMS gratefully acknowl?edges the support of the following foundations and government agencies:
$100,000 and above Association of Performing
Arts Presenters Arts
Partners Program Doris Duke Charitable
Foundation The Ford Foundation JazzNet Michigan Council for Arts
and Cultural Affairs The Power Foundation The Wallace Foundation
foundation & Govt
$50,000-$99,999
Anonymous
Community Foundation for
Southeastern Michigan National Endowment for
the Arts The Whitney Fund
$10,000-$49,999 Continental Harmony New England Foundation for the Arts
$l,000-$9,999 Akers Foundation Arts Midwest Heartland Arts Fund The Lebensfeld Foundation Maxine and Stuart Frankel
Foundation
Mid-America Arts Alliance The Molloy Foundation Montague Foundation THE MOSAIC FOUNDATION
(of R. and P. Heydon) Sarns Ann Arbor Fund The Sneed Foundation, Inc. Vibrant of Ann Arbor
Tribute Gifts
Contributions have been received in honor andor memory of the following
individuals:
H. Gardner Ackley Herb and Carol Amstcr Maurice Binkow Tom and Laura Binkow T. Earl Douglass Alice Kelscy Dunn David Eklund Kenneth C. Fischer Dr. Beverley B. Geltncr Michael Gowing Werner Grilk Elizabeth E. Kennedy Ted Kennedy, Jr. Dr. Gloria Kerry Alexandra Lofstrom Joyce Malm Frederick N. McOmber Phil and Kathy Power Gwcn and Emerson Powrie Prof. Robert Putnam Ruth Putnam Mrs. Gail Rector Steffi Reiss Pruc Roscnthal Margaret E. Rothstein Eric H. Rothstein Prof. Wolfgang Stolper Diana Stone Peters
Peter C. Tainsh Isaac Thomas Francis V. Viola ill Horace Warren Donald Whiting Peter Holdemess Woods Barbara E. Young Elizabeth Yhouse
Burton Tower Society
The Burton Tower Society recognizes and honors those very special friends who have included VMS in their estate plans. UMS is grateful for this important support, which will continue the great traditions of artistic excellence, educational opportunities and community partnerships in future years.
Anonymous
Carol and Herb Amster j
Dr. and Mrs. David G.
Anderson
Mr. Neil P. Anderson Catherine S. Arcure Mr. HUbert Beyer Elizabeth Bishop Mr. and Mrs. Pal E. Borondy Barbara Everitt Bryant Pat and George Chatas Mr. and Mrs. John Alden
Clark
Douglas D. Crary H. Michael and
ludith L. Endres Bevcrlcy and Gerson Geltner lohn and Martha Hicks Mr. and Mrs. Richard Ives Marilyn Jeffs Thomas C. and
Constance M. Kinnear Charlotte McGeoch Michael G. McGuire Dr. Eva Mueller Lcn and Nancy Niehoff Dr. and
Mrs. Frederick C. O'Dell Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Mr. and Mrs. lack W. Ricketts Mr. and
Mrs. Wtllard L. Rodgers Prudence and
Amnon Roscnthal Mr. Haskcll Rothstein lrma I. Skclnar Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wctzcl Mr. and
Mrs. Ronald G. Zollars
Endowed Funds
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 Acklcy
Endowment Fund Amstcr Designated Fund Catherine S. Arcure
Endowment Fund Choral Union Fund Hal and Ann Davis
Endowment Fund Ottmar Eberbach Funds Epstein Endowment Fund JazzNet Endowment Fund William R. Kinney
Endowment Fund NEA Matching Fund Palmer Endowment Fund Mary R. Romig-deYoung
Music Appreciation Fund Charles A. Sink Memorial
Fund Catherine S. ArcureHerbert
E. Sloan Endowment Fund University Musical Society
Endowment Fund
In-Kind Gifts
A-l Rentals, Inc.
Raquel and Bernard Ajranoff
Alexandra's in Kerrytown
Anudeus Caff
Ann Arbor Automotive
Ann Arbor Art Center
Ann Arbor Women's City Club
Arbor Brewing Co.
Ashley Mews
Avanti Hair Designers
The Back Alley Gourmet
Barnes Ace Hardware j
Lots and David Baru
Baxter's Wine Shop -
Kathleen Beck ;
Bella CiaoTrattc'
Kathy Benton and Bob Brown
Bivouac
The Blue Nile Restaurant
Bodywise Therapeutic Massag"
Mimi and Ron Bogdasarian
Borders Book and Music
Janice Stevens Botsford
Susan Bozell j
Tana Breiner i
Barbara Evcritt Bryant
By the Pound ,
Cafe Marie ,;
Margot Campos ?
Cappellos Hair Salon
Coach Me Fit
Bill and Nan Conlin
M.C. Conroy Hugh and Elly Cooper Cousins Heritage Inn Roderick and Mary Ann Daane D'Amato's Italian Restaurant David Smith Photography
and Norma Davis Robert Derkacz The Display Group Dough Boys Bakery The Earle
Eastover Natural Nail Care Katherine and Damian Farrel) Ken and Penny Fischer Food Art Sara Frank The Gandy Dancer Beverley and Gerson Geltner Great Harvest Bread Company Linda and Richard Greene Nina Hauser John's Pack & Ship Steve and Mercy Kasle Cindy Kellerman
Kilwin's Chocolate Shoppe
King's Keyboard House
Kinko's Copies
Laky s Salon
Ray Lance
George and Beth Lavoie
LcDog
Leopold Bros. Of Ann Arbor
Carl Lutkehaus
Doni Lystra
Mainstrcet Ventur,.
Ernest and Jeanne Merlanti
lohn Metzger
Michael Susanne Salon
Michigan Car Services, Inc. and
Airport Sedan, LTD Moe Sport Shops Inc. Robert and Melinda Morris Joanne Navarre Nicola's Books, Little Professor
Book Co.
Paesano's Restaurant Pfizer Global Research and
Development: Ann Arbor
Laboratories Preview Properties Produce Station Randy Parrish Fine 1 Red Hawk Bar & Grill Regrets Only Rightside Cellar Ritz Camera One Hour Photo Don and Judy Dow Rumelhart Safa Salon and Day Spa Salon Vertigo Rosalyn Sarvar Maya Savarino Penny and Paul Schreiber Shaman Drum Bookshop Loretta Skewes Dr. Elaine R. Soller Maureen Stoeffler STUDIOsixteen
Van Bovens
Washington Street Gallery Whole Foods
UMS ADVERTISERS
14 Ann Arbor Symphony
Orchestra 14 Automated Resource
Management, Inc. 14 Bank of Ann Arbor 20 Bodman, Longley and
Dahling, IXP 26 Butzel Long 16 Chelsea Musical
Celebrations 20 Comerica, Inc. 26 Dance Gallery Studio 40 Edward Surovell
Realtors
40 Forest Health Services 20 Format Framing 28 Glacier Hills 19 Herman Thompson
Therapeutic Massage 42 Howard Cooper, Inc. 42 IATSE Local 395 42 Jules Furniture 38 Kerrytown Marketplace 46 Key Bank
16 King's Keyboard 28 Littlefield & Sons
Furniture Service FC Michigan Public Media BC Michigan Theater 28 Mundus and Mundus 32 Performance Network 28 Red Hawk Bar and
Grill 32 Rudolf Steiner School
of Ann Arbor 32 Sweetwaters Cafe' 18 The Earle Uptown 48 The Forward Group 18 Ufer&Co. 36 U-M Museum of Art 18 Washtenaw
Woodwrights 38 WDET 46 WEMU 48 WGTE 44 WKAR 28 Zanzibar

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