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UMS Concert Program, Friday Dec. 05 To 07: University Musical Society: Fall 2003 - Friday Dec. 05 To 07 --

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Rights Held By
University Musical Society
OCR Text

Season: Fall 2003
University Of Michigan, Ann Arbor

University Musical Society
of the University of Michigan
Fall 2003 Season
125th ums season
university musical society
all 0 3 University of Michigan Ann Arbor
2 Letters from the Presidents
5 Letter from the Chair
UMS leadership 6 Corporate Leaders Foundations
12 UMS Board of Directors Senate
Advisory Committee
13 UMS Staff Teacher Advisory Committee
UMS services 15 General Information
16 Tickets
17 Gift Certificates
UMSannals 21 UMS History
22 UMS Choral Union
23 Venues Burton Memorial Tower
UMSexperience 27 The 125th UMS Season
30 Education & Audience Development
33 UMS Preferred Restaurant & Business Progra
UMSsupport 35 Advisory Committee
35 Sponsorship & Advertising
37 Internships & College Work-Study Ushers
39 Support
48 UMS Advertisers
Front Coven Miami City Ballet (Philip Bermingham), Church of the Savior on Blood (Jack Koltman). Wynton Marsalis (Keith Major), Mark Rylance as Olivia in Globe Theatre's Twelfth Night. Back Coven Sketch of Igor Stravinsky by Pablo Picasso (BettmannCORBIS), Boston Pops Esplanade Orchestra (Michael luted).
The 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.
Mary Sue Coleman
President, University of Michigan
Thank 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 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 or call me at 734.647.1174.
Very best wishes,
Kenneth C. Fischer UMS President
Welcome 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.
Prue Rosenthal
Chair, UMS Board of Directors
Sandra Ulsh
Vice President and Executive Director, Ford Motor Company Fund "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."
FOUNDATION AND GOVERNMENT SUPPORT 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 JazzNit Michigan Council for Arts and
Cultural Affairs The Power Foundation The Wallace Foundation
$50,000 99,999
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
(of R. and P. Heydon) Sarns Ann Arbor Fund The Sneed Foundation, Inc. Vibrant Ann Arbor Fund
UNIVERSITY MUSICAL SOCIETY of the University of Michigan
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 DiGirlo 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
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Lee C. BoUinger Paul C. Boylan Carl A. Brauer Allen P. Britton William M. Broucek Barbara Everitt Bryant Letitia). Byrd Leon S. Cohan Jill A. Con-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. Telfer Susan B. Ullrich Eileen Lappin Weiser Gilbert Whitaker B. Joseph White Marina v.N. Whitman Iva M. Wilson
Louise Townley, Chair Raquel Agranoff, Vice
Chair Morrine Maltnun,
Jeri Sawall, Treasurer Barbara Bach Paulett M. Banks Milli Baranowski Lois Baru Kathleen Benton Mimi Bogdasarian
Jennifer Boyce Mary Breakey Jeannine 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
Kenneth C. Fischer, President
Elizabeth E. Jahn, Assistant to the
President John B. Kennard, Jr., Director of
Chandrika Patel, Senior Accountant John Peckham, Information Systems
Manager Alicia Schuster, Gift Processor
Choral Union
Jerry 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
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
Michael J. Kondziolka, Director
Emily Avers, Production
Administrative Director Jeffrey Beyersdorf, Technical
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 JeffBarudin Nicole Blair Aubrey Lopatin Natalie Malotke Melissa McGivern Nadia Pessoa Fred Peterbark Jennie Salmon Sean Walls
Interns Michelle Jacobs
President Emeritus Gail W. Rector
Fran Ampey Lori Atwood Robin Bailey )oe 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 Barb Grabbe Pamela Graff
Nan Griffith Joan Grissing Lynn Gulick Carroll Hart Barb Harte Bill Hayes Sandy Hooker Susan Hoover Silka Joseph Jeff Kass
Rosalie Koenig Sue Kohfeldt Laura Machida Ken McGraw Patty Meador Don Packard Susan Pollans 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 assistance.
Listening Systems
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.
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
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 restrooms.
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.
In an effort to help reduce distracting noises and enhance the theater?going experience, Pfizer Inc is providing complimentary HallsO Mentho LyptusO cough suppressant tablets to patrons attending UMS performances through?out our 0304 season.
In Person
The UMS Ticket Office and the University Productions Ticket Office have merged! Patrons are now able to purchase tickets for UMS events and School of Music events with just one phone call or visit.
As a result of this transition, the walk-up window is conveniently located at the League Ticket Office, on the north end of the Michigan League building at 911 North University Avenue. The Ticket Office phone number and mail?ing address remain the same.
Note New Hours
Mon-Fri: 9am-5pm Sat: 10am-lpm
ByPhone 734.764.2538
Outside the 734 area code, call toll-free 800.221.1229
By Internet WWW.UITlS.Org By Fax 734.647.1171
By Mail
UMS Ticket Office
Burton Memorial Tower
881 North University Avenue
Ann Arbor, MI 48109-1011
Performance hall ticket offices open 90 minutes prior to each performance.
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the Ticket Office. Refunds are not available; however, you will be given a receipt for an income tax 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
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-1 feet meaningful gift that speaks volumes about your taste
Tired of giving flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than 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.
Join the thousands of savvy people who log onto each month!
Why should you log onto
In September, UMS launched a new web site, with more information that you can use:
Tickets. Forget about waiting in long ticket lines. Order your tickets to UMS performances online! You can find your specific seat location before 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.
Through an uncompromising commit?ment to Presentation, Education, 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 organi?zation that supports itself from ticket sales, corporate and individual contributions, foun?dation and government grants, special project support from U-M, and endowment income.
Throughout 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 the 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 Solennelle, and the Mozart Requiem. Recent programs by the Choral Union's 36-voice Chamber Chorale include "Creativity in Later Life," a program of late works by nine composers of all historical periods; a joint appearance with the Gabrieli Consort and Players; a performance of Bach's Magnificat, and a recent joint performance with the Tallis Scholars.
Participation in the Choral Union remains open to all by audition. 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 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
The 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.
For more information, visit
Hill Auditorium Construction Web Camera at: HillBurtonWebCam.html
Hill Auditorium Renovation Project Website at:
Hill Auditorium Construction Website at: Hillindex.html
Power Center
The 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
Fifty 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.

f. Kof the University of Michigan, Ann Arbor
Fall 2003
Event Program Book Friday, December 5 through Sunday, December 7, 2003
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.
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 or return it to your usher when leaving the venue. Thank you for your help.
Boston Pops Esplanade Orchestra 5
Friday, December 5, 8:00 pm Crisler Arena
Handel's Messiah 17
Saturday, December 6, 8:00 pm Sunday, December 7, 2:00 pm Michigan Theater
January 1956 VMS archival photo of the kiosk in front of Hill Auditorium announcing a visit by the Boston Pops conducted by Arthur Fiedler.
UMS Educational Events through Saturday, January 31, 2004
All UMS educational activities are free and open to the public unless otherwise noted ($). Please visit for complete details and updates.
Simon Shaheen and Qantara
UMS and ACCESS (Arab Community Center for Economic and Social Services) present Arabic artist Simon Shaheen in a two-week res?idency culminating in a world premiere com?position and performance in January 2004.
Arabic Music Retreat with Simon Shaheen ($)
Located in one of America's largest Arabic com?munities, Simon Shaheen will lead an intensive four-day Arabic Music Retreat covering Arabic music performance, ear training, rhythm, theory, and history. The retreat will also cover the theo?retical analysis of the Arabic maqam system (melodic modes) and the iqa system (rhythmic modes).
Nightly excursions to area ArabicDetroit restaurants will be planned.
Advanced and accomplished professional music studentsmusicians who are interested in Arabic music but are relatively new to its instruments are encouraged to attend. Participants should be able to read Western music notation (with the exception of those studying percussion).
Residency Activities
For complete information or to register for the
retreat, please contact the UMS Education
Department at 734.615.0122 or visit
Thursday, December 4 through Sunday,
December 7, Holiday Inn Fairlane, Dearborn
UMS Artist Interview
Lester Monts, U-M Senior Vice Provost for Academic Affairs, will interview Arabic musician and composer Simon Shaheen. Monday, December 8, 7:00-9:00 pm, Michigan League, Henderson Room, 3rd Floor, 911 N. University, Ann Arbor
Introduction to Arab Music 101
Led by Simon Shaheen, this lecture will intro?duce to the general public a basic understand?ing of Arabic music appreciation. Wednesday, December 10, 7:00-10:00 pm, Michigan League, Hussey Room, 2nd Floor, 911 N. University, Ann Arbor
Arab Music Mini-Performance
Simon Shaheen will give a special free public
performance on the oud and violin as part of
the University of Michigan Hospital Gifts of Art
Thursday, December 11, 12:00 noon-l:00pm,
University Hospital Lobby, 1500 East Medical
Center Drive, Ann Arbor
The Arab Lute:
Oud Master ClassDemonstration
Virtuoso Simon Shaheen will lead this demon?stration of the oud. Open to the public for observation.
Thursday, December 11, 7:00-9:00pm, Herb David Guitar Studio, 302 East Liberty, Ann Arbor
Community Reception
Everyone welcome! Celebrate with the artists at Cafe Oz immediately after their public per?formance.
Saturday, January 31, Post-performance, Cafe Oz, 210 South Fifth Avenue, Ann Arbor
The Simon Shaheen residency was planned in collabo?ration with ACCESS Cultural Arts, the U-M International Institute, Center for North African and Middle Eastern Studies, U-M School of Music, Washtenaw Community College, Ann Arbor Public Schools, Cafi Oz, U-M Hospital Gifts of Art Program, Herb David Guitar Studio, and the U-M Department of Musicology.
The University Musical Society would like to extend its appre?ciation to those who graciously hosted 'Twas the Night of the Pops pre-concert dinners:
Raquel and Bernard Agranoff
Lois and David Baru
Victoria and Robert Buckler
Mary Sue and Kenneth Coleman
Robert and Kathleen Dolan
Anne and Paul Glendon
Charlene and Carl Herstein
Phyllis and David Herzig
Beth and George LaVoie
Jan and Hack Newman
Gil Omenn and Martha Darling
Pat Pooley
Loretta Skewes
Jane and Nigel Thompson
Charlotte VanCurler
Bank of Ann Arbor
Kaydon Corporation
The Boston Pops Esplanade Orchestra
Keith Lockhart, Conductor
John Williams, Laureate Conductor
Bruce Hangen, Principal Pops Guest Conductor
The University Singers of California State University Fullerton John Alexander, Music Director and Conductor
Stephen Salters, Baritone
Carmen Harlan, Guest Narrator Mary Sue Coleman, Guest Conductor
Friday Evening, December 5, 2003 at 8:00 Crisler Arena Ann Arbor
The 2003 Fidelity Investments
Boston Tops holiday Tour
Randol Bass
George Frideric Handel, Arr. Wolfgang Amadeus Mozart
For Unto Us a Child is Born, from Messiah
Richard Storrs Willis, Lyrics Edmund H. Sears, Arr. Morton Gould
Patrick Hollenbeck Ralph Vaughan Williams
Arr. Leroy Anderson Alexander Courage
It Came Upon a Midnight Clear
Tomorrow Is My Dancing Day
Fantasia on Christmas Carols
Mr. Salters
A Christmas Festival
Joy to the World--Deck the Halls--God Rest Ye Merry, Gentlemen-Good King Wenceslas--Hark! The Herald Angels Sing-Silent Night--Jingle Bells--O Come All Ye Faithful
Jerry Herman, Arr. Danny Troob
Samuel Adler, Lyrics E. Guthmann
Traditional, Arr. John Rutter
Arr. Don Sebesky
Arr. Andre Thomas
Traditional Spirituals, Arr. Charles Floyd
Traditional, Arr. Joe Reisman
Arr. Reisman
(Text by Clement C. Moore)
Arr. Reisman
We Need a Little Christmas A Song of Hanukkah
Mr. Alexander, Conductor
Deck the Hall
Mr. Alexander, Conductor
Here's a Pretty Little Baby
Mr. Salters
-Rise Up, Shepherd--Glory Hallelujah
Christmas Spirituals
My Lord, What a Morning-Mr. Salters
Christmas Is A-Comin'
Mr. Salters
Sleigh Ride
Dr. Coleman
President, University of Michigan
A Visit From St. Nicholas
(Twas the Night Before Christmas)
Ms. Harlan
A Merry Little Sing-Along
Rudolph the Red-Nosed Reindeer--Have Yourself a Merry Little Christmas--Let It Snow! Let It Snow! Let It Snow!--The Christmas Song--Winter Wonderland--Jingle Bells
32nd Performance of the 125th Annual Season
Ninth Annual Favorites 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 co-sponsored by Bank of Ann Arbor and Kaydon Corporation.
