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UMS Concert Program, January 17-19, 2004: Hill Auditorium Re-opening Weekend --

UMS Concert Program, January 17-19, 2004: Hill Auditorium Re-opening Weekend --  image UMS Concert Program, January 17-19, 2004: Hill Auditorium Re-opening Weekend --  image UMS Concert Program, January 17-19, 2004: Hill Auditorium Re-opening Weekend --  image UMS Concert Program, January 17-19, 2004: Hill Auditorium Re-opening Weekend --  image UMS Concert Program, January 17-19, 2004: Hill Auditorium Re-opening Weekend --  image UMS Concert Program, January 17-19, 2004: Hill Auditorium Re-opening Weekend --  image UMS Concert Program, January 17-19, 2004: Hill Auditorium Re-opening Weekend --  image UMS Concert Program, January 17-19, 2004: Hill Auditorium Re-opening Weekend --  image UMS Concert Program, January 17-19, 2004: Hill Auditorium Re-opening Weekend --  image UMS Concert Program, January 17-19, 2004: Hill Auditorium Re-opening Weekend --  image UMS Concert Program, January 17-19, 2004: Hill Auditorium Re-opening Weekend --  image UMS Concert Program, January 17-19, 2004: 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Day
19
Month
January
Year
2004
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Rights Held By
University Musical Society
OCR Text

Season: Winter 2004
University Of Michigan, Ann Arbor

University Musical Society of the University of Michigan
Winter 2004 Season
HILL AUDITORIUM RE-OPENING WEEKEND
January 17-19, 2004
university musical society
r 04 University of Michigan Ann Arbor
UMSleadership
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Letters from the Presidents Letter from the Chair
Corporate Leaders Foundations UMS Board of Directors Senate Advisory Committee UMS Staff Teacher Advisory Committee
General Information
Tickets
Gift Certificates
www.ums.org
UMS History
UMS Choral Union
Venues Burton Memorial Tower
@@@@The 125th Winter UMS Season
Education & Audience Development
UMS Preferred Restaurant & Business Program
Advisory Committee
Sponsorship & Advertising
Internships & College Work-Study Ushers
BRAVO
Support
UMS Advertisers
FROM THE U-M PRESIDENT
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.
We are delighted to welcome UMS back to Hill Auditorium in time to celebrate UMS's 125th Anniversary with several concerts and revelry on January 17,18, and 19. Some of the highlights of the weekend will include a festive gala dinner and concert 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 thoroughly enjoyed the results of our collaboration with UMS in Autumn 2003, which included some extraordinary per?formances. In 2004, a number of superb productions will result from the partner?ship between the University and UMS. Some of these include appearances by the Israel Philharmonic, the great pianist Alfred Brendel, and the celebrated saxo-
phonist Ornette Coleman, who will also provide a two-day residency to our stu?dents. The University is also working with UMS to provide exceptional educational programs to the campus: the legendary Merce Cunningham Dance Company will collaborate with our Department of Dance, and members of the Guthrie Theater will participate in over 20 events when they are in town to present their magnificent production of Othello. The remarkable Arab-American artist Simon Shaheen has been providing a splendid residency in Ann Arbor and Dearborn in conjunction with the Arab Community Center for Economic and Social Services, culminating in a concert in the Michigan Theater on January 31. And on April 8, UMS and the School of Music collaborate to produce Professor William Bolcom's epic Songs of Innocence and of Experience. I want to thank the faculty and staff of the University of Michigan and UMS for their hard work and dedication in making our partnership a success. The University of Michigan is pleased to support the University Musical Society during this exhilarating 0304 season, and we share the goal of making our co-presentations aca?demic and cultural events that benefit the university community and the broadest possible constituency.
Sincerely,
Mary Sue Coleman
President, University of Michigan
FROM THE UMS PRESIDENT
Thank you for joining us for this perfor?mance 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 pro?grams during this milestone season. Check the complete listing of UMS's Winter 2004 events beginning on p. 27 and on our web-
site at www.ums.org.
The big news during this winter term is, of course, the re-opening of Hill Auditorium after its 20-month renovation and restoration. If you're read?ing this program book while you are in Hill Audi?torium, welcome back to this glorious 90-year-old venue. If you're at another venue, I hope you have been or will soon get to Hill. What the University of Michigan has done in this
phase of Hill's renovation is absolutely marvelous. As a patron, you'll find a much more welcoming and comfortable build?ing... and one whose infrastructure has been vastly updated and improved to see it through the 21st century. Take the elevator to the balcony, have a coffee in the Elizabeth E. Kennedy Lower Lobby, sit in one of the new and wider seats on the main floor, and look at the stunning new colors surrounding the stage and the ring of lights on the ceiling. These are totally new experiences for a patron attending a UMS concert. What remains to be done in the next phase of renovation is the con?struction of a backstage addition to Hill
Auditorium so that this world-renowned concert hall will be as welcoming and comfortable for our visiting artists as it is now for our patrons.
We are pleased that International Arts Manager, the major business magazine for the performing arts published in London, featured UMS as the cover story in its
DecemberJanuary issue (see photo). The article recognizes the prominent role UMS now plays on the international performing arts scene, the outstanding team of UMS department heads, and UMS's being the oldest university-related pre?senting organization in the US. Visit our website to read the article.
It's wonderful to have you with us for this perfor?mance. 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 this performance, please send me an e-mail message at kenfisch@umich.edu or call me at 734.647.1174.
Very best wishes,
Kenneth C. Fischer UMS President
LETTER FROM THE CHAIR
The UMS 125th season continues with the opening of a newly renovated Hill Auditorium. What a pleasure it is to have our unique hall back with comfortable seats, air conditioning, and more restrooms!
Our fall season culminated with the Globe Theatre's production of Shakespeare's Twelfth Night, the Boston Pops, and the
125th annual UMS pro?duction of Handel's Messiah -very different and equally engaging pro?ductions. The UMS staff deserves a standing ova?tion for their enormous hard work. This past
summer we had to reduce our staff by 20, further increasingly everyone's work?load. This is a truly dedicated staff that continuously does a superb job providing the best productions and educational events for the University and our community.
In December, UMS celebrated, if from afar, President Ken Fischer who received the Patrick Hayes Award in London. Named after the man who was founding president of the International Society for the Performing Arts (ISPA) in 1949 and served as Ken's mentor, the Patrick Hayes Award recognizes an ISPA member of long standing whose achievements in arts man?agement are deserving of the highest praise and recognition.
This winter season brings us the Children of Uganda, the Israel Philhar?monic, and virtuosic pianist Lang Lang, to name just a few events from the splendid artistic menu UMS has planned for us.
The season finale will be the Ford Honors Program on May 15 featuring Sweet Honey in the Rock (founder Bernice Johnson Reagon received an honorary degree from U-M in 2000). The perform?ance will coincide with the opening of the University Capital Campaign. UMS will be a prominent part of the campaign, and we look to our audience and friends to help us ensure the future of the organization. For those of us who have been able to sup?port UMS in the past, it is an honor to participate in providing such a rich cultur?al environment for the University, the community and southeastern Michigan. I invite all of you to join us in ensuring the growth and success of the University Musical Society.
Sincerely,
JT
Prue Rosenthal
Chair, UMS Board of Directors
U leadership
CORPORATE LEADERS FOUNDATIONS
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."
Eric 3. Hill, PhD, FAIA
Vice President and Project Principal, Albert Kahn Associates, Inc.
"Through the visionary rebirth of Hill Auditorium, UMS has at once glorified its mission, reconfirmed the cultural heart of the university community, and ensured the continuing legacy of architect Albert Kahn. Thank you!"