Additional support provided by media sponsors WEMU 89.1 FM and Observer & Eccentric Newspapers.
Special thanks to the special groups of 100 or more people who attended this performance from University of Michigan Hospitals, U-M Pediatric Cardiology, U-M Vascular Surgery, Arts at Michigan, and Pfizer.
Special thanks to the Main Street Association and Briarwood Mall for their contributions to this performance.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
The Boston Pops Orchestra may be heard on RCA Victor, Sony Classical, and Philips Records.
The Boston Pops Esplanade Orchestra appears by arrangement with Columbia Artists Management, LLC.
A Merry Little Sing-Along
Rudolph The Red-Nosed Reindeer
Johnny Marks (Marks)
Rudolph, the red-nosed reindeer,
Had a very shiny nose.
And if you ever saw it,
You would even say it glows.
All of the other reindeer Used to laugh and call him names. They never let poor Rudolph loin in any reindeer games.
Then one foggy Christmas Eve, Santa came to say: "Rudolph, with your nose so bright, Won't you guide my sleigh tonight"
Then how the reindeer loved him, As they shouted out with glee: "Rudolph, the red-nosed reindeer, You'll go down in history!"
Have Yourself A Merry Little Christmas
Hugh Martin and Ralph Blane (Martin and Blane)
Have yourself a merry little Christmas,
let your heart be light;
From now on, our troubles will be out of sight. Have yourself a merry little Christmas,
make the Yuletide gay; From now on, our troubles will be miles away.
Here we are as in olden days, Happy golden days of yore. Faithful friends who are dear to us Gather near to us once more.
Through the years we all will be together,
if the Fates allow;
Hang a shining star upon the highest bough, And have yourself a merry little Christmas now.
Let It Snow! Let It Snow! Let It Snow!
Jule Styne (Sammy Cahn)
Oh! the weather outside is frightful, But the fire is so delightful, And since we've no place to go, Let it snow! Let it snow! Let it snow! It doesn't show signs of stopping, And I brought some corn for popping; The lights are turned 'way down low. Let it snow! Let it snow! Let it snow!
When we finally kiss goodnight, How I'll hate going out in the storm! But if you'll really hold me tight, All the way home I'll be warm.
The fire is slowly dying,
And my dear, we're still good-bye-ing.
But as long as you love me so,
Let it snow! Let it snow! Let it snow!
The Christmas Song
Mel Torme and Robert Wells (Torme and Wells)
Chestnuts roasting on an open fire, Jack Frost nipping at your nose, Yuletide carols being sung by a choir, And folks dressed up like Eskimos.
Ev'rybody knows a turkey and some mistletoe Help to make the season bright. Tiny tots with their eyes all a-glow Will find it hard to sleep tonight.
They know that Santa's on his way,
He's loaded lots of toys and goodies on his sleigh.
And ev'ry mother's child is gonna spy
To see if reindeer really know how to fly.
And so I'm offering this simple phrase To kids from one to ninety-two, Al-tho' it's been said many times, many ways: Merry Christmas to you.
Winter Wonderland
Felix Bernard (Dick Smith)
Sleigh-bells ring, are you list'nin' In the lane, snow is glist'nin'. A beautiful sight, we're happy tonight, Walkin' in a winter wonderland!
Gone away is the blue-bird, Here to stay is a new bird. He sings a love song, as we go along, Walkin' in a winter wonderland!
In the meadow we can build a snowman, Then pretend that he is Parson Brown: He'll say, "Are you married" We'll say, "No, man! But you can do the job when you're in town"--
Later on, we'll conspire,
As we dream by the fire,
To face unafraid, the plans that we made,
Walkin' in a winter wonderland!
Jingle Bells
. S. Pierpont (Pierpont)
Dashing thro' the snow, in a one-horse open sleigh, O'er the fields we go, laughing all the way; Bells on bobtail ring, making spirits bright; What fun it is to ride and sing A sleigh-ing song to-night. Oh!
Jingle bells, jingle bells, jingle all the way!
Oh what fun it is to ride
In a one-horse open sleigh-eigh!
Jingle bells, jingle bells, jingle all the way!
Oh what fun it is to ride
In a one-horse open sleigh.
Oh what fun it is to ride
In a one horse o pen sleigh!
In February 1995 Keith Lockhartwas named the 20th conductor of the Boston Pops Orchestra since its founding in 1885. Now in his ninth season, Keith Lockhart has conducted more than 600 concerts and has made 55 television shows, including 35 programs for PBS's Evening at Pops, the annual July Fourth spectacular shown nationally on CBS, and Holiday at Pops, shown nationally on A&E. Mr. Lockhart has also led
two Boston Pops per?formances at Carnegie Hall, 20 national tours, and four overseas tours of Japan and Korea. Under Mr. Lockhart's direction, the orchestra has broadened its tour?ing activities, perform?ing in concert halls and sports arenas across the
country. In February 2002 he led the Boston Pops in the pre-game show of Super Bowl XXXVI, marking the first time an orchestra was featured in performance during a Super Bowl.
Since 1996 Keith Lockhart and the Boston Pops Orchestra have recorded multiple albums with RCA Victor. Their first six recordings (Runnin Wild: The Boston Pops Play Glenn Miller, American Visions, the Grammy-nominated The Celtic Album, Holiday Pops, A Splash of Pops, and the Latin Grammy-nominated The Latin Album) all received critical and popular acclaim. Encore!, featuring tracks from the pre?vious five recordings, was released in March 2000, and My Favorite Things-A Richard Rodgers Celebration was released in April 2002.
Born in Poughkeepsie, NY, in 1959, Keith Lockhart holds degrees from Furman University in Greenville, SC, and Carnegie-Mellon University in Pittsburgh. Mr. Lockhart came to the Boston Pops from Cincinnati, where he served as associate conductor of both the Cincinnati Symphony and Cincinnati Pops orchestras. Music director of the Utah Symphony since 1998, Mr. Lockhart led that orchestra at the 2002 Winter Olympic Games in Salt Lake City. As a guest artist, Mr. Lockhart
Keith Lockhart
has conducted the major symphony orchestras of Chicago, Cleveland, Dallas, Los Angeles, Montreal, New York, Philadelphia, Singapore, Toronto, and Vancouver. In September 2002 he opened the Saint Louis Symphony season with a gala concert featuring cellist Yo-Yo Ma; on New Year's Eve 2002 he led the Deutsches Symphonie-Orchester in Berlin; and he made his debut with the Concertgebouw Orchestra of Amsterdam in June 2003. During the 0304 current season he will lead the Toronto and Baltimore symphonies and make his Boston Lyric Opera debut with Tosca. Notable past engagements include his first major opera pro?duction, Douglas Moore's The Ballad of Baby Doe, with the Washington (DC) Opera and recent debuts with the New York Chamber Symphony, the Houston Symphony, and the New Japan Philharmonic.
This evening's performance marks Keith Lockhart's second appearance under UMS aus?pices. He made his UMS debut in December 2002 leading the Boston Pops Esplanade Orchestra in Crisler Arena.
In 1996 baritone Stephen Salters won sev?eral major competitions and sang the role of Captain Balstrode in Peter Grimes with the Boston Symphony Orchestra under Seiji Ozawa at Tanglewood. Since then, Mr. Salters has performed with orchestras in North America, Europe, and Japan and at leading fes?tivals worldwide, including Aldeburgh, Banff, Edinburgh, Ravinia, Tanglewood, Vail, and at BAM's Next Wave. On the opera stage, he has appeared in Europe in Rigoletto, Madame Butterfly, Carmen, Tristan und Isolde, Billy Budd, Penelope, Der Freischutz, and Giulio Cesare. In the US, he has sung Count Almaviva (Le Nozze di Figaro), Belcore (L'Elisir d'amore), Guglielmo {Cost fan tutte), Malatesta (Don Pasquale), Silvio ( Pagliacci), and the title role in the world premiere of Elena Ruehr's Toussaint Before the Spirits. This season he performs Gaspard in Der Freischutz under Christoph Eschenbach at the Ravinia Festival, Szmanovski's Stabat Mater with the Orchestre
de Paris (also with Eschenbach), Count Almaviva for Opera Memphis, the current Boston Pops' Holiday tour with Keith Lockhart, and recitals and concert appearances across the US and Europe. He has made several recordings and
is an advocate of new music and often engages composers to write music for him. An African-American born in Milford, Connecticut, Stephen Salters is a graduate of Boston University. He enjoys conducting master classes and taking part in various outreach programs.
This evening's performance marks Stephen Salters1 UMS debut.
Stephen Salters
Viewers have enjoyed Carmen Harlan's on-air style since she arrived at WDIV-TV, Channel 4 as a reporter in 1978. Co-anchor of WDIV's "Local First News at 5" and "Local First News at 11" (Detroit's number-one rated news program), Ms. Harlan has also worked on such acclaimed WDIV projects as the "Focus on Families" news segments featuring children in need of adoption. She hosts the annual Marshall Field's Fireworks special and the America's Thanksgiving Day Parade broadcast and co-hosts the "NewsweekWDIV Teacher Awards" program. In 1992, Detroiters voted Carmen Harlan as their favorite anchor in a newspaper poll. In 1991, Ladies Home Journal named her one of the top two anchorwomen
in the country, and in 2002 she was named one of Crain's Detroit Business "Most Influential Women." Among Ms. Harlan's most recent awards are the Southern Christian Leadership Conference's Media Award, the REACH 24-Hour
Carmen Harlan
Woman Award, and the Starr Commonwealth Child Advocacy Award. She also received a local Emmy nomination for the 1999 feature story The Sixties: Peace, Love and the Motor City. A tireless worker in the community, Ms. Harlan has been personally involved with such charities as Sparky Anderson's CATCH, the Karmanos Foundation, and Operation ABLE. A lifelong Detroit resident, Carmen Harlan is a graduate of the University of Michigan.
This evening's performance marks Carmen Harlan's UMS debut.
In August 2002, the University of Michigan welcomed the distinguished scientist Mary Sue Coleman as the 13th President of the University of Michigan.
As a biochemist, President Coleman built an outstanding research career through her
research on the immune system and malignan?cies. She authored numerous articles on her findings and directed funded research projects supported by a variety of federal agencies. In her scientific career, she served for 19 years as a member of the bio?chemistry faculty and as
a Cancer Center administrator at the University of Kentucky in Lexington.
Her administrative work in the sciences led naturally to an appointment as associate provost and dean of research, then as vice-chancellor for graduate studies and research at the University of North Carolina at Chapel Hill (1990-1993). From there, she moved to the position of provost and vice president for aca?demic affairs at the University of New Mexico (1993-1995).
In 1995, Mary Sue Coleman was appointed as the president of the University of Iowa, where she served with distinction for seven years.
She assumed the position of president of the University of Michigan on August 1, 2002, and
Mary Sue Coleman
also holds appointments as professor of biolog?ical chemistry in the School of Medicine and professor of chemistry in the College of Literature, Science, and the Arts.
Elected to the Institute of Medicine in 1997, she is also a Fellow of the American Association for the Advancement of Science and of the American Academy of Arts and Sciences. She currently chairs one of the major policy studies of the Institute of Medicine: the Committee on the Consequences of Uninsurance.
Her extensive leadership positions in higher education include service on the executive committee of the Association of American Universities, on the board of directors of the American Council on Education, on the board of directors of the National Collegiate Athletic Association and as a member of the Knight Commission on Intercollegiate Athletics.
President Coleman earned her undergradu?ate degree in chemistry from Grinnell College, where she served as a trustee of the college. Her doctorate in biochemistry was awarded by the University of North Carolina. Additionally, she undertook postdoctoral work at North Carolina and at the University of Texas at Austin.
Mary Sue Coleman is married to Kenneth Coleman, a well-known political scientist whose academic career has focused on issues in Latin America. Their son, Jonathan, lives with his wife Amee in Denver, Colorado, where he is a portfolio manager for the Janus Corporation.
The University Singers of California State University Fullerton have secured a distinguished reputation as one of the finest collegiate ensembles in the nation. The University Singers have performed with the Los Angeles Philharmonic under both Zubin Mehta and Carlo Maria Giulini, the Hollywood Bowl Orchestra led by John Mauceri, the Pacific Symphony led by Carl St. Clair, and the Long Beach Symphony. Members of the University Singers were invited to present three perform?ances at the February 2003 American Choral Director's Association national convention in New York City. This is the group's fifth consec?utive holiday tour with the Boston Pops
Esplanade Orchestra led by Keith Lockhart. The ensemble is currently led by John Alexander, artistic director since 1994 when he became Professor of Music and Director of Choral Studies at California State University Fullerton. He has also served as Artistic Director and Conductor of the Pacific Chorale of Southern California for over 30 years and has appeared as a guest conductor throughout the world. John Alexander is a composer and editor of his own choral series published with Hinshaw Music, and served as immediate past president of Chorus America, a national organization designed to enhance the development of choral music in the US.
This evening's performance marks the University Singers' second appearance under UMS auspices. The choir made their UMS debut in December 2002 in performance with the Boston Pops Esplanade Orchestra in Crisler Arena.
In 1881, Henry Lee Higginson, founder of the Boston Symphony Orchestra, wrote of his wish to present in Boston "concerts of a lighter kind of music." The first Boston Pops concert on July 11, 1885 represented the fulfill?ment of his dream. Called the "Promenade Concerts" until 1900, they combined light clas?sical music, tunes from the current hits of the musical theater, and an occasional novelty number. Allowing for some changes of taste over the course of a century, the early programs were remarkably similar to the Pops programs of today.
Pops concerts are performed by the Boston Pops Orchestra, which is composed of members of the Boston Symphony Orchestra (except for 12 of the principal players, who tour during the Pops season as the Boston Symphony Chamber Players), and by the Boston Pops Esplanade Orchestra, made up of other Boston-based musicians. Both the Boston Pops Orchestra and the Boston Pops Esplanade Orchestra appear on television and represent the city of Boston on tour. The Boston Pops Orchestra is featured in the long-running PBS series Evening at Pops. The Fourth of July concert featuring the Boston
Pops Esplanade Orchestra at the Hatch Shell in Boston is regularly broadcast nationwide. The Boston Pops Orchestra appeared at the White House as part of its 100th birthday celebration in 1985; the Boston Pops Esplanade Orchestra participated in the centennial celebration of the Statue of Liberty in 1986. John Williams led tours of Japan with the Boston Pops Esplanade Orchestra in 1987 and with the Boston Pops Orchestra in 1990 and 1993. Keith Lockhart has led the Boston Pops Esplanade Orchestra on tour to Japan and Korea, and he has also led the BPEO on 20 national tours.
The history of the Boston Pops was for many years linked with the name of Arthur Fiedler, who in 1930 became the 18th conductor of the Boston Pops and the first who was American-born. One of Fiedler's great dreams was to establish a series of free outdoor orchestral concerts for the people of Boston. In 1929, this dream became a reality when he organized the first Esplanade Concerts, which took place on the banks of the Charles River. Fiedler's Esplanade concerts were eventually absorbed by the Boston Symphony Orchestra organization.
Following Fiedler's death on July 10,1979, Boston Pops Associate Conductor Harry Ellis Dickson and a number of guest conductors led the orchestra until John Williams was appoint?ed Conductor in January 1980. Mr. Williams stepped down as conductor in December 1993 and now holds the title Laureate Conductor. Keith Lockhart became the 20th conductor of the Boston Pops in February 1995.
This evening's performance marks the Boston Pops' eighth appearance under UMS auspices. Between 1953 and 1962, the ensemble, then under the name Boston Pops Tour Orchestra, made six appearances in Ann Arbor under the baton of Arthur Fiedler. The ensemble returned to UMS in 2002 after a hiatus of 40 years. The Boston Pops made their UMS debut in March 1953.
The Boston Pops Esplanade Orchestra
Keith Lockhart, Conductor
Julian and Eunice Cohen Boston Pops Conductor's Chair, fully funded in perpetuity
John Williams, Laureate Conductor
Bruce Hangen, Principal Pops Guest Conductor
First Violins Joseph Scheer Michael Rosenbloom Kristina Nilsson Gregory Vitale Liana Zaretsky Sandra Kott Dianne Pettipaw Cynthia Cummings Gerald Mordis Maynard Goldman James Orent Paul MacDowell Melissa Howe Stacey Alden Sarah Roth Karma Tomm
Second Violins Clayton Hoener Jennifer Elowitch Susan Shipley Colin Davis Pattison Story Dorothy Han Danielle Maddon Julie Leven Rebecca Katsenes Biliana Voutchkova Christine Vitale Kay Knudsen
Kenneth Stalberg lean Haig Anne Black Susan Culpo David Feltner Barbara Wright Lisa Suslowicz loan Ellersick
Ronald Lowry David Finch Theresa Borsodi Andrew Mark William Rounds Jennifer Lucht Toni Rapier Eugene Kim
Robert Caplin Barry Boettger Joseph Holt Gregory Koeller Elizabeth Foulser George Speed Mark Henry
Flutes Ann Bobo Whitney Hanes
Piccolo Iva Milch
Laura Ahlbeck
Frank Charnley
English Horn Barbara LaFitte
Clarinets Ian Greitzer Aline Benoit
Bass Clarinet Gary Gorczyca
Ronald Haroutunian
Donald Bravo
Contrabassoon Margaret Phillips
Horns Kevin Owen Richard Menaul Nona Gainsforth Thomas Haunton Richard Greenfield
Trumpets Bruce Hall Gregory Whitaker Dennis Alves Steven Emery
Trombones Darren Acosta Hans Bohn
Bass Trombone Mark Cantrell
Randall Montgomery
Timpani Richard Flanagan
Dean Anderson Neil Grover lames Gwin Patrick Hollcnbeck
Anna Reinersmann
Brad Hatfield
William Shisler
Personnel Manager Lynn G. Larsen
Stage Manager John DemicK
Boston Pops
Tour Staff
Tony Beadle,
Manager Dennis Alves,
Director of
Programming ana Gimenez,
Operations Manager Sheri Goldstein,
Personal Assistant to
the Conductor )ulie Knippa,
Coordinator Tahli Adler, Program
Corporate Programs Sean Kerrigan, Media
Relations Pam Netherwood,
Manager Steve Colby, Sound
The University Singers, California State University, Fullerton
John Alexander, Music Director and Conductor
Soprano Andrea Dodson Kelsey GUe Valerie Gonzales Maria Greenwood Bianca Hall Clarisse Jensen Liesl Marin Aimec Martineau Sandy Martinez Emily Money Chante Olivas Kellee Schildknechl La Vista Silva Cindy Stuck Lorraine Joy Welling
Cindy Anderson Megan Chancy Denean Dyson Judi Elterman Devon Glenn Amanda Hoyny Kathleen Johnson Kristi Jordan Douglas Law Betty Lee Monica Leung Lilly Mettler Jane Shim Tiffany Tarleton
Omar Gutierrez Crook
Quang Le
Chris McCall
loseph Mejia
Jose Morelos
Steve Olvey
Nicholas A. Preston
Ben Plache
Daniel Rogers
Chad Ruyle
Sean Sadolo
John St. Marie
Jeremy Wiggins
William Chitra Joe Cosgrove Ryan Demaree Jose Flores Jason Halliday Rowland Hazard Andrt Kelly Samuel Nunez Roberto Ortiz Seth Peelle
James Martin Schaefer Josh Stansfield Keith Still Daisuke Yokoyama Scott Ziemann
is honored to announce a gift from
to establish the
to support the annual presentation of HANDEL'S MESSIAH
"Because Handel's Messiah portrays dramatically the miraculous birth, death, and resurrection
of our Lord and Savior Jesus Christ,
we are especially honored and blessed that we
are able to make this magnificent production
continue in perpetuity."
Carl and Isabelle Brauer
UMS and Carl and Isabelle Brauer
The 125th Annual UMS Performances of George Frideric Handel's
UMS Choral Union
Ann Arbor Symphony Orchestra
Jerry Blackstone, Conductor
Dominique Labelle, Soprano David Daniels, Countertenor Steven Tharp, Tenor Michael Dean, Bass-baritone Edward Parmentier, Harpsichord
Program Saturday Evening, December 6, 2003 at 8:00
Sunday Afternoon, December 7, 2003 at 2:00 Michigan Theater Ann Arbor
Ninth Annual Favorites Series
33rd and
34th Performances
of the 125th Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
These performances are supported by Carl and Isabelle Brauer.
Tune into Michigan Radio, WUOM 97.1 FM, on Christmas Eve, December 24, 2003 at 8:00 pm for a special tape-delayed broadcast of this performance.
Special thanks to all of the participants of the 125th Messiah poster contest and to contest winner Bill Burgard.
Ms. Labelle appears by arrangement with Schwalbe and Partners, Inc. Mr. Daniels appears by arrangement with IMG Artists, New York, NY. Mr. Tharp and Mr. Dean appear by arrangement with Thea Dispeker, Inc.
Large print programs are available upon request.
Tart I
1 Sinfonia
2 Arioso Isaiah 40:1 Isaiah 40:2
Isaiah 40: 3
3 Air
Isaiah 40: 4
Isaiah 40: 5
5 Accompanied recitative Haggai 2: 6
Haggai 2: 7 Malachi 3:1
6 Air
Malachi 3:2
Mr. Tharp
Comfort ye, comfort ye my people, saith your God.
Speak ye comfortably to Jerusalem, and cry unto her that her
warfare is accomplished, that her iniquity is pardoned. The voice of him that crieth in the wilderness: Prepare ye the way of
the Lord, make straight in the desert a highway for our God.
Mr. Tharp
Every valley shall be exalted, and every hill and mountain ... made low: the crooked ... straight, and the rough places plain:
And the glory of the Lord shall be revealed, and all flesh shall see it together: for the mouth of the Lord hath spoken it.
Mr. Dean ... thus saith the Lord of hosts: Yet once,... a little while, and I
will shake the heavens and the earth, the sea and the dry land; And I will shake all nations, and the desire of all nations
shall come:... ... the Lord, whom ye seek, shall suddenly come to his temple,
even the messenger of the covenant, whom ye delight in:
behold, he shall come, saith the Lord of hosts.