Douglass R. Fox
President, Ann Arbor Automotive "We at Ann Arbor Automotive are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
William M. Broucek President and CEO, Bank of Ann Arbor "Bank of Ann Arbor is pleased to contribute to 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 com?munity that sustains our business. We are proud to sup?port an organization that provides such an important service to Ann Arbor."
Greg Josefowicz
President and CEO, Borders Group, Inc. "As a supporter of the University Musical Society, Borders Group is pleased to help strengthen our com?munity's commitment to and appreciation for artistic expression in its many forms."
John L. Herrygers
Vice PresidentOperating Unit Principal, Southeast Michigan, The Christman Company "Christman is proud to support the community in which we earn our living. We feel privileged to have taken part in the Hill Auditorium renovation as construction managers, and wish the University Musical Society many successful seasons in its 'new' facility."
Len Niehoff Shareholder, Butzel Long
"UMS has achieved an international reputation for excel?lence in presentation, education, and most recently cre?ation 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 spon?sor of the University Musical Society. The dedica?tion 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 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 programming and educa?tional 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 presentation of wonderful and diverse cultural events which contribute substan?tially to inspiration and enrichment of our community."
Robert J. Malek
Community President, National City Bank "A commitment to quality is the main reason we are a proud supporter of the University Musical Society's efforts to bring the finest artists and special events to our community."
Michael Quinn, FAIA
President, Quinn EvansArchitects "Each UMS season of world-class performers deserves the best, and it's been a pleasure to design to that end. Now it's a pleasure to return Hill to the arts-loving public -renewed for the 21st century."
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, TCF Bank "TCF Bank is pleased to join the University Musical Society to make the arts accessible to students of diverse back?grounds. 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 uni?versities 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 Community Foundation for
Southeastern Michigan Doris Duke Charitable Foundation The Ford Foundation JazzNet Michigan Council for Arts and
Cultural Affairs The Power Foundation The Wallace Foundation The Whitney Fund
$50,000 99,999
Anonymous
National Endowment for the Arts
$10,000 49,999 Continental Harmony
$1,000 9,999
Akers Foundation
Altria Group, Inc.
Arts Midwest
Cairn Foundation
Heartland Arts Fund
The Lebensfeld Foundation
Martin Family Foundation
Maxine and Stuart Frankel Foundation
Mid-America Arts Alliance
The Molloy Foundation
Montague Foundation
THE MOSAIC FOUNDATION (of R. and P. Heydon)
Sams Ann Arbor Fund
Vibrant Ann Arbor Fund
UNIVERSITY MUSICAL SOCIETY
of the University of Michigan
UMS BOARD OF DIRECTORS
Prudence L. Rosenthal,
Chair Clayton Wilhite,
Vice-Chair Sally Stegeman DiCarlo,
Secretary Michael C. Allemang,
Treasurer
Kathleen Benton Charles W. Borgsdorf Kathleen G. Charla Mary Sue Coleman Hal Davis Aaron P. Dworkin George V. Fornero Maxine J. Frankel Patricia M. Garcia Debbie Herbert
Carl Herstein Toni Hoover Gloria James Kerry Marvin Krislov Barbara Meadows Lester P. Monts Alberto Nacif Jan Barney Newman Gilbert S. Omenn Randall Pittman
Philip H. Power Doug Rothwell Judy Dow Rumelhart Maya Savarino John J.H. Schwarz Erik H. Serr Cheryl L. Soper 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. Bollinger Janice Stevens Botsford Paul C. Boylan Carl A. Brauer Allen P. Britton William M. Broucek Barbara Everitt Bryant Letitia J. Byrd Leon S. Cohan Jill A. Corr Peter B. Corr Jon Cosovich Douglas Crary Ronald M. Cresswell
Robert F. DiRomualdo James J. Duderstadt David Featherman Robben W. Fleming David J. Flowers Beverley B. Geltner William S. Hann Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Kay Hunt Alice Davis Irani 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 Peter Sparling Lois U. Stegeman Edward D. Surovell lames L. Telfer Susan B. Ullrich Eileen Lappin Weiser Gilbert Whitaker B. Joseph White Marina v.N. Whitman Iva M. Wilson
ADVISORY COMMITTEE
Louise Townley, Chair Kaquel Agranoff, Vice Chair Morrine Maltzman, Secretary Jeri Sawall, Treasurer
Barbara Bach Tracey Baetzel Paulett M. Banks Milli Baranowski Lois Baru Kathleen Benton Mimi Bogdasarian Jennifer Boyce Mary Breakey Jeannine Buchanan
Victoria Buckler Heather Byrne Laura Caplan Cheryl Cassidy Nita Cox Norma Davis Lori Director H. Michael Endres Nancy Ferrario Sara B. Frank Anne Glendon Alvia Golden Ingrid Gregg Kathy Hentschel Phyllis Herzig
Meg Kennedy Shaw Anne Kloack lean Kluge Kathy LaDronka Beth Lavoie Jill Lippman Stephanie Lord Judy Mac Esther Martin Mary Matthews Joann McNamara Jeanne Merlanti Candice Mitchell Bob Morris Bonnie Paxtion
Danica Peterson Lisa Psarouthakis Wendy Moy Ransom Theresa Ann Reid Swanna Saltiel Penny Schreiber Sue Schroeder Aliza Shevrin Alida Silverman Loretta Skevves Maryanne Telese Dody Viola Wendy Woods Mary Kate Zelenock
UMS STAFF
AdministrationFinance
Kenneth C. Fischer, President Elizabeth E. Jahn, Assistant to the
President John B. Kennard, Jr., Director of
Administration
Chandrika Patel, Senior Accountant John Peckham, Information Systems
Manager Alicia Schuster, Gift Processor
Choral Union
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
Development
Susan McClanahan, Director Mary Dwyer, Manager of Corporate
Support Julaine LeDuc, Advisory Committee
and Events Coordinator Lisa Michiko Murray, Manager of
Foundation and Government Grants M. Joanne Navarre, Manager of
Annual Fund and Membership Mamie Reid, Manager of Individual
Support Lisa Rozek, Assistant to the Director
of Development
EducationAudience Development Ben Johnson, Director Amy Jo Rowyn Baker, Youth
Education Manager William P. Maddix, Manager Warren Williams, Manager
MarketingPublic Relations Sara Billmann, Director Susan Bozell, Marketing Manager Nicole Manvel, Promotion Coordinator
ProgrammingProduction
Michael J. Kondziolka, Director Emily Avers, Production
Administrative Director Jeffrey Beyersdorf, Technical
Coordinator
Jasper Gilbert, Technical Director Susan A. Hamilton, Artist Services
Coordinator Mark Jacobson, Programming
Manager Bruce Oshaben, Head Usher
Ticket Services
Nicole Paoletti, Manager Sally A. Cushing, Associate Jennifer Graf, Assistant Manager Alexis Pelletier, Assistant John M. Steele, Assistant
Work-Study Pearl Alexander Kara Alfano Nicole Blair Stephan Bobalik Bridget Briley Patrick Chu Katie Conrad Elizabeth Crabtree Bethany Heinrich Rachel Hooey Cortney Kellogg Lena Kim Leslie Leung Aubrey Lopatin Ryan Lundin Paul Bruce Ly Natalie Malotke Melissa McGivern Erika Nelson Nadia Pessoa Fred Peterbark Omari Rush Jennie Salmon Christy Thomas Sean Walls Amy Weatherford Christine Won Chun
Interns Noelle Butzlaff Jia Lim Claire Rice
President Emeritus
Gail W. Rector
UMS TEACHER ADVISORY COMMITTEE
Fran Ampey Lori Atwood Robin Bailey Joe Batts Kathleen Baxter Elaine Bennett Lynda Berg Gail Bohner Ann Marie Borders David Borgsdorf
Sigrid Bower Susan Buchan Diana Clarke Hayes Dabney Wendy Day Susan Filipiak Jennifer Ginther Brenda Gluth 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

@@@@S 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, 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, or EMU Convocation Center, please call the UMS Production Office at 734.615.1444.