Mr. Daniels
But who may abide the day of his coming And who shall stand when he appeareth For he is like a refiner's fire,...
7 Chorus
Malachi 3: 3
8 Recitative Isaiah 7: 14
9 Air and Chorus Isaiah 40: 9
Isaiah 60: 1
... and he shall purify the sons of Levi,... that they may offer unto the Lord an offering in righteousness.
Mr. Daniels
Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel, "God-with-us."
Mr. Daniels O thou that tellest good tidings to Zion, get thee up into the high
mountain; O thou that tellest good tidings to Jerusalem, lift up thy
voice with strength; lift it up, be not afraid; say unto the cities of
Judah: Behold your God! Arise, shine; for thy light is come, and the glory of the Lord is
risen upon thee.
10 Arioso
Isaiah 60:2
Isaiah 60: 3
11 Air
Isaiah 9: 2
12 Chorus
Isaiah 9: 6
13 Pifa
It Recitative
Luke 2: 8
15 Arioso
Luke 2: 9
16 Recitative
Luke 2: 10
Luke 2: 11
17 Arioso
Luke 2:13
IS Chorus
Luke 2: 14
19 Air
Zechariah 9: 9
Zechariah 9: 10
Mr. Dean For behold,... darkness shall cover the earth, and gross darkness
the people: but the Lord shall arise upon thee, and His glory shall
be seen upon thee. And the Gentiles shall come to thy light, and kings to the
brightness of thy rising.
Mr. Dean
The people that walked in darkness have seen a great light: and they that dwell in the land of the shadow of death, upon them hath the light shined.
For unto us a child is born, unto us a son is given: and the
government shall be upon his shoulder, and his name shall be called Wonderful, Counselor, The Mighty God, The Everlasting Father, The Prince of Peace.
(Pastoral Symphony)
Ms. Labelle
... there were ... shepherds abiding in the field, keeping watch over their flock by night.
Ms. Labelle
And, lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid.
Ms. Labelle And the angel said unto them, Fear not: for, behold, I bring you
good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Saviour, which
is Christ the Lord.
Ms. Labelle
And suddenly there was with the angel a multitude of the heavenly host praising God and saying,
Glory to God in the highest, and peace on earth, good will toward men.
Ms. Labelle Rejoice greatly, O daughter of Zion; shout, O daughter of
Jerusalem: behold, thy King cometh unto thee: he is the righteous
Saviour,... ... and he shall speak peace unto the heathen:...
20 Recitative
Isaiah 35: 5
Isaiah 35: 6
21 Air
Isaiah 40:11
Matthew 11:28
Matthew 11:29
22 Chorus
Matthew 11:30
Mr. Daniels Then shall the eyes of the blind be opened, and the ears of the
deaf.. .unstopped. Then shall the lame man leap as a hart, and the tongue of the
dumb shall sing:...
Mr. Daniels and Ms. Labelle
He shall feed his flock like a shepherd: and he shall gather the lambs with his arm, and carry them in his bosom, and ... gently lead those that are with young. Come unto Him, all ye that labour and are heavy laden, and He
will give you rest. Take His yoke upon you, and learn of Him, for He is meek and
lowly of heart: and ye shall find rest unto your souls.
... His yoke is easy, and His burden is light.
Tart II
John 1:29
24 Air
Isaiah 53: 3
Isaiah 50: 6
25 Chorus
Isaiah 53: 4
Isaiah 53: 5
26 Chorus
Isaiah 53: 4
27 Arioso
Psalm 22: 7
... Behold, the Lamb of God, that taketh away the sin of the world!...
Mr. Daniels He was despised and rejected of men; a man of sorrows, and
acquainted with grief:... He gave his back to the smiters, and His cheeks to them that
plucked off the hair: He hid not His face from shame and spitting.
Surely he hath borne our griefs, and carried our sorrows:...
... he was wounded for our transgressions, he was bruised for our
iniquities: the chastisement of our peace was upon him; and with
his stripes are we healed.
All we like sheep have gone astray; we have turned every one to his own way; and the Lord hath laid on him the iniquity of us all.
Mr. Tharp
All they that see him laugh him to scorn: they shoot our their lips, and shake their heads, saying:
28 Chorus
Psalm 22: 8
29 Accompanied recitative Psalm 69:20
30 Arioso Lamentations 1:12
31 Accompanied recitative Isaiah 53: 8
32 Air Psalm 16:10
33 Chorus Psalm 24: 7
Psalm 24: 8
Psalm 24: 9
Psalm 24: 10
34 Recitative Hebrews 1: 5
35 Chorus Hebrews 1: 6
36 Air Psalm 68: 18
37 Chorus Psalm 68: 11
38 Air Isaiah 52: 7
He trusted in God that he would deliver him: let him deliver him, if he delight in him.
Mr. Tharp
Thy rebuke hath broken his heart; he is full of heaviness: he looked for some to have pity on him, but there was no man; neither found he any to comfort him.
Mr. Tharp ... Behold and see if there be any sorrow like unto his sorrow ...
Mr. Tharp
... he was cut off out of the land of the living: for the transgressions of thy people was he stricken.
Mr. Tharp
But thou didst not leave his soul in hell; nor didst thou suffer thy Holy One to see corruption.
Lift up your heads, O ye gates; and be ye lift up, ye everlasting
doors; and the King of glory shall come in. Who is this King of glory The Lord strong and mighty, the Lord
mighty in battle. Lift up your heads, O ye gates; and be ye lift up, ye everlasting
doors; and the King of glory shall come in. Who is this King of glory The Lord of hosts, he is the King of
Mr. Tharp
... unto which of the angels said he at any time, Thou art my son, this day have I begotten thee...
... let all the angels of God worship him.
Mr. Daniels
Thou art gone up on high, thou has lead captivity captive: and received gifts for men; yea, even for thine enemies, that the Lord God might dwell among them.
The Lord gave the word: great was the company of the preachers.
Ms. Labelle
How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things ...
39 Chorus
Rowans 1C
40 Air
Psalm 2: 1
Psalm 2: 2
41 Chorus
Psalm 2: 3
42 Recitative
Psalm 2: 4
43 Air
Psalm 2: 9
44 Chorus
Revelation 19:6
Revelation 11:15
Revelation 19: 16
Their sound is gone out into all lands, and their words unto the ends of the world.
Mr. Dean
Why do the nations so furiously rage together,... why do the
people imagine a vain thing The kings of the earth rise up, and the rulers take counsel together
against the Lord and his anointed,...
Let us break their bonds asunder, and cast away their yokes from us.
Mr. Tharp
He that dwelleth in heaven shall laugh them to scorn: the Lord shall leave them in derision.
Mr. Tharp
Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter's vessel.
Hallelujah: for the Lord God omnipotent reigneth.
... The kingdom of this world is become the kingdom of our
Lord, and of his Christ; and he shall reign for ever and ever. ... King of Kings, and Lord of Lords.
You are invited to join the Choral Union in singing the "Hallelujah" chorus. Please leave the music at the door when exiting the theater. Thank you.
Tart III
45 Air
Job 19:25
Job 19: 26 I Cor. 15:20
Ms. LabeUe
I know that my redeemer liveth, and that he shall stand at the
latter day upon the earth. And though ... worms destroy this body, yet in my flesh shall I
see God. For now is Christ risen from the dead,... the first fruits of them
that sleep.
46 Chorus
Cor. 15: 21
I Cor. 15: 22
47 Accompanied recitative Cor. 15: 51
Cor. 15: 52
48 Air
Cor. 15: 52
I Cor. 15:53
49 Recitative
Cor. 15: 54
50 Duet
Cor. 15: 55
I Cor. 15: 56
51 Chorus
Cor. 15: 57
52 Air
Romans 8: 31
Romans 8: 33
Romans 8: 34
53 Chorus
Revelation 5: 12
Revelation 5:13
... since by man came death, by man came also the resurrection
of the dead. For as in Adam all die, even so in Christ shall all be made alive.
Mr. Dean Behold, I tell you a mystery; we shall not all sleep, but we shall all
be changed, In a moment, in the twinkling of an eye at the last trumpet:
Mr. Dean ... the trumpet shall sound, and the dead shall be raised
incorruptible, and we shall be changed. For this corruptible must put on incorruption, and this mortal must
put on immortality.
Mr. Daniels
... then shall be brought to pass the saying that is written, Death is swallowed up in victory.
Mr. Daniels and Mr. Tharp
O death, where is thy sting O grave, where is thy victory The sting of death is sin; and the strength of sin is the law.
But thanks be to God, who giveth us the victory through our Lord Jesus Christ.
Ms. Labelle
If God be for us, who can be against us Who shall lay anything to the charge of God's elect It is God
that justifieth. Who is he that condemneth It is Christ that died, yea rather, that
is risen again, who is ... at the right hand of God, who ...
maketh intercession for us.
... Worthy is the Lamb that was slain and hath redeemed us to God by His blood to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing.
... Blessing, and honour,... glory, and power, be unto Him that sitteth upon the throne, and unto the Lamb for ever and ever.
George Frideric Handel
Born on February 23, 1685 in Halle, Germany Died on April 14, 1759 in London
m eorge Frideric Handel's sacred f " oratorio Messiah is without ques-? __tion one of the most popular jt works in the choralorchestral "" repertoire today. In what has r become an indispensable
Christmas tradition, amateur and professional musicians in almost every city and town throughout the country perform this work as a seasonal entertainment, and are rewarded with the satisfaction of taking part in one of the great communal musical events.
Since the first performances in 1742, genera?tions of musicians have adapted Handel's Messiah to suit the changing tastes of fashion and function. The small ensembles Handel con?ducted himself had around 20 singers and an equal number of instrumental players, but even before the end of the 18th century much larger ensembles were performing the work. By the mid-19th century, when the appeal of the spec?tacle sometimes outweighed the demands of musical integrity, singers and instrumentalists for a single performance would often number in the several thousands. But the size of the ensemble wasn't the only variable. Mozart re-orchestrated Handel's score in 1789, adding extra parts for woodwinds to give the orchestral writing richer harmonies and a more varied timbre. In addition to Mozart's re-orchestration, Sir Arthur Sullivan and Eugene Goosens likewise made their own arrangements of the orchestral parts, updating the work for their respective audiences. And in 1993, a popular recording of excerpts from Messiah titled A Soulful Celebration brought together Stevie Wonder, Quincy Jones, Al Jarreau, the Boys Choir of Harlem, and others in a gospel-style interpretation of Handel's music. The diversity of performance styles and enthusiastic responses to this oratorio over the
centuries testify to its immense popularity.
The oratorio as a musical genre originated during the 17th century in the churches and monasteries of Italy. In the Oratory (a side chapel found in many consecrated buildings), the theatrical presentation of vocal music on a sacred topic was an adjunct to the liturgy of the Church. But by 1700, oratorios were being per?formed in private chapels and palaces as a form of entertainment and had taken on the now-standard characteristics of a sung drama on sacred texts, without staging or costumes.
Handel composed several oratorios early in his career, including some in Italian -Trionfo del Tempo e del Disinganno and La Resurrezione -and the later English-language works Esther, Deborah, and Athalia. But after the collapse of his operatic ventures in London around 1740, Handel devoted himself to the oratorio as a form in which he could combine his flair for dramatic vocal writing and his experience as a composer of sacred, devotional music. With these later oratorios Handel eventually won back the esteem of the London critics and secured a phenomenal public following that would ensure his future success and reputation.