Parking
Please allow plenty of time for parking as the campus area may be congested. Parking is avail?able in the Liberty Square (formerly Tally Hall), Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. UMS members " at the Principal level and above receive 10 com?plimentary parking passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for Hill Auditorium performances in the 0304 Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before
each performance. There is a $10 fee for this service. UMS members at the Producer level and above are invited to use this service at no charge.
For up-to-date parking information, please visit the UMS website at www.ums.org.
Refreshments
Refreshments are served in the lobby during intermissions of events in the Power Center and in the lower lobby of Hill Auditorium, and are available in the Michigan Theater. Refresh?ments 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
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 the 0304 season.
TICKETS
@@@@In Person
League Ticket Office
911 North University Avenue
Note New Hours Mon-Fri: 9 am-5 pm Sat: 10 am-lpm
By Phone 734.764.2538
Outside the 734 area code, call toll-free 800.221.1229
By Internet WWW.UIT1S.0rg
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.
Returns
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the Ticket Office. Refunds are not available; however, you will be given a receipt for an income tax deduction. Please note that ticket returns do not count toward UMS membership.
Subscription Ticket Exchanges
Subscribers may exchange tickets free of charge. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance. You may fax a photo?copy of your torn tickets to 734.647.1171.
Single Ticket Exchanges
Non-subscribers may exchange tickets for a $5 per ticket exchange fee. Exchanged tickets must be received by the Ticket Office (by mail or in per?son) at least 48 hours prior to the performance. You may fax a photocopy of your torn tickets to 734.647.1171. Lost or misplaced tickets cannot be exchanged.
Group Tickets
When you bring your group to a UMS event, you will enjoy the best the performing arts has to offer. You can treat 10 or more friends, co-workers, and family members to an unforgettable performance of live music, dance, or theater. Whether you have a group of students, a business gathering, a college reunion, or just you and a group of friends, the UMS Group Sales Office can help you plan the perfect outing. You can make it formal or casual, a special celebration, or just friends enjoying each other's company. The many advantages to booking as a group include:
reserving tickets before they go on sale to the general public
discounts of 15-25 for most performances
accessibility accommodations
no-risk reservations that are fully refundable up to 14 days before the performance
1-3 complimentary tickets for the group organizer (depending on size of group). Comp tickets are not offered for performances with no group discount.
For information, contact the UMS Group Sales Hotline at 734.763.3100 or umsgroupsales@umich.edu.
Discounted Student Tickets
Did you know Since 1990, students have pur?chased over 144,000 tickets and have saved more than $2 million through special UMS student programs! UMS's commitment to affordable stu?dent tickets has permitted thousands to see some of the most important, impressive and influential artists from around the world. For the 0304 sea?son, students may purchase discounted tickets to UMS events in three ways:
1. At the beginning of 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 each year -last year, students saved over $100,000 by purchasing tickets at the Half-Price Student Ticket Sale!
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 perfect meaningful gift that speaks vol?umes about your taste Tired of giving
flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for every event throughout our sea?son, 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 house-warming 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.
J
WWW. UMS.ORG
oin the thousands of savvy people who log onto www.ums.org each month!
Why should you log onto www.ums.org
In September, UMS launched a new web site, with more information that you can use:
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, education 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.
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.
Jlvl
Sannals
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 partic?ipation 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 Simmons Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first perform?ance of Handel's Messiah was in December of
1879, and this glorious oratorio has since been performed by the UMS Choral Union annually.
As a great number of Choral Union members also belonged to the University, the University Musical Society was established in December
1880. UMS included the Choral Union and
University Orchestra, and throughout the year presented a series of concerts featuring local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts--internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and
Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
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 90 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.
UMS CHORAL UNION
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 per?formances 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 cho?rus has joined the DSO in Orchestra Hall and at Meadow Brook for subscription performanc?es 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' Ein deutsches Requiem,
Participation in the Choral Union remains open to all by audition. Members share one common passion--a love of the choral art.
and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
Led by interim conductor Jerry Blackstone, the Choral Union opened its current season with performances of Verdi's Requiem with the DSO in September. In December the chorus presented 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 Song of Innocence and of Experience in the newly renovated Hill Auditorium in April 2004.
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. Choral Union's season concluded in March with a pair of mag?nificent French choral works: Honegger's King David, accompanied by members of the Greater Lansing Symphony Orchestra, and Durufle's mystical Requiem, accompanied by international-class 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 com?posers of all historical periods; a joint appear?ance with the Gabrieli Consort and Players; a performance of Bach's Magnificat, and a recent joint performance with the Tallis Scholars.
Participation in the Choral Union remains open to all by audition. Composed of singers from Michigan, Ohio and Canada, members of the Choral Union share one common passion -a love of the choral art. For more informa?tion about membership in the UMS Choral Union, e-mail choralunion@umich.edu or call 734.763.8997.
VENUES Hill Auditorium
After an 18-month $38.6-million dollar reno?vation, which began on May 13, 2002, over?seen by Albert Kahn Associates, Inc. and historic preservation architects Quinn EvansArchitects, Hill Auditorium has re-opened. Originally built in 1913, renovations have updated Hill's infra?structure and restored much of the interior to its original splendor. Exterior renovations include the reworking of brick paving and stone retaining wall areas, restoration of the south entrance plaza, the reworking of the west barri?er-free ramp and loading dock, and improve?ments to landscaping.
Interior renovations included the demolition of lower-level spaces to ready the area for future improvements, the creation of additional rest-rooms, the improvement of barrier-free circula?tion by providing elevators and an addition with ramps, the replacement of seating to increase patron comfort, introduction of barrier-free seating and stage access, the replacement of the?atrical performance and audio-visual systems, and the complete replacement of mechanical and electrical infrastructure systems for heating, ventilation, and air conditioning.
Re-opened in January 2004, Hill Auditorium seats 3,538.
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. 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, UMS presented its first chamber music festival with the Musical Art Quartet of New York per?forming 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.
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.
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 construction on the campus facility in 1996. The Convocation Center opened its doors on December 9, 1998 with a seating capacity of 9,510 for center-stage entertainment events. UMS has presented special dance parties at the EMU Convocation Center nearly every April since 1998, and this year's popular concert fea?tures Orchestra Baobab on Saturday, April 17.
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 their 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.
urns
, of the University of Michigan, Ann Arbor
Winter 2004
125th Annual Season
Event Program Book
Hill Auditorium Re-Opening Weekend
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.
Saturday, January 17 through Monday, January 19, 2004
Hill Auditorium Re-Opening Celebration
Saturday, January 17, 8:30 pm
Orchestre Revolutionnaire et Romantique and The Monteverdi Choir
Sunday, January 18, 6:00 pm
Jazz Divas Summit
Dee Dee Bridgewater, Regina Carter,
and Dianne Reeves
Monday, January 19, 7:30 pm
37
45
The University Musical Society would like to recognize the following individuals, corporal ton,', and organizations that have made this Hill Auditorium Re-Opening Weekend possible:
Hwt.i
H. Gardner Ackley Endowment
Albert M. and Paula Berriz
Emily Bandera and Richard Shackson
Barbara Everitt Bryant
Butzel Long
The Christman Company
Pat and Dave Clyde
Pauline M. and Jay J. De Lay
Molly Dobson
Jack and Alice Dobson
Thomas and Elaine Evans
Ken and Penny Fischer
Sally and Robben Fleming
Friends of Hill Auditorium
Toni Hoover in memory of
Dr. Isaac Thomas 111 Albert Kahn Associates
Bob and Gloria Kerry
Robert and Pearson Macek
Paul W. and Ruth S. McCracken
Mrs. Robert E. Meredith
Julia S. Morris
Phil and Kathy Power
John Psarouthakis and
Antigoni Kefalogiannis Quinn EvansArchitects Gail Rector in memory of Elizabeth Maria and Rusty Restuccia Susan and Rich Rogel Ami and Prue Rosenthal Lois and John Stegeman Edward Surovell Realtors Total Travel Management, Inc.
Welcome to the "New" Hill Auditorium!
It's wonderful to have you with us as we celebrate over this weekend both the re-opening of this magnificent building and UMS's 125th anniversary. Take some time during the intermis?sion and after the concert to explore the many restored elements as well as the myriad new features of this world-renowned venue -
on all four levels! And we hope you enjoy Lyrical Landmark, our 50-page photographic memory book created especially for you as UMS's way of saying "thank you" for joining us in this celebration. You will receive your copy as you leave the hall at the conclusion
of tonight's performance.
We extend our deepest thanks to our most valued and long-term partner, the University of Michigan, for making possible this phase of the restoration and renovation of Hill Auditorium. And our heartfelt gratitude to our many friends listed on the opposite page whose generous gifts are enabling UMS to present a series of distinc?tive performances worthy of this cherished venue's rebirth.
Enjoy the concerts!
Kenneth C. Fischer
President, University Musical Society
UMS
with
Forest Health Services,
Pfizer Global Research
and Development
and
The University
of Michigan
present
Hill Auditorium Re-Opening Celebration
Measha Brueggergosman,Soprano David Daniels, Countertenor Audra McDonald, Soprano Midori, Violin Chanticleer
Joseph Jennings, Music Director UMS Choral Union
Jerry Blackstone, Interim Music Director and Conductor University Symphony Orchestra
Kenneth Kiesler, Music Director and Conductor
with
Richard Cordery, Master of Ceremonies
Kenneth C. Fischer, President, University Musical Society
Mary Sue Coleman, President, University of Michigan
Program
Ralph Vaughan Williams, Arr. Martin Katz
Hector Berlioz
George Frideric Handel
Johann Sebastian Bach
Jules Massenet
William Walton
Saturday Evening, January 17, 2004 at 8:30 Hill Auditorium Ann Arbor
Orpheus with His Lute
Mr. Daniels
Le spectre de la rose
from Les Nuits d'ete, Op. 7, No. 2 Mr. Daniels
Or la tromba
from Rinaldo, Act III, Scene 9 Mr. Daniels
Chaconne
from Partita No. 2 in d minor, BWV 1004 Midori
II est doux, il est bon
from Herodiade
Ms. Brueggergosman
Finale from Belshazzar's Feast
UMS Choral Union
Jerry Blackstone, Conductor
INTERMISSION
Leonard Bernstein
Can elide Overture
University Symphony Orchestra Kenneth Kiesler, Conductor
Interlude
Photograph of Re-Opening Celebration Audience
Kenneth C. Fischer, President, University Musical Society
Mary Sue Coleman, President, University of Michigan
Peter Smith,
Photographer, Smith Photography, Ann Arbor
William Hawley
Stephen Foster, Arr. Halloran
Foster,
Arr. Gene Puerling
Duke Ellington,
Arr. Harry Frommermann
Fuggi, fuggi, dolor Labbra vermiglie e belle
from Tre Rime di Tasso
Nelly Bly
Jeanie with the Light Brown Hair
Creole Love Song
Chanticleer
George Gershwin
Gershwin Harold Arlen Adam Guettel
Rickey Ian Gordon Jule Styne
Overture to Girl Crazy
University Symphony Orchestra Kenneth Kiesler, Conductor
Fascinating Rhythm The Man That Got Away How Glory Goes
Daybreak in Alabama 10,432 Sheep
Ms. McDonald
Ottorino Respighi Pines of Rome (excerpts)
The Pines of the Janiculum The Pines of the Via Appia
University Symphony Orchestra Kenneth Kiesler, Conductor
Vaughan Williams Serenade to Music
Ms. Brueggergosman, Mr. Daniels,
Midori, Chanticleer
UMS Choral Union
University Symphony Orchestra
Kenneth Kiesler, Conductor
35th Performance of the I25th Annual Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Additional support provided by media sponsors Michigan Radio and Michigan Television.
Thanks to Kenneth Kiesler, Jerry Blackstone, David Aderente, Martin Katz, Dean Karen Wolff, and everyone at the University of Michigan School of Music for their participation and support of tonight's Hill Re-Opening Celebration.
Thanks to Mr. Cordery for his generous service as tonight's Master of Ceremonies.
Thanks to Dr. Ray McLellan, University Carillonneur, for his performance of the pre-concert music on the Charles Baird Carillon.
Thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for tonight's celebration.
The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
Ms. Brueggergosman, Mr. Daniels, and Ms. McDonald appear by arrangement with IMG Artists, New York, NY.
Midori and Chanticleer appear by arrangement with ICM Artists, Ltd. Large print programs are available upon request.
David Daniels
Countertenor David Daniels has appeared with many of the major opera compa?nies of the world and on its most important concert stages, making history as the first countertenor to give a solo recital in the main auditorium of Carnegie Hall. Mr. Daniels began the current 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 exten?sive recital repertoire, including song literature of the 19th and 20th centuries not usually associated 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, as well as in Ann Arbor, Paris, Chicago, Lisbon, Toronto,
Munich, Vienna, Barcelona, Vancouver, and Washington.
Mr. Daniels began to sing as a boy soprano, 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 range during graduate studies at the University of Michigan with George Shirley. Mr. Daniels has won prestigious awards as well, including Musical America's "Vocalist of the Year" for 1999 and the Richard fucker Foundation Award in 1997.
Tonight's celebration marks David Daniels' 10th appearance under UMS auspices. He made his UMS debut as countertenor soloist in Handel's Messiah in December 1994 in Hill Auditorium. Mr. Daniels is a graduate of the University of Michigan School of Music.
Orpheus with His Lute
Ralph Vaughan Williams (Arr. Martin Katz) Born October 12, 1872 in Down Ampney, England Died August 26, 1958 in London
Text: William Shakespeare, Henry VIII, Act III, Scene 1
When Orpheus played his lute, all creation bowed before the wonder and glory of music.. .and so too when David Daniels sings. Tonight's concert begins with a Shakespearean text setting of inexpressible beauty. Martin Katz, the Artur Schnabel Collegiate Professor of Accompanying and Chamber Music at the UM School of Music, is Mr. Daniels' regular professional partner on piano. They travel the world performing before
audiences in all the major music capitals. Mr. Katz, who cannot be in Ann Arbor this evening, has graciously arranged this song for Mr. Daniels to open tonight's program. As Martin Katz says, "nothing is ever more welcome than an opportunity for a musician to sing about music, his staff of life. In this case, we are expressing our wonder and grati?tude for the very creation of music."
Orpheus with His Lute
Orpheus with his lute made trees, And the mountain-tops that freeze, Bow themselves, when he did sing:
To his music, plants and flowers Ever [sprung]1; as sun and showers There had made a lasting spring.
Everything that heard him play, Even the billows of the sea, Hung their heads, and then lay by.
In sweet music is such art: Killing care and grief of heart Fall asleep, or, hearing, die.