The text for Messiah was selected and com?piled from the Authorized (King James) Version of the Bible by Charles Jennens, an aristocrat and musicianpoet of modest talent and excep?tional ego. With Messiah, Jennens seems to have outdone himself in compiling a libretto with profound thematic coherence and an acute sen?sitivity to the inherent musical structure. With the finished libretto in his possession, Handel began setting it to music on August 22, 1741 and completed it 24 days later. He was certainly working at white-hot speed, but this didn't nec?essarily indicate he was in the throes of devo?tional fervor, as legend has often stated. Handel composed many of his works in haste, and immediately after completing Messiah he wrote his next oratorio, Samson, in a similarly brief time-span.
The swiftness with which Handel composed Messiah can be partially explained by the musical borrowings from his own earlier compositions. For example, the melodies used in the two
choruses "And He shall purify" and "His yoke is easy" were taken from an Italian chamber duet Handel had written earlier in 74, "Quelfior die all' alba ride" Another secular duet, "No, di voi non vo' fidarmi" provided material for the famous chorus "For unto us a Child is born," and the delightful "All we like sheep" borrows its wandering melismas from the same duet. A madrigal from 1712, "Se in non lasci amore" was transformed into a duet-chorus pair for the end of the oratorio, "O Death, where is thy sting," and "But thanks be to God." In each instance, however, Handel does more than sim?ply provide new words to old tunes. There is considerable re-composition, and any frivolity that remains from the light-hearted secular models is more than compensated for by the new material Handel masterfully worked into each chorus.
Over-enthusiastic "Handelists" in the 19th century perpetuated all sorts of legends regard?ing the composition of Messiah. An often-repeated story relates how Handel's servant found him sobbing with emotion while writing the famous "Hallelujah Chorus," and the com?poser claiming, "I did think I did see all Heaven before me and the great God Himself." Supposedly Handel often left his meals untouched during this compositional period, in an apparent display of devotional fasting and monastic self-denial. Present-day historians more familiar with Handel's life and religious views tend to downplay these stories. It's been suggested that if Handel did indeed have visions of Heaven while he composed Messiah, then it was only in the same manner in which he visu?alized the Roman pantheon of gods while he composed his opera Semele. Handel's religious faith was sincere but tended to be practical rather than mystical.
Handel was also not a native English-speaker, and examples of awkward text-setting in Messiah demonstrate some idiosyncrasies in his English declamation. He set the word "were" as if it had two syllables, and "surely" with three syllables. In the bass aria, "The trumpet shall sound," Handel originally declaimed "incorruptible" with emphasis on the second and fourth sylla-
bles. While these can be corrected by the editor of the score or the singer in performance, sometimes Handel placed rhythmic accents on the wrong words entirely. Yet they are so familiar to us now that we don't hear them as unusual: "For unto us a Child is born," or "Come unto Him, ye that are heavy laden."
The first public performance of Messiah took place in Dublin, Ireland, on April 13, 1742. As this was to be a benefit performance for charity, the ladies were asked not to wear hoop dresses, and the men to leave their swords at home in order to accommodate more people in the hall. Messiah was an unqualified success in Dublin; Handel had worked for months preparing his chorus and orchestra and brought in some of the finest solo singers from England. The alto soloist in particular sang so affectingly that after one aria an audience member exclaimed from his chair, "Woman, for this, be all thy sins forgiven." But when Handel took Messiah to London the following season, it received a chilly reception. Even though King George II attended the first performance at Covent Garden Theatre (and, it is claimed, initiated the tradition of standing for the "Hallelujah Chorus"), London audiences found its contemplative texts lacking in drama and narrative action, and it closed after only three performances. Some clergy con?sidered the theatre in general a den of iniquity and certainly no place for a work on such a sacred topic (Handel couldn't win -when it was scheduled to be performed in Westminster Abbey, other members of the clergy declared it sacrilege for a public entertainment to take place in a consecrated church). And Jennens, the librettist, wasn't entirely pleased with what Handel had done to his texts. After initially voicing his thorough disappointment with the work, Jennens later declared Handel's composi?tion "a fine Entertainment, tho' not near so good as he might and ought to have done." It wasn't until 1750, when another performance for charity was staged at the Foundling Hospital in London, that English audiences took Messiah to their hearts, and yearly performances at the hospital from that time on established the last?ing popularity of both the work and its com-
poser. Upon Handel's death in 1759, he willed his score and parts for Messiah to the Foundling Hospital in a charitable gesture of gratitude.
The tradition of performing Messiah at Christmas began later in the 18th century. Although the work was occasionally performed during Advent in Dublin, the oratorio was usu?ally regarded in England as an entertainment for the penitential season of Lent, when per?formances of opera were banned. Messiah's extended musical focus on Christ's redeeming sacrifice also makes it particularly suitable for Passion Week and Holy Week, the periods when it was usually performed during Handel's life?time. But in 1791, the Caecilian Society of London began its annual Christmas perform?ances, and in 1818 the Handel and Haydn Society of Boston gave the work's first complete performance in the US on Christmas Day -establishing a tradition that continues to the present. The University Musical Society is a direct result of this tradition. In 1879, a group of local university and townspeople gathered together to study Handel's Messiah; this group assumed the name "The Choral Union" and, in 1880, the members of the Choral Union estab?lished the University Musical Society.
Following the pattern of Italian baroque opera, Messiah is divided into three parts. The first is concerned with prophecies of the Messiah's coming, drawing heavily from mes?sianic texts in the Book of Isaiah, and concludes with an account of the Christmas story that mixes both Old and New Testament sources. The second part deals with Christ's mission and sacrifice, culminating in the grand "Hallelujah Chorus." The final, shortest section is an extended hymn of thanksgiving, an expression of faith beginning with Job's statement "I know that my Redeemer liveth" and closing with the majestic chorus "Worthy is the Lamb" and a fugal "Amen." In its focus on Christ's sacrifice Messiah resembles the great Lutheran Passions of Schutz and Bach but with much less direct narrative and more meditative commentary on the redemptive nature of the Messiah's earthly mission. Handel scholar Robert Myers suggested
that "logically Handel's masterpiece should be called Redemption, for its author celebrates the idea of Redemption, rather than the personality of Christ."
For the believer and non-believer alike, Handel's Messiah is undoubtedly a majestic musical edifice. But while a truly popular favorite around the world, Messiah aspires to more than just a reputation as an enjoyable musical event. After an early performance of the work in London, Lord Kinnoul congratulat?ed Handel on the "noble entertainment" he had recently brought to the city. Handel is said to have replied, "My Lord, I should be sorry if I only entertained them; I wished to make them better." Certainly Messiah carries an ennobling message to people of all faiths and credos, pro?claiming "peace on earth, and goodwill towards men" -a message that continues to be timely and universal.
Program note by Luke Howard.
Jerry Blackstone is Director of Choirs and Chair of the Conducting Department at the University of Michigan School of Music where he conducts the Chamber Choir, teaches conducting at the graduate and under?graduate levels, and administers a choral pro?gram of eleven choirs. In February 2003, the School of Music Chamber Choir presented three enthusiastically received performances in New York City at the National Convention of the American Choral Directors Association. He also serves as Interim Conductor and Music Director of the UMS Choral Union, a large communityuniversity chorus that frequently appears with the Detroit Symphony Orchestra and presents annual performances of Handel's Messiah. Dr. Blackstone has conducted operatic productions with the University of Michigan Opera Theatre, and frequently prepares choirs for performances with the Detroit Symphony Orchestra under conductors Neeme Jarvi, Nicholas McGegan, and Yitzak Perlman. Conducting students of Dr. Blackstone have
received first place awards or have been finalists in both the graduate and under?graduate divisions of the American Choral Directors Association's biennial National Choral Conducting Awards competition. US News and World
Report recently rated the graduate conducting programs at the University of Michigan first in the nation. Professor Blackstone has served as guest conductor from coast to coast, including recent all-state and workshop appearances in Texas, California, Georgia, New York, Missouri, Arkansas, Massachusetts, Virginia, South Dakota, Florida, Pennsylvania, Maryland, Kentucky, Rhode Island, Ohio, Illinois, and Hong Kong. As recent conductor of the University of Michigan Men's Glee Club, Dr. Blackstone led the ensemble in performances at ACDA national and division conventions and on extensive con?cert tours throughout Australia, Eastern and Central Europe, Asia, and South America. Santa Barbara Music Publishing recently released Dr. Blackstone's educational video, Working with Male Voices, and also publishes the Jerry Blackstone Choral Series, a set of choral publications that presents works by sev?eral composers in a variety of musical styles. Professor Blackstone conducts the University of Michigan All-State High School Choir and Chamber Singers each summer at the Interlochen Center for the Arts. During the academic year, he conducts the Michigan Youth Chamber Singers, an ensemble of highly talented singers from throughout the state.
These performances mark Jerry Blackstones UMS and conducting debuts as Interim Conductor and Music Director of the UMS Choral Union.
Born in Montreal,soprano Dominique Labelle first came to international prominence as Donna Anna in Peter Sellars' production of Don Giovanni, which she performed in New York, Paris, and Vienna. She has sung with the major US orchestras including Atlanta, Boston, Cincinnati, Cleveland, Houston, Los Angeles, Minnesota, New York, Philadelphia, and San Francisco.
Outside of North America, Ms. Labelle's engagements have included the International Handel Festival Gottingen, the Academy of St. Martin in the Fields, the BBC Proms, the City of Birmingham Symphony Orchestra, the Ensemble Orchestral de Paris, the Orchestra of the Age of Enlightenment, the English Concert, the Gabrieli Consort, the Bach Collegium of Japan, and the Melbourne Symphony.
Certainly one of today's finest interpreters of Handel, she is closely associated with his recently discovered Gloria. She presented the modern-day premiere of the Gloria at the International Handel Festival Gottingen with Nicholas McGegan conducting the Philharmonia Baroque Orchestra.
Ms. Labelle's most recent opera roles include the title role in Lucia di Lammermoor (Seattle and Boston), Violetta in La Traviata
(Boston), and the title role in Handel's Rodelinda (Gottingen). A committed recitalist, she has appeared in solo recitals at New York's Weill Hall, Lincoln Center, the 92nd Street Y, The Vocal Arts Society in Washington, DC, and appearances in Boston,
Montreal, Moscow, Quebec, and London.
Ms. Labelle's many recordings appear on Virgin Veritas, Deutsche Harmonia Mundi, RCA Victor Red Seal, Koss, Denon, New World, and Musica Omnia labels. Her recording of Handel's Arminio won the 2002 Handel Prize. She is a National Winner of the Metropolitan
Dominique Labelle
Opera competition, and she is also the recipient of a George London Foundation Award and Boston University's Distinguished Alumni Award.
These performances mark Dominique Labelle's fourth and fifth appearances under UMS aus?pices. She made her UMS debut as soprano soloist in Handel's Messiah in December 1994.
Countertenor David Daniels has appeared with many of the major opera companies of the world and on its main concert stages, making history as the first countertenor to give a solo recital in the main auditorium of
Carnegie Hall. Mr. Daniels began the cur?rent 0304 season in the title role of Handel's Giulio Cesare at the Houston Grand Opera. His Metropolitan Opera and Covent Garden debuts were in the part of Sesto in the same work, and he has starred as the Roman
emperor with the San Francisco Opera and at the Palais Gamier in Paris.
As much at home on the recital platform as on the opera stage, Mr. Daniels has won admiration for his performances of an extensive recital repertoire, including song literature of the 19th and 20th centuries not usually associ?ated with his type of voice. Mr. Daniels has given recitals at London's Wigmore Hall, New York's Avery Fisher Hall, Alice Tully Hall, and Walter Reade Theater at Lincoln Center; at Munich's Prinzregententheater and Vienna's Konzerthaus; in Barcelona's Teatre del Liceu; at the Edinburgh and Ravinia Festivals; as well as in Ann Arbor, Chicago, Lisbon, Toronto, Vancouver, and Washington. His French debut was a sold-out recital at the Salle Gaveau in Paris.