' Greene: "rose"
Le spectre de la rose
from Les Nuits d'ete, Op. 7, No. 2
Hector Berlioz
Born December 11, 1803 in La Cote-Saint-Andre, here, France
Died March 8, 1869 in Paris
Text: Theophile Gautier
Hector Berlioz composed Les Nuits d'ete, his one true song cycle, to selections from "poesies diverses" published by Theophile Gautier with the title Comedie de la mort in 1838. The songs were first available in 1841 for high voice and piano, then later orchestrated. "Le spectre de la rose" evokes the warmth and fragrances of a warm June in its sumptuous harmonies, while
the superbly sustained melodic line gives the flower's ghost an almost tragic grandeur. Mr. Daniels has absorbed these songs, usually sung by soprano or mezzo-soprano, into his concert repertoire and has had great acclaim performing them all over the world with such orchestras as the New York Philharmonic and San Francisco Symphony.
Le spectre de la rose
Souleve ta paupiere close Qu'effleure un songe virginal! Je suis le spectre d'une rose Que tu portais hier au bal.
Tu me pris encore emperlee Des pleurs d'argent de I'arrosoir, Et, parmi la fete etoilee, Tu mepromenas tout le soir.
O toi qui de ma mortfus cause, Sans que tu puisses le chasser, Toutes les nuits mon spectre rose A ton chevet viendra danser;
Mais ne crains rien, je ne reclame Ni messe ni De Profundis. Ce leger parfum est mon a'me, Etj'arrive du du paradis.
Mon destin jut digne d'envie, Et pour avoir un sort si beau Plus d'un aurait donne sa vie; Car sur ton sein j'ai mon tombeau,
Et sur I'albdtre oil je repose Un po'e'te avec un baiser Bcrivit: "Cigit une rose, Que tons les rois vont jalouser."
The ghost of the rose
Open your closed eyelid
Which is gently brushed by a virginal dream!
I am the ghost of the rose
That you wore last night at the ball.
You took me when I was still sprinkled with pearls Of silvery tears from the watering-can, And, among the sparkling festivities, You carried me the entire night.
O you, who caused my death: Without the power to chase it away, You will be visited every night by my ghost, Which will dance at your bedside.
But fear nothing; I demand Neither Mass nor De Profundis; This mild perfume is my soul, And I've come from Paradise.
My destiny is worthy of envy; And to have a fate so fine, More than one would give his life For on your breast I have my tomb,
And on the alabaster where I rest,
A poet with a kiss
Wrote: "Here lies a rose,
Of which all kings may be jealous."
Translated to English by Emily Ezust.
Or la tromba
from Rinaldo, Act III, Scene 9
George Frideric Handel
Born on February 23, 1685 in Halle, Germany
Died on April 14, 1759 in London
Rinaldo (1711) was Handel's first opera com?posed for a London audience and, in fact, was the first Italian opera specifically written for the city. It was based on an Italian Renaissance epic, Tasso's Gerusalemme liberate and was debuted spectacularly by the castrato named Nicolini. "Or la tromba" is a military aria par excellence
which Rinaldo sings before storming the city. Here the trumpets -four in number--are very real, and Mr. Daniels (Rinaldo) vies with them with salvos of ecstatic coloratura. A supreme Handel interpreter, Mr. Daniels has sung this role in concert in London, Zurich, Cologne, onstage in Munich, and at the New York City Opera.
Or la tromba
Or la tromba in suon jestante Mi richiama a trionfar. Qual guerriero e qual amante, Gloria e amor mi vuol bear.
Now the trumpet in jubilant sound
summons me to triumph.
As warrior and as a lover,
glory and love want to make me happy.
English translation by George Loomis.
Midori
Midori's career was launched when she performed with the New York Philharmonic and Zubin Mehta at Avery Fisher Hall in 1982 when she was just 11 years old. By the time another decade had passed, she had played with most of the world's leading orchestras and given recitals on the major concert stages of the US, Europe, and Japan, culminating in her much-anticipated Carnegie Hall recital debut.
In addition to performing, Midori devotes a significant amount of time to her three foundations: Midori & Friends, the Universities Residencies Program, and Partners in Performance. Midori and Friends is a non-profit organization that provides
comprehensive music education, workshops, and concerts to children who might not otherwise have the opportunity for involvement in the arts. The foundation is now partnered with numerous public schools in New York City. The University Residencies Programs involves five-to-10-day visits to universities by Midori and other invited artists. The object of the residencies is to strengthen ties among the artists, students, faculty, and University-affiliated pre-
senters. In 2003, Midori created a third foundation, Partners in Performance, whose aim is to broaden the audience for chamber music by bringing high profile chamber music performances to small community-based organizations in North America. In 2001, Midori became a member of the violin faculty at the Manhattan School of Music.
Midori lives in New York City with her two dogs, Franzie (after Franz Joseph Haydn) and Willa (after Willa Gather, one of Midori's favorite writers). In 2000, she completed a bachelor's degree in Psychology and Gender Studies at the Gallatin School of New York University, graduating magna cum laude, and is now a Master's candidate.
Tonight's celebration marks Midori's third appearance under UMS auspices. She made her UMS debut in the 1991 May Festival with the Leipzig Gewandhaus Orchestra in Hill Auditorium.
Chaconne
from Partita No. 2 in d minor, BWV 1004 Johann Sebastian Bach Born March 21, 1685 in Eisenach Died July 28, 1750 in Leipzig
]. S. Bach was not the first to write unaccompa?nied works for violin. To name but one example," Johann Paul von Westhoff (1656-1705) had composed a suite for "violon seul sans basse" as early as 1683. But no one -either before or after Bach -ever gave the medium the same amount of attention that Bach lavished on it in the three partitas written at Kothen around 1720. The Six Solos, as Bach called them, were copied into one of the most beautiful Bach autographs known today.
The partitas are sets of dances whose sequence differs from composition to composi?tion. Partita No. 2 in d minor ends with the famous and unique "Chaconne" -Bach's single
longest instrumental movement. As is the case this evening, it is often performed by itself without the rest of the partita and stands out even among Bach's works as an unusual work of genius. Past violin legends who have per?formed the Chaconne as a solo work in Hill include Fritz Kreisler (1933), Jascha Heifetz (1943), Yehudi Menuhin (1957), Nathan Milstein (1959), and Henryk Szeryng (1961).
Hill Auditorium accommodates large-scale orchestral works with an unusual immediacy and strength. Midori chose this masterwork to showcase the opposite effect: Hill's acoustic intimacy and the power of a solo instrument on its stage.
Measha Brueggergosman
Critically acclaimed by the international press for her innate musicianship, radiant voice, and a sovereign stage presence far beyond her years, Canadian soprano Measha Brueggergosman is in increasing demand as a concert artist and opera singer. She was awarded the Grand Prize at the 2002 Jeunesses Musicales Montreal International Competition and has been a prizewinner in other renowned competitions including the Wigmore Hall in London, George London Foundation in New York, and Robert-Schumann in Germany.
Ms. Brueggergosman's appearances in past seasons have included roles in Elektra and Dead Man Walking with Cincinnati Opera, a recital debut at Roy Thomson Hall, the Verdi Requiem with Helmuth Rilling at the International Beethoven Festival Bonn, Krzysztof Penderecki's Credo with the Toronto Symphony Orchestra conducted by the composer, Franz Schmidt's The Book with Seven Seals together with Ben Heppner in Toronto, and a
concert in Ottawa with the National Arts Centre Orchestra under the baton of Pinchas Zukerman. Ms. Brueggergosman also has been honored to sing for the Prince of Wales and for Nelson Mandela.