Mr. Daniels began to sing as a boy sopra?no, moving to tenor as his voice matured, and he earned an undergraduate degree from the Cincinnati College-Conservatory of Music. He made the daring switch to the countertenor
David Daniels
range during graduate studies at the University of Michigan with George Shirley.
Mr. Daniels is an exclusive Virgin Classics recording artist, with several critically acclaimed and best-selling solo albums to his credit. His recording of Handel's Rinaldo (title role) on the Decca label with Cecilia Bartoli received a Gramophone Editor's Choice "Album of the Year" award in 2002. Mr. Daniels has won other prestigious awards as well, including Musical America's "Vocalist of the Year" for 1999 and the Richard Tucker Foundation Award in 1997.
These performances mark David Daniels' eighth and ninth appearances under UMS auspices. He made his UMS debut as countertenor soloist in Handel's Messiah in December 1994. Mr. Daniels is a graduate of the University of Michigan School of Music.
Tenor Steven Tharp has appeared with most of the major US orchestras, including the Chicago Symphony (under Maestros Solti and Barenboim); the New York Philhar?monic (Masur); and the Cleveland Orchestra (von Dohnanyi); as well as the Royal and Hong Kong Philharmonics. His repertoire ranges from the great baroque and classical master?pieces to contemporary works.
Mr. Tharp received awards from the Metropolitan Opera National Council and San Francisco Opera auditions, and he has appeared with the Metropolitan Opera and other distin-
guished companies throughout the US, Canada, and in Europe. His operatic repertoire of over 40 roles includes the major tenor parts of Mozart and Handel. He per?formed in the American premiere of Partenope and the first modern revival of Scipione;
Nemorino in L'Elisir d'amore; Almaviva in barbiere di Siviglia; David in Wagner's Die Meistersinger, the Steersman in Der Fliegende
Steven Tharp
Hollander, and Lysander in Britten's A Midsummer Night's Dream.
Mr. Tharp presented The World of Schubert's Songs and The World ofHeinrich Heine, both multi-evening lieder series, at New York's Metropolitan Museum of Art. He performed at gala recitals celebrating Schubert's 2O0th birth?day at Weill Recital Hall and has appeared in recital at the Newport Chamber Music Festival, the Carmel Bach Festival, and Caramoor. He is a frequent guest artist with the New York Festival of Song, most recently in Ned Rorem's new full-evening song-cycle, Evidence of Things Not Seen. Steven Tharp sang with the Metropolitan Opera in 2002 in Prokofiev's War and Peace and returned in the fall for Giordano's Andrea Chenier.
These performances mark Steven Tharp's second and third appearances under UMS auspices. He made his UMS debut as tenor soloist in Bach's St. Matthew Passion in April 2000.
American bass-baritone Michael Dean is in demand worldwide in both operatic and concert repertoire. In Europe, he has performed lead roles with the Landestheater in Linz, the Komische Oper Berlin, and at the Opera du Rhin in Strasbourg. In the US, he has performed with the Dallas Opera, the Opera Company of Philadelphia, Western Opera Theater, and in Kansas City. At New York City Opera he was George in Of Mice and Men, Papageno in Die Zauberflote, Don Alvaro in Viaggio A Reims, and Captain Jason MacFarline in Lizzie Borden. Also in New York, he appeared in six new one-act operas under the auspices of EOS Music, Inc.
Mr. Dean is equally sought after for concert repertoire. He has recently performed with Houston, Columbus, New Jersey, and Alabama Symphonies. He made his New York Philharmonic debut with world premiere per?formances of Aaron Kernis' Garden of Light with Kurt Masur and returned for a concert 1 version of Street Scene conducted by Leonard I Slatkin.
Distinguished in the Baroque repertoire, Mr. Dean is a regular participant in the Gottingen Handel Festival where he has performed lead roles in Agrippina, Ottone, Radamisto, Giustino, Alcina, Tolomeo, and Esther, all conducted by
Nicholas McGegan. He made his Boston Baroque debut in Mozart's Der Schauspieldirektor (The Impresario) and Cimerosa's Maestro di Cappella.
A native of San Diego, California, Mr. Dean is an alumnus of Curtis Institute of Music and the Merola Opera Program of San Francisco Opera. He made his New York recital debut under the auspices of the Marilyn Home Foundation and appeared in Marilyn Home Foundation sponsored concerts on the West Coast. Michael Dean is married to soprano Maria Fortuna; they reside in New York State with their son, Marcello.
These performances mark Michael Dean's third and fourth appearances under UMS auspices. He made his UMS debut singing under the pseudonym Dean Ely in UMS's production of Handel's Messiah in December 2000.
Edward Parmentier, Professor of Music (Harpsichord and Early Music Ensemble) at the University of Michigan School of Music, currently holds the Thurnau Professorship, a university-wide award based on teaching. He has performed throughout the US, Russia, Western Europe, Japan, and Korea on harpsi?chord and historic organ. He appears frequently in ensemble settings as a continuist and concer?to soloist, and he conducts modern chamber orchestras in performances of Baroque and classical repertory. In the current 0304 season, he will be giving concerts throughout the Midwest, including Columbus, Ohio and Ann Arbor, Michigan, including collaborations with violinist Andrew Jennings presenting J. S. Bach's complete works for violin and harpsichord.
Michael Dean
Mr. Parmentier is also planning a concert trip to Japan in the spring of 2004.
Mr. Parmentier is a frequent lecturer and adjudicator at symposia and festivals. His annu?al summer harpsichord workshops at the University of Michigan
attract performers from all over the world. His 2003 workshops focused on J. S. Bach and 17th-century French music, and his 2004 workshops will cover the fugues of J. S. Bach and William Byrd.
His collection of recordings has won both critical and popular acclaim. Recent releases include J. S. Bach's partitas, French 17th-centu?ry harpsichord music, sonatas of Scarlatti, and music of the English virginalists. His recording of J. S. Bach's Well-Tempererd Clavier, Book I will be released at the end of 2003.
Mr. Parmentier holds degrees in classical languages and literatures, humanities and musi-cology from Harvard and Princeton. His harp?sichord teachers were Albert Fuller and Gustav Leonhardt.
These performances mark Edward Parmentier's 19th and 20th appearances under UMS auspices. He has performed in the annual UMS presenta?tion of Handel's Messiah since 1995.
Please refer to UMS Annals, page 22 of the white pages of your program, for biogra?phical information on the UMS Choral Union.
The UMS Choral Union began annually performing Handel's Messiah in 1879. These performances mark the UMS Choral Union's 392nd and 393rd appearances under UMS aus?pices and mark the UMS Choral Union's 125th annual performances oMessiah. These perform?ances mark the conducting debut of Interim Conductor and Music Director Jerry Blackstone.
Edward Parmentier
Founded 75 years ago by five musically inclined friends, the Ann Arbor Symphony Orchestra is now a fully pro?fessional-caliber orchestra that counts among its conductors Joseph Maddy (founder of Interlochen Music Camp), Carl St.Clair (Pacific Symphony Orchestra), Samuel Wong (Honolulu Symphony Orchestra), and now, Arie Lipsky.
At every opportunity Maestro Lipsky demonstrates his consummate skill as an artist, performer, and communicator. He has grown audiences by 15 annually, doubled the num?ber of Youth Concerts, started a family concert series, and began a five-concert senior citizen concert series.
Maestro Lipsky continues this distinguished and inspired music making by treating audiences to Beethoven, Mahler, Prokofiev, Mozart, Poulenc, Piazzolla, Brahms, Vivaldi, Foss, Tchaikovsky, Brahms, Hindemith, and the con?cert-version of the opera Carmen. Each season adds the premiere of a new work by an emerg?ing U-M student composer. In the current 75th Anniversary Season, the A;SO recently premiered a work by nationally known composer Michael Daugherty that featured the A;SO and the Michigan Theater's mighty Barton Organ.
Recent soloists include a mix of world-class artists such as Katherine Larson, Arthur Greene, Gemini, Augustin Hadelich, Ilya Kaler, Julie Albers, Benny Kim, Christina Castelli, Jacques Israelievitch, Jaime Laredo, and Richard Stoltzman. Orchestral soloists include Eric Varner, David Kuehn, Stephen Shipps, and Willard Zirk.
A key component of the A:SO's mission is education and outreach, and the ensemble is deeply committed to demonstrating musical excellence both inside the concert hall and well beyond it. In-school educational programs and youth concerts reach over 23,000 area students each year. The A;SO is an official Partner for Excellence with the Ann Arbor Public Schools, and the organization continues to create stan?dard-setting youth concert curricula that teach students about music while reinforcing vital skills such as literacy, logic, and pattern recog?nition.
The community's commitment to preserving the A:SO's financial security is evident in the success of the ongoing Musician Chair Sponsorship Initiative, the number of VIP cor?porate honor roll businesses, and the support received from the MCACA. The A2SO's creative and original programming was also rewarded with two prestigious NEA grants in support of education programs.
The A2SO was the only arts nonprofit to win the 2002 Grain's Business Best-Managed Nonprofit Award and in May 2003 was awarded the Nonprofit Enterprise at Work's Excellence in Management Award.
The Ann Arbor Symphony Orchestra has per?formed in the annual UMS presentations of Handel's Messiah since 1988. These performances mark the Orchestra's 43rd and 44th appearances under UMS auspices.