Tonight's celebration marks Measha Brueggergosman's UMS debut.
II est doux, il est bon
from Herodiade
Jules Massenet
Born May 12, 1842 in Montaud, near St. Etienne, Loire Valley, France
Died August 13, 1912 in Paris
The aria "II est doux, il est bon" is sung near the beginning of the first act of Massenet's Herodiade. Salome is telling Phanuel that she has found comfort from the words of John the Baptist during the futile search to find out who her mother is. She has fallen in love with John the Baptist and followed him to Jerusalem. This aria is a favorite concert work that was
first heard on a UMS concert well before Hill Auditorium was built. It was performed by Miss Sara Anderson on opening night of the 1900 May Festival held in University Hall. Since then, it has been performed in Hill by many esteemed opera stars making their UMS debuts: Dorothy Maynor (1945), Eileen Farrell (1948 debut), Rise Stevens (1949).
est doux, il est bon
Celui dont la parole efface toutes peines
Le prophete est ici! C'est vers lui queje vais.
II est doux, il est bon; sa parole est sereine,
II park, tout se tait. Plus leger sur la plaine
L'air attentive passe san bruit.
II parle!
Ah! Quand reviendra-t-il
Quand pourrai-je I'entendre
Je souffrais, j'etais seule, et mon Coeur s'est calme
En ecoutant sa voix melodieuse et tender!
Prophete bien-aime, puis-je vivre sans toi!
C'est la, dans ce desert oil lafoule etonnee
Avaist suivi ses pas,
Qu'il m'accueillit un jour, enfant abondonnee
Et qu'il m'ouvrit bes bras!
He whose word effaces all sorrow,
The Prophet is here! It is to him that I go
He is kind, he is good; his speech is serene
He speaks, all is silent! Lighter on the plain
The attentive breeze passes noiselessly.
He speaks!
Ah! When will he return
When shall I hear him
I suffered, I was alone, and my heart was calmed
Listening to his voice melodious and tender!
Can I live without you, beloved Prophet!
It was there, in that desert, to which the astounded
crowd had followed his steps.
That he received me one day, abandoned child,
And that he opened to me his arms
UMS Choral Union
Throughout its 125-year history, the UMS Choral Union has performed with many of the world's distinguished orchestras and conductors. It is based in Ann Arbor under the aegis of UMS and is known throughout the region for its definitive per?formances of large-scale works for chorus and orchestra. Led by interim conductor Jerry Blackstone, the UMS Choral Union opened its current season in September with perform?ances of Verdi's Requiem with the Detroit Symphony Orchestra and last month presented its 125th consecutive series of Messiah performances. The UMS Choral Union's season will conclude with William Bolcom's Song of Innocence and of Experience in April 2004.
Participation in the Choral Union remains open to all by audition. Members of the Choral Union share one common passion--a love of the choral art.
The UMS Choral Union began performing in 1879 and has presented Handel's Messiah in annual performances. Tonight's celebration marks the UMS Choral Union's 394th appearance under UMS auspices.
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 undergraduate levels, and administers a choral program of 11 choirs. In past seasons, Professor Blackstone led the UM Men's Glee Club in performances at ACDA national and regional conventions and on extensive concert tours throughout Australia, Eastern and Central Europe, Asia, and South America. He regularly prepares choirs for performances with the Detroit
Symphony Orchestra under conductors Neeme Jarvi, Nicholas McGegan, and Yitzak Perlman.
Tonight's celebration marks Jerry Blackstone's third appearance under UMS auspices. Maestro Blackstone made both his UMS debut and debut as Interim Conductor and Music Director of the UMS Choral Union in the 125th annual UMS production of Handel's Messiah in December 2003.
Finale from Belshazzar's Feast
William Walton
Born March 29, 1902 in Oldham, Lancashire, England
Died March 8, 1983 in hchia, Italy
Text: Arranged from Biblical sources by Osbert Sitwell
Walton's oratorio, Belshazzar's Feast, is based on the Biblical account from the Book of Daniel in which Belshazzar, King of Babylon, is over?thrown after desecrating the gold and silver vessels which had been stolen from the Temple in Jerusalem. A hand appears and writes on the wall: "Thou art weighed in the balance and found wanting." Walton colorfully paints this dramatic scene for large chorus and very large orchestra to dazzling effect. Belshazzar's Feast was first performed at the Leeds Festival in
England in 1931. Immediately upon its success?ful premiere in the United Kingdom, it was scheduled by UMS for Ann Arbor when the forces of the UMS Choral Union and Chicago Symphony Orchestra presented it at the 1933 May Festival in Hill Auditorium.
At the conclusion of this masterwork, all singers and instrumentalists come together in the jubilant finale, which ends the work-and the first half of tonight's program.
Finale from Belshazzar's Feast
Then sing aloud to God our strength; Make a joyful noise unto the God of Jacob. Take a psalm, bring hither the timbrel, Blow up the trumpet in the new moon, Blow up the trumpet in Zion For Babylon the Great is fallen.
Alleluia!
Then sing aloud to God our strength: Make a joyful noise unto the God of Jacob, While the Kings of the Earth lament And the merchants of the Earth Weep, wail and rend their raiment. They cry, Alas, Alas, that great city, In one hour is her judgement come.
Then trumpeters and pipers are silent,
And the harpers have ceased to harp,
And the light of a candle shall shine no more.
Then sing aloud to God our strength. Make a joyful noise to the God of Jacob. For Babylon the Great is fallen.
Alleluia!
INTERMISSION
University Symphony Orchestra
V
JL
jluUniversity of Michigan University Symphony Orchestra (USO) is considered one of the world's finest student orchestras. Under the auspices of the School of Music, the USO serves as a training ground for both young musicians, many of whom go on to play in major symphony orchestras, and for students who come to the nationally renowned conducting program.
Recent projects include the first performance since 1940 of the one-act blues opera, De Organizer, by librettist Langston Hughes and composer James P. Johnson, reconstructed by James Dapogny; and first-ever recordings of works by William Bolcom, Leslie Bassett, and Michael Daugherty. This April, the USO and University Choirs, together with the UMS Choral Union, will perform William Bolcom's Songs of Innocence and of Experience under the direction of Leonard Slatkin.
Since its inception, the USO has had an impressive list of conductors, including William Revelli (of university marching band renown) who took over in 1945 and Gustav Meier who served from 1976-1995. In 1995, Kenneth Kiesler joined the music school as Director of Orchestras and Professor of Conducting.

Over the last 125 years, UM student orchestras have played an important role in the concert presentation ofUMS. Before 1940, UMS and the School of Music were under one umbrella and one name; university orchestras often performed as part of UMS concerts. Since 1941, when auspices of the School of Music were transferred from UMS to the University, student orchestras have regularly performed as part of UMS concerts in annual Messiah perform?ances, special tribute concerts, and festivals.
Kenneth Kiesler has been Director of Orchestras and Professor of Conducting at the University of Michigan since 1995. Since 2002, he has been Music Director of the New Hampshire Symphony Orchestra. As Music Director of the Illinois Symphony Orchestra from 1980 to 2000, Mr. Kiesler founded the Illinois Symphony Chorus and the Illinois Chamber Orchestra and led its debuts at Alice Tully Hall in 1987
and Carnegie Hall in 1990. He received the 1988 Helen M. Thompson Award presented by the American Symphony Orchestra League to the outstanding American Music Director under the age of 35.
Mr. Kiesler is a member of the Visiting Artist Faculty at the Royal Academy of Music in London and the Manhattan School of Music, leads seminars and master classes at Oxford University and is the founder and director of the Conductors Retreat at Medomak, Maine.