Ann Arbor Symphony Orchestra
Arie Lipsky, Music Director
Mary Steffek Blaske, Executive Director
Violin I
Stephen Shipps, Concertmaster
Elizabeth A. H. Green
Concertmaster Chair Adrienne Jacobs, Associate
Concertmaster Judy Blank
Arnold and Susan Coran
Violin Chair Joseph Hintz Linda Etter
Linda Etter Violin Chair Julia Gish
Violin II
Barbara Sturgis-Everett
A' Principal Second Violin Chair
Honoring Anne Gates and Annie
Rudisill David Lamse
Abraham Weiser Violin Chair Bethany Mennemeyer Jackie Livesay Anne Ogren
Stephanie Kantor Violin Chair Sharon Quint
Janine Bradbury Lee-Wen Chang Carolyn Tarzia Catherine Franklin Joanna Myers
Sarah Cleveland
Sundelson Endowed Principal
Cello Chair Vladimir Babin Alicia Rowe Sabrina Lackey
Gregg Emerson Powell Erin Zurbuchen Robert Rohwer
Oboe Kristen Beene
Gilbert Omenn Principal Oboe
Chair Kristin Reynolds
Bassoon Eric Varner
E. Daniel Long Principal
Bassoon Chair
Trumpet William Campbell
David S. Evans III Principal
Trumpet Chair Phillip Bernstein
Timpani James Lancioni
Gregg Emerson Powell,
Personnel Manager Kathleen Grimes, Librarian Dan Getty, Operations Manager
UMS Choral Union
Jerry Blackstone, Interim Conductor and Music Director
Jason Harris, Assistant Conductor Steven Lorenz, Assistant Conductor Jean Schneider, Accompanist Kathleen Operhall, Chorus Manager Donald Bryant, Conductor Emeritus
Soprano Holly Baginski Edith Leavis Bookstein Ann Marie Borders Mary Bowman Debra Joy Brabenec Ann K. Burke Susan F. Campbell Young Cho Cheryl D. Clarkson Jennifer Cornell Marie Ankenbruck Davis Shawn Driemeier Kathy Neufeld Dunn Patricia Forsberg-Smith Jennifer Freese Marlene Fullerton Kathleen Gage Keiko Goto Rebecca Hartsough Kyoung Kim Masako Kishida Mary Kay Lawless Loretta Lovalvo Melissa Hope Marin Linda Selig Marshall Lani Meeker Marilyn Meeker Caroline E. Mohai Ann Orwin Motoko Osawa Rolina Painter Nancy K. Paul Ulrike Peters Margaret Dearden
Petersen Sara Peth Marie Phillips Judith A. Premin Mary A. Schieve Jennifer Wagner
Sobocinski Elizabeth Starr Sue Ellen Straub Jane VanSteenis Catherine Wadhams Barbara Hertz Wallgren Elizabeth Ward
Rachelle Barcus Warren Margie Warrick Mary Wigton Linda Kaye Woodman Karen Woollams Kathleen Young
Anne Lampman Abbrecht Paula Allison-England Leslie Austin Carol Barnhart Dody Blackstone Ellen Bryan Anne Casper Emily Chan Laura Clausen Alison Cohen Joan Cooper Kari Corrington Andrea Delgadillo Stacey Simpson Duke Marilyn A. Finkbeiner Nori Flautner Norma Freeman Siri Gottlieb Hilary Haftel Kat Hagedorn Allison Halerz Nancy Heaton Jeanmarie Leverich Houle Carol Kraemer Hohnke Olga Johnson Heather Kaye Maren E. Keyt Eunice Kua Jessica Lehr Jan Leventer Carolyn Gillespie Loh Cynthia Lunan Jeanette Luton-Faber Karla K. Manson April M. Marzec Patricia Kaiser McCloud Beth McNally Carol Milstein Betty Montgomery Deidre Myers
Kristen Neubauer Kathleen Operhall Connie Pagedas Jennifer Rosenbaum Tricia Sartor Cindy Shindledecker Rhonda Sizemore Beverly N. Slater Jari Smith Katherine Spindler Gayle Beck Stevens Karen Thatcher Ruth A. Theobald Lauren Theodore Patricia J. Tompkins Barb Tritten Cheryl Utiger Madeleine A. Vala Alice VanWambeke Katherine Verdery Sandra Wiley Bonnie Wright
Adam D. Bonarek
Fred Bookstein
Fr. Timothy J. Dombrowski
Jack Etsweiler
Steven Fudge
Albert Girod
Roy Glover
Michael Gordon
Matthew P. Gray
Arthur Gulick
Jason Harris
Stephen Heath
J. Derek Jackson
Henry Johnson
Bob Klafflce
Mark A. Krempski
Robert MacGregor
Richard Marsh
John McLaughlin
A.T. Miller
Fred Peterbark
Bernhard Schoenlinner
Jason Sell
Elizabeth Sklar
Carl Smith Christopher Taylor Samuel Ursu Jim Van Bochove
William Baxter Kee Man Chang Jeff Clevenger Michael Coster Roger Craig Steven Davis Jeff Druchniak John Dryden Don Faber Howard Fillmore Gregory Fleming Kenneth A. Freeman Philip J. Gorman David Hoffman Charles F. Lehmann George Lindquist Tom Litow Rod Little Lawrence Lohr Steven Lorenz Charles Lovelace Joseph D. McCadden Henry Millat Gerald Miller Michael Pratt William Premin Neil Safier Andrew Schulz Michael Scionti Rodney Smith Jeff Spindler Robert Stawski Michael Steelman Robert D Strozier Steve Telian John Joseph Tome Terril O. Tompkins James Wessel Walker Donald R. Williams Mike Zeddies
Announcing the
(J-[andel's Messiah is simultaneously the genesis and the future of the University Musical Society. The announcement of a gift from Carl and Isabelle Brauer recognizes and honors the origins of UMS and ensures its vitality for centuries to come. On the 125th anniversary of UMS's first presentation oMessiah, this presentation continues to be the most impor?tant ongoing community production in the UMS season, and now, it will continue to be preserved and treasured for many generations to come.
"Because Handel's Messiah portrays dramatically the miraculous birth, death, and resurrection
of our Lord and Savior Jesus Christ,
we are especially honored and blessed that we
are able to make this magnificent production
continue in perpetuity."
Carl and Isabelle Brauer
Carl A. Brauer, Jr. and Isabelle M. Brauer
are both Ann Arbor natives. They have been active with VMS for many years, attending concerts and galas, and as active volunteers. Mr. Brauer has served as Treasurer and Chair of the Business and Finance Committee of the UMS Board of Directors and is a member of the UMS Senate. The Brauers have been generous contributors to UMS for more than 20 years, including sponsorship of the St. Matthew Passion in 2000 and of Handel's Messiah for the past four years, t Mr. and Mrs. Brauer met in church and were married in 1945. Mr. Brauer s father was the minister of St. Paul's Lutheran Church. The Brauers continue to be very active in their church. Mr. Brauer received a BSE from U-M and developed a thriving business in commercial and industrial development, owning Brauer Investment Company. They have three living children, nine grand?children, and six great-grandchildren, the most recent being twin girls. Their son Charles met an untimely death in 1985. tzft UMS is especially pleased that our longtime friends are securing the future of the musical work most closely identified with UMS. It is the best of town-gown relationships and is well represented by the Brauers' rela?tionship to Ann Arbor and to UMS.
?Vrmns, continued from page 24
EMU Convocation Center
An exciting new era in EMU athletics was set in motion in the fall of 1998 with the :opening of the $29.6-million Convocation Center. The Barton-Malow Company along {with the architectural firm Rossetti Associates of BirminghamThe Argos Group began con?struction on the campus facility in 1996. iThe Convocation Center opened its doors on December 9, 1998 with a seating capacity fof 9,510 for center-stage entertainment events. IUMS has presented special dance parties at the JEMU Convocation Center every April since 1998, and this year's popular concert features (Orchestra Baobab on Saturday, April 17.
Michigan Union Ballroom
The Michigan Union Ballroom is a new venue to UMS in its 125th season, specifically iselected for seven performances by Shakespeare's jGlobe Theatre of Twelfth Night. The Michigan JUnion Ballroom recreates the intimate ambiance I of the Globe Theatre in London. The Michigan lUnion 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 Arboretum for a special season opening event Jby U Theatre: Drummers of Taiwan.
Pease Auditorium
Pease Auditorium is a classic concert hall on the campus of Eastern Michigan University. i It is located on College Place at the intersection J 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 Bon's 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
Seen from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor land?marks. Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet. UMS administrative offices returned to our familiar home at Burton Memorial Tower in August 2001, following a year of significant renovations to the University landmark.
This current season marks the 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.
the 125th urns season
September 2003
Tues 16 U Theatre Drummers of Taiwan:
Season Opening Event
Fri-Sat 19-20 U Theatre Drummers of Taiwan: The Sound of Ocean
Fri 3 St. Petersburg String Quartet
Kirov Orchestra of the Mariinsky Theatre
Michigan Chamber Players (free 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
Sat-Sun 1-2 Pushkin's Boris Godunov
Thur 6 St. Petersburg Academic Capella Choir
Sat 8 Chava Alberstein
Tues 11 Doudou N'Diaye Rose and Les Rosettes
Thur 13 Charles Lloyd Quintet
Tues-Sun 18-23 Shakespeare's Globe Theatre: Twelfth Night
Fri 5 Boston Pops Esplanade Orchestra Christmas Concert
Sat-Sun 6-7 Handel's Messiah

Please 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
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
Sun 8 Michigan Chamber Players (free admission)
Thur 12 Hilary Hahn, violin
Sat 14 Canadian Brass Valentine's Day Concert
Thur-Sat 19-21 Children of Uganda
Fri 20 Cecilia Bartoli, mezzo-soprano and
Orchestra of the Age of Enlightenment
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
Thur 1 Lang Lang, piano
Fri-Sat 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
Considered one of the top performing arts educational programs in the country, UMS strives to illuminate the performing arts through education and community engagement, offering audiences a multitude of opportunities to make 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, e-mail, 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.
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.
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.
A youth workshop with members of the Hubbard Street Dance Ensemble'
UMS has a special commitment to educat?ing the next generation. A number of programs are offered for K-12 students, educators, and families to further develop understanding and exposure to the arts. For information about the Youth, Teen, and Family Education Program, visit the website at I, e-mail, [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 Scries 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,
Primary supporters of the Youth Education Program are:
i complete listing of Education Program -ipporters are listed online at
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 sessions:
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
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
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
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 -
Blue Nile Restaurant
221 East Washington -
The Earle Restaurant
121 West Washington -
326 South Main -
Great Harvest Bread
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 -
Red Hawk Bar 8c Grill
316 South State 994.4004
110 East Washington -
Sweetwaters Cafe
123 West Washington -
Weber's Restaurant
3050 Jackson 665.3636
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
UMS 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.
The 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.
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.
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.
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 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
This 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
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
$25,000 or more Mrs. Gardner Ackley Hattie McOmber Randall and Mary Pittman Philip and Kathleen Power
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
$7,500-$9,999 Maurice and Linda Binkow Don and Judy Dow Rumelhart Ed and Natalie Surovell
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
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
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. Rom.mi Sue Schroeder Helen and George Siedel Steve and Cynny Spencer Don and Toni Walker B. Joseph and Mary White
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 Lcsli 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 Bonfield Charles and Linda Borgsdorf Laurence and Grace Boxer Dale and Nancy Briggs William and Sandra Broucek Jeannine and Robert Buchanan Sue and Noel Buckner Lawrence and Valerie Bullen Laurie Burns
Mr. and Mrs. Richard J. Burstein Letitia ). Byrd Amy and Jim Byrne Betty Byrne
Barbara and Albert Cain Michael and Patricia Campbell Carolyn M. Carty and Thomas H. Haug lean 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 Mart.! A. Manildi George and Connie Cress Kathleen J. CrispeU 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 Emil 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 Gelehrter Beverly Gershowitz William and Ruth Gilkey AJvia G. Golden and Carroll Smith-Rosenberg
Elizabeth Needham Graham
Susan Smith Gray and Robert Gray
Dr. John and Renee M. Greden
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 Wiese 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 Krimm
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, cotit.