Honored as one of three participants in the Leonard Bernstein American Conductors Program, Mr. Kiesler was also the winner of the Silver Medal at the 1986 Leopold Stokowski Competition.
Tonight's celebration marks Kenneth Kiesler's UMS debut.
Candide Overture
Leonard Bernstein
Born August 25, 1918 in Lawrence, Massachusetts
Died October 14, 1990 in New York
Leonard Bernstein once said that he wanted to see musical comedy develop into a modern American equivalent to the Singspiel, as Mozart practiced it in 18th-century Vienna. In Candide, he came very close to his goal. This Broadway show has also held the operatic stage for a long time. Based on Voltaire's brilliant 18th-century satire on the subject of whether or not this world is "the best of all possible worlds," it is full of great comic situations and, most impor?tantly, of great melodies. Two of these, the love
duet between the two protagonists ("Oh, Happy We") and the leading lady's "jewel song" ("Glitter and Be Gay"), are used in the overture, which has become a popular concert piece in its own right. Both the overture and its creator, Leonard Bernstein, have long histories with UMS and Hill Auditorium. Indeed, on his third visit to Hill--of eight--Bernstein led the New York Philharmonic and opened the concert with the first UMS performance of none-other-than his Candide Overture.
Interlude
Photograph of Re-Opening Celebration Audience
UMS has a unique tradition of photographing "opening-night" audiences at important moments in its history. These archival images act as a cultural time capsule and give the viewer a physical sensation of the history of this great hall, the on-going cultural leadership of UMS and a remarkable understanding of Ann Arbor's devoted community. Tonight is one of these moments...so smile, and say "cheese." We are joined by Peter Smith of Smith Photography who, over the past 15 years, along with his brother David Smith, have tirelessly captured UMS moments with their distinctive and artistic lenses.
Below: First audience in Hill Auditorium, May 14, 1913.
Chanticleer
During the current season, the Grammy Award-winning vocal ensemble Chanticleer performs concerts across the US, embarks on tours to Asia and Europe, and releases its 27th recording. Chanticleer has developed a remark?able reputation for its vivid interpretations of vocal literature, from Renaissance to jazz and from gospel to new music. With its seamless blend of 12 male voices, ranging from countertenor to bass, the ensemble has earned international renown as "an orchestra
of voices." In addition to touring and recording, Chanticleer performs a 23-concert Bay Area subscription season. Since 1986, Chanticleer's education outreach program, "Singing in the Schools", has brought the beauty, joy and discipline of choral singing to thousands of students in the San Francisco Bay Area and beyond. Chanticleer's long-standing commitment to develop?ing the choral repertoire has led the group to commission works from an ever-growing list of important composers. Named for the "clear-singing" rooster in Geoffrey Chaucer's Canterbury Tales, Chanticleer was founded in 1978.
Tonight's celebration marks Chanticleer's fourth appearance under UMS auspices. The ensemble made its UMS debut in October 1989 and, since then, has regularly been invited back to UMS.
Fuggi, fuggi, dolor and Labbra vermiglie e belle
from Tre Rime di Tasso William Hawley Born in 1950
Text: Torquato Tasso
William Hawley is a versatile and prolific com?poser whose works have been commissioned by such widely varied groups as the Seattle Choral Company, the Dale Warland Singers, the Aspen Music Festival, and the New London Singers. Mr. Hawley, a New York native, studied at Ithaca College and the California Institute of the Arts. Regarding his Tre rime di Tasso, spe?cially commissioned by Chanticleer in 2000, Mr. Hawley offers these thoughts:
In composing these settings of Tasso's rime, or short lyric poems, (Tasso was an Italian poet, 1544-95) I have freely
allowed the 16th-century manner to inform my current writing. This great lyric poetry requires a close ear and a swift response in order to reveal its full beauty. I have sought to illuminate, by means of my own musical responses, Tasso's unique and inspiring way of embodying an emotion, as well as his reasoned reaction to it in the same pas?sage or line of verse. These poems reflect Tasso's experience of the extremes of emotion involved in earthly love and its relation to the human mind and spirit.
Fuggi, fuggi, dolor
Fuggi, fuggi, dolor, da questo petto Or che vi torna la gioiosa speme; Or che promette al cor pace e diletto, Tutti fuggite omai, tormenti epene. Gia vicino e'l mio sole: o cieli amici! Gia s'apressa il mio bene: o difelici! Ne, potendo tornar senza partita, Mi piace che parti la cara vita.
Flee, flee, sorrow, from this breast and let joyous hope return; give promise of peace and delight to my heart, be gone forever, all torment and pain. Already my light is near: O friendly heavens! Already my goodness unfolds: O day of bliss! Not being able to return without having departed, I should be pleased to have left this dear life.
Labbra vermiglie e belle
Labbra vermiglie e belle Che sete si adorata e dolce via D'angelica armonia; Bianche perle e rubini, dovefrange ed affrena Amor la voce di dolcezza piena Egli spiriti vaghi e peregrini; Boca, suo bel tesoro e di natura, Se nulla toglie a te chi piii nefura, Ne ti manca una gemma od una rosa Per mille bad altrui,
perche ti spiace Dehlfa del furto pace, E sarai quanto bella ancor pietosa.
Lips vermilion and gracious,
which rest so adored and sweet
amidst angelic harmonies;
such white pearls and rubies,
through which Love causes to break, then halt,
that voice so full of sweetness
and that rare and lovely breath;
O mouth, abundant treasure of Nature,
since you will remain undiminished by the taking,
nor will you miss a single one of your gems or roses
after even a thousand more kisses,
why should you be sorry Come! make peace with the theft, and you will be as beautiful as you are sorrowful.
English translation by William Hawley.
Nelly Bly and Oeanie with the Light Brown Hair
Stephen Foster
Born July 4, 1826 in Lawrenceville, Pennsylvania
Died January 13, 1864 in New York City
"Nelly Bly, arr. by Halloran; Jeanie with the Light Brown Hair, arr. by Gene Puerling
The author of much American "folk music" that entered the parlors and living rooms of families everywhere in the mid-19th century is actually repertoire composed by American songster Stephen Foster. Foster is the quintes?sential American baby. He was born on the 4th of July on the 50th anniversary of the signing of the Declaration of Independence, the same day that Thomas Jefferson and John Adams died. He tried his hand at business and was compe?tent, but his heart was elsewhere: he loved song. He ventured into the song-writing business as a fulltime occupation, the first American to do so. He published over 200 original creations, and they aptly capture much of American life in the 1800s. Foster's family heritage was Irish-American, but ironically it was the parody of African-American culture in the blackface
Nelly Bly
Hi-ho Nelly, o listen, love, to me. I'll sing for you, play for you a dulcet melody. Nelly Bly, Nelly Bly, bring the broom along, We'll sweep the kitchen clean, my dear, and
have a little song. Poke the wood, my lady love, and make the
fire burn, And while I take the banjo down, just give the
mush a turn.
Oh, hi Nelly, ho Nelly, listen love, to me... Nelly Bly had a voice like a turtledove, I hear it in the meadow, and I hear it in the
grove.
Nelly Bly has a heart warm as a cup o' tea, And bigger than a sweet potato down in
Tennessee.