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 lill Schwartz lohn . H. Schwarz Erik and Carol Serr lanet 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 lim Toy
Lick and Marilyn van der Velde Elly Wagner Florence S. Wagner Willes and Kathleen Weber Elise Weisbach Dr. Steven W. Werns Marcy and Scott Wcsterman Roy and JoAn 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
Dr. and Mrs. Robert G. Aldrich Anastasios Alexiou Christine Webb Alvcy David and Katie Andrea Dr. and Mrs. Rudi Ansbacher lanet and Arnold Aronoff Robert L. Baird I'aulett Banks M. A. Baranowski Norman E. Barnett Mason and Helen Barr L. S. Berlin Philip C. Berry lohn Blankley and Maureen Foley Donald and Roberta Blitz
Tom and Cathie Blocm Jane Bloom, MD and William L. Bloom Mr. and Mrs. Richard Boyce Dr. and Mrs. Ralph Bozcll loci Brcgman and
Elaine Pomeranz linkand 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 Marshall and Janice 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 lohn W. Farah DDS PhD Claudine Farrand and
Daniel Moerman Irene Fast
Dr. and Mrs. John A. Faulkner Sidney and Jean Fine Carol Fincrman Clare M. Fingerle Herschel 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 Glcndon lack and Kathleen Glezen William and Sally Goshorn Cozcttc Grabb
Dr. and Mrs. Lazar J. Greenfield Seymour D. Greenstone Ken and Margaret Guire Don P. Haefner and
Cynthia . Stewart Mr. and Mrs. Elmer F. Hamel Clifford and Alice Hart Sivana Heller ]. Lawrence and
Jacqueline Stearns Henkel Kathy and Rudi Hcntschel Herb and Dee Hildebrandt Mrs. W.A. Hiltner Sun-Chien and Betty Hsiao Mrs. V. C. Hubbs Ann D. Hungerman Thomas and Kathryn Huntzickcr Eileen and Saul Hymans Jean Jacobson Rebecca S. lahn Wallic and Janet leffries Jim and Dale Icrome Herbert and Jane M. Kaufer Emily Kennedy Dr. David E. and
Heidi Castlcman Klein
Hermine R. Klingler Philip and Kathryn Klinlworlh 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 Jacqueline H. Lewis E. Daniel and Kay Long Brigitte and Paul Maassen Marilyn Mason Michael G. McGuire Bernice and Herman Merte 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 Resnik and John Martin Maria and Rusty Restuccia Jay and Machree 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 I. 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. Stross 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 leffand Lisa Tulin-Silver Dr. SheryfS. 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. Weisman 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
lesus and Benjamin Acosta-Hughes
Michael and Marilyn Agin
Robert Ainsworth
Helen and David Aminoff
Douglas B. Anderson
Harlene and Henry Appclman
lack and Jill Arnold
Jeff and Deborah Ash
Mr. and Mrs. Arthur J. Ashc, III
Dwight T. Ashley
Dan and Monica Atkins
Linda Bennett and Bob Bagramian
Lisa and Mm Baker
Reg and Pat Baker
Barbara and Daniel Balbach
Gary and Cheryl Balint
Ms. Ruth Bardenstein
John R. Bareham
David and Monika Barera
Lois and David Baru
Lourdcs Bastos Hanscn
Tom and Judith Batay-Csorba
Francis I. and Lindsay Bateman
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 Hommcl Steven J. Bernstein 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. Brashcar David and Sharon Brooks Dr. Frances E. Bull Susan and Oliver Cameron Valeric 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 Mcrial Das Art and Lyn Powric Davidge John and Jean Debbink Elena and Nicholas Delbanco Elizabeth Dexter Judy and Steve Dobson Thomas and Esther Donahue Cecilia and Allan Dreyfuss Elizabeth Duell Martin and Rosalie Edwards Charles and Julia Eiscndrath Dr. Alan S. Eiscr 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
Associates, cont.
Dennis Flynn
Howard and Margaret Fox
Paula L. Bockenstedt and
David A. Fox Jason I. Fox Betsy Foxman and
Michael Boehnke l.ynn A. Freeland Richard and Joann Freethy 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 f. 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 1 1vm.ii and Jeanne Harrison Naomi Gottlieb Harrison and
Theodore Harrison DDS leannine 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 I )ave and Susan Horvath Jane H. Hughes Marilyn C. Hunting Robert B. Ingling David Jahn
Kent and Mary lohnson Paul and Olga Johnson Ellen C. lohnson Arthur A. Kaselemas James A. Kelly and
Mariam C. Noland Frank and Patricia Kennedy Donald F. and Mary A. Kiel Rhca Kish
Paul and Dana Kissner Steve and Shira Klein Laura Klem lean and Arnold Kluge Thomas and Ruth Knoll John Koselka Bert and Geraldine Kruse Mrs. David A. Lanius Mr. and Mrs. Henry M. Lapcza Neal and Anne Laurance Beth and George La Vole Cyril and Ruth Leder John and Theresa Lee Inn and Cathy Leonard Sue Leong
Myron and Bobbie Levine Ken and Jane Lieberthal Rod and Robin Little Vi-Cheng and Hsi-Yen Liu Naomi E. Lohr Ronald Longhofer and
Norma McKenna Florence LoPatin Carl J. Lutkehaus Edward and Barbara Lynn Pamela J. MacKiniosh Melvin and Jean Manis lames E. and Barbara Martin
Jenifer Martin Margaret E. McCarthy Ernest and Adele McCarus Margaret and Harris McQamroch James M. Beck and
Robert J. McGranaghan Nancy A. and Robert E. Meader Ingrid Merikoski George R. and Brigittc Men Shirley and Bill Meyers Mr. and Mrs. Eugene Miller Edward and Barbara Mills Kathryn and Bertley Moberg Mr. and Mrs. William Moeller Olga Ann Moir
William G. and Edith O. Moller, Jr. Thomas and Hedi Mulford Gavin Eadie and Barbara Murphy Gerry and Joanne Navarre Frederick C. Neidhardt and
Germaine Chipault James G. Nelson and
Kathcrine M. lohnson Richard and Susan Nisbett Laura Nitzberg 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 Leland and Elizabeth Quackenbush Jim and leva Rasmussen Anthony L RefTells and
Elaine A. Bennett Constance O. Rinehart Gay and George Rosenwald Mr. Haskell Rothstein Ina and Terry Sandalow Michael and Kinun Sarosi Mike Savitski
Dr. Stephen J. and Kim R. Sajce Frank J. Schauerte Mary A. Schieve 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 Alene Smith Dr. Elaine R. Soller Hugh and Anne Solomon Arthur and Elizabeth Solomon James A. Somers Yoram and Eliana Sorokin Tom Sparks Jeffrey D. Spindler Allen and Mary Spivey Judy and Paul Spradlin Burnette Staebler Gary and Diane Stahle lames L. Stoddard Brian and Lee Talbot Eva and Sam Taylor Edwin J. Thomas Bette M. Thompson Nigel and )ane Thompson Claire and Jerry Turcotte Mr. James R. Van Bochove Hugo and Karla Vandersypen Marie Vogt Harue and Tsuguyasu Wada
Bruce and Raven Wallace
Charles R. and Barbara H. WaDgren
Carol Weber
lohn Weber
Deborah Webster and George Miller
Iris and Fred Whitehouse
Leslie Clare Whitficld
Professor Steven Whiting
Nancy Wiernik
Cynthia and Roy Wilbanks
Anne Marie and Robert J. Willis
Lois Wilson-Crabtree
Beverly and Hadley Wine
Charles Witke and Aileen Gatten
Charlotte A. Wolfe
AI 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
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
Ann Arbor Automotive Butzel Long Attorneys Crowne Plaza Edward Surovell Realtors Elastizell Corporation of
MASCO Charitable Trust Miller Canfield Paddock and
Stone P.L.C. National City Bank TCF Bank Thomas B. McMullen
Blue Nile
Bosart Financial Group
Chase Manhattan Mortgage
Joseph Curtin Studios
Lewis Jewelers
Quinn EvansArchitects
Republic Bancorp
United Bank & Trust
ABN AMRO Mortgage Group,
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,
Malloy Incorporated Michigan Critical Care
Consultants Rosebud Solutions Seaway Financial
AgencyWayne Milewski SeloShevel Gallery Swedish Women's Educational
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 & Government Support, cont.
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 Frankcl
Mid-America Arts Alliance The Molloy Foundation Montague Foundation THE MOSAIC FOUNDATION
(ofR. and P. Heydon) Sarns Ann Arbor Fund The Sneed Foundation, Inc. Vibrant of Ann Arbor
Tribute Gifts
('entributhns have been received in honor andor memory of the following individuals:
H. Gardner Ackley Herb and Carol Amsler Maurice Binkow Tom and Laura Binkow T. Earl Douglass Alice Kelsey Dunn David Eklund Kenneth C. Fischer Dr. Bcverley B. Geltncr Michael Gowing Werner Grilk Elizabeth E. Kennedy Fed Kennedy, Jr. Dr. Gloria Kerry Alexandra Lofstrom Joyce Malm Frederick N. McOmber Phil and Kathy Power Gwen and Emerson Powrie Prof. Robert Putnam Ruth Putnam Mrs. Gail Rector StefTi Reiss Prue Roscnthal Margaret E. Rothstein Eric H. Rothstein Prof. Wolfgang Stolper Diana Stone Peters
Peter C. Tainsh Isaac Thomas Francis V. Viola III Horace Warren Donald Whiting Peter Holdcmcss Woods Barbara E. Young Elizabeth Yhouse
Burton Tower Society
The llurion Tower Society recognizes and honors those very special friends who have included UMS in their estate plans. VMS is grateful for this important support, which will continue the great traditions of artistic excellence, educational opportunities and community partnerships in future years.
Carol and Herb Amster
Dr. and Mrs. David G.
Mr. Neil P. Anderson Catherine S. Arcure Mr. Hilbert Beyer Elizabeth Bishop Mr. and Mrs. Pal E. Borondy Barbara I vain Bryant Pat and George Chatas Mr. and Mrs. lohn Alden
Douglas D. Crary H. Michael and
Judith L. Endres Beverley and Gerson Geltner John and Martha Hicks Mr. and Mrs. Richard Ives Marilyn Jeffs Thomas C. and
Constance M. Kinnear Charlotte McGeoch Michael G. McGuire Dr. Eva Mueller Len and Nancy Niehoff Dr. and
Mrs. Frederick C. O'Dell Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Mr. and Mrs. Jack W. Ricketts Mr. and
Mrs. Willard L. Rodgers Prudence and
Amnon Rosenthal Mr. Haskell Rothstcin h ni.i J. Skelnar Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wetzel 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. VMS extends its deepest appreciation to the many donors who have established andor contributed to the following funds.
H. Gardner Ackley
Endowment Fund Amster Designated Fund Catherine S. Arcure
Endowment Fund Choral Union Fund Hal and Ann Davis
Endowment Fund Ottmar Eberbach Funds Epstein Endowment Fund JazzNet Endowment Fund William R. Kinney
Endowment 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 1 Rentals, Inc.
Raquel and Bernard Agranoff
Alexandra's in Kerrytown
Amadeus Cafe
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
Lois and David Baru
Baxter's Wine Shop
Kathleen Beck
Bella Ciao Trattoria
K.ithv Benton and Bob Brown
The Blue Nile Restaurant
Bodywise Therapeutic Massage
Mimi and Ron Bogdasarian
Borders Book and Music
lanice Stevens Botsford
Susan Bozeil
Tana Breiner
Barbara Everitt 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 Daanc
D'Amato's Italian Restaurant
David Smith Photography
Peter and Norma Davis
Robert Derkacz
The Display Group
Dough Boys Bakery
The Earle
Eastover Natural Nail Care
[Catherine and Damian Farrcll
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 KeUerman
Kerrytown Bistro
Kilwin's Chocolate Shoppe
King's Keyboard House
Kinko's Copies
Laky's Salon
Ray Lance
George and Beth Lavoie
Leopold Bros. Of Ann Arbor
Richard LeSueur
Carl Lutkehaus
Doni Lystra
Mainstrect Ventures
Ernest and Jeanne Merlanti
John Metzger
Michael Susanne Salon
Michigan Car Services, Inc. and
Airport Sedan, LTD Moe Sport Shops Inc. Robert and Mclinda Morris Joanne Navarre Nicola's Books, Little Professor
Book Co.
Paesano's Restaurant Pfizcr Global Research and
Development: Ann Arbor
Laboratories Preview Properties Produce Station Randy Parrish Fine Framing Red Hawk Bar & Grill Regrets Only Rightsidc Cellar Ritz Camera One Hour Photo Don and Judy Dow Rumclhart Safa Salon and Day Spa Salon Vertigo Rosalyn Sarvar Maya Savarino Penny and Paul Schreiber Shaman Drum Bookshop Loretta Skewcs Dr. Elaine R. Soller Maureen Stoeffler STUDIOsixtccn Two Sisters Gourmet Van Bovens
Washington Street Gallery Whole Foods Weber's Restaurant Zanzibar
14 Ann Arbor Symphony
Orchestra 14 Automated Resource
Management, Inc. 14 Bank of Ann Arbor 20 Bodman, Longley and
Dahling, LLP 26 Butzel Long 16 Chelsea Musical
Celebrations 20 Comerica, Inc. 26 Dance Gallery Studio 40 Edward Surovell
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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