Oh, hi Nelly, ho Nelly, listen, love, to me... Nelly Bly, Nelly Bly, never, never sigh, Never bring a teardrop to the corner of your eye. Hi-ho Nelly-oh, listen, love, to me, I'll sing for you, play for you a dulcet melody.
minstrel shows of the 1800s that first suggested to him that a career in music was possible. Foster wrote seven minstrel tunes in 1844 and seven more in the next year. They are upbeat, jocular, fun-loving, and project a picture-however inaccurately--of a euphoric optimism in the rural South. They include such standards as "Away Down South," "Old Uncle Ned," "Oh! Susanna," "Camptown Races," and "Nelly Bly." Foster married Jane McDowell in 1850, and the next year the couple had a daughter, Marion. However their marriage quickly disintegrated, and only four years later in 1854, Foster poured out his melancholy in the semi-autobiographical song, "I Dream of Jeannie with the Light Brown Hair" that wistfully longs for a youth now lost and for a love now faded.
Jeanie with the Light Brown Hair
I dream of Jeanie with the light brown hair, Borne, like a vapor, on the summer's air; I see her tripping where the bright streams play, Happy as the daisies that dance on her way. Many were the wild notes her merry voice
would pour. Many were the blithe birds that warbled
them o'er:
I dream of Jeanie with the light brown hair, Floating, like a vapor, on the soft summer's air. I long for Jeanie, and my heart bows low, Never more to find her where the bright
waters flow.
Creole Love Song
Duke Ellington (Arr. by Harry Frommermann) Born April 29, 1899 in Washington, DC Died May 24, 1974 in New York City
This classic Duke Ellington song was arranged by Harry Frommermann, a member of the German singing group the Comedian Harmonists, which thrived in the 1930s before being disband?ed with the advent of World War II.
Frommermann had no formal musical training; despite -or perhaps because of-this, he brought a breathtaking originality to his writing. He injected the historically staid German male-voice sound with wit and fun, exploring new vocal possibilities. Among other musical explorations, Frommermann replicated a recording of Duke Ellington's Creole Love Call in which he himself vocalized, note for note, Cootie Williams's original trumpet solo.
Original Song Text to Creole Love Song
When the days are sad and long, I just keep wandering on, To the place I hear a call, Because the one I love is there; Back to the fields of cotton To hear a Creole love song.
Audra McDonald
By the time Audra McDonald was 28, she had made Broadway history by winning Tony Awards for Carousel, Master Class, and Ragtime. She earned her fourth Tony nomination in six years for Marie Christine, a musical created for her by Michael John LaChiusa. Since then, she has distinguished herself as a concert performer, recording artist, and dramatic actress, adding an Emmy nomination to her expanding list of critical and popular acclaim.
This past fall, Audra McDonald made her non-singing stage debut in New York, as Lady Percy in an all-star Lincoln Center Theater production of Henry IV with
Kevin Kline in the title role. She also returns to the New York Philharmonic for subscription concerts conducted by John Adams, singing his orchestrated version of songs by Charles Ives. A high?lighted event is the premiere of a new full-evening, one-woman work commissioned for her by Carnegie Hall, to be written by her frequent collaborator, composer Adam Guettel, which will close the first season of the new Zankel Hall.
Singing selections from Porgy and Bess, Ms. McDonald made her Carnegie Hall debut on opening night of the Hall's 9899 season, with Michael Tilson Thomas and the San Francisco Symphony. She has since performed at the London Proms, the Cleveland Orchestra, and with the National and Chicago Symphonies.
Tonight's celebration marks Audra McDonald's third appearance under UMS auspices. Ms. McDonald made her UMS debut in March 2000.
Overture to Girl Crazy
George Gershwin
Born September 26, 1898 in New York
Died July 11, 1937 in Los Angeles
The stage musical Girl Crazy (1930) represents a momentary lapse in Gershwin's development as a theater composer. He had been working toward a more integrated show, one based on the musical scene rather than a "good tune"-a direction in his work that goes back to Strike Up the Band (1927), continues through Of Thee I Sing (1931), Let 'Em Eat Cake, and Pardon My English, and culminates in Porgy and Bess.
Girl Crazy, dramatically lacking by comparison, has its virtues. It prov: des an excuse for a bunch of great Gershwin songs: "Bidin" My Time" (with its sly musical allusions to "Tip-Toe through the Tulips" and "Singin' in the Rain"), "Embraceable You," "Sam and Delilah," "But Not for Me," "Boy! What Love Has Done to Me," and Gershwin's avowed favorite among his songs, "I Got Rhythm."
Fascinating Rhythm
George Gershwin
Born September 26, 1898 in New York
Died July 11, 1937 in Los Angeles
Text: Ira Gershwin
The Man That Got Away
Harold Arlen
Born February 15, 1905 in Buffalo, New York
Died Apri 23, 1986 in New York City
Text: Ira Gershwin
How Glory Goes
Adam Guettel
Daybreak in Alabama
Ricky Ian Gordon Born in 1956
Text: Langston Hughes
10,432 Sheep
Jule Styne
Born in 1905 in London
Died October 3, 1994 in New York City
The Pines of the Jarriculum The Pines of the Via Appia
from The Pines of Rome Ottorino Respighi Bom July 9, 1879 in Bologna, Italy Died April 18, 1936 in Rome
If it is at all possible to set a whole city to music, Ottorino Respighi did it in his magnificent orchestral trilogy The Fountains of Rome (1918), The Pines of Rome (1924), and Roman Festivals (1928). In his colorful and virtuosic orchestral language, Respighi conjured up vivid impressions of memorable places and moments in his favorite city. The Pines of Rome is in four sec?tions, played without a pause (at this concert, we shall hear sections 3 and 4). Each section depicts pine-trees in different parts of the city -or rather, the various activities going on around those trees. Movement 3 ("The Pines of the Janiculum") takes us to a quiet, wooded part of town on the hill of Gianicolo (one of the seven hills on which Rome was built).
Imagine walking there by the light of a full moon. The song of the nightingale is authentic: Respighi took it from what was then an ultra?modern device -a gramophone recording. Movement 4 ("The Pines of the Via Appia") depicts the famous Appian Way, which dates from Roman times. Respighi visualized an army marching up to the Capitol Hill "in the brilliance of the newly-risen sun."
Hill Auditorium is itself a musical instrument of sorts. The sonic effects of the last two move?ments of Respighi's tone poem are a superb way of showing off the acoustic dimensions of the concert space.
Serenade to Music
Ralph Vaughan Williams
Text: William Shakespeare, Merchant of Venice, Act V, Scene 1
Sir Henry Wood, the eminent British conductor and founder of the famous Promenade concerts in London (known as the Proms), celebrated his golden jubilee in 1938. To mark this impor?tant occasion, a special concert was held at the Royal Albert Hall, with a long program that fea?tured, among other things, Sergei Rachmaninoff as a soloist in his own Piano Concerto No. 2. The country's leading composer, Ralph Vaughan Williams, composed his Serenade to Music for this extraordinary gala event as a personal trib?ute to Sir Henry. Vaughan Williams originally scored the work for 16 vocal soloists and orchestra (with an important violin solo). The piece was also meant as an opportunity to bring together 16 of England's finest singers, all of whom had often performed at the Proms. They all were to join their voices in honor of the beloved maestro.
For his lyrics, Vaughan Williams turned to some of the most beautiful words ever written
about music. In Act V of Shakespeare's Merchant of Venice, musicians gather in Portia's garden at night, and the characters -the lovers Lorenzo and Jessica on one side, Portia with her attendant Nerissa on the other -listen in rapt attention. It is a Romantic scene if ever there was one, and Vaughan Williams responded to it with some of the most sensuous music he ever wrote. The full chorus is used only rarely (mainly at the begin?ning and at the end of the work); for the rest, we hear a succession of solo lines, each tailored to the voice of the particular singer for whom it was conceived. Shakespeare's words celebrate the beauty of the starry night and reflect upon the influence of music on human character.
Serenade to Music is an exquisite nocturne, filled with love; it is a very personal tribute to the dedicatee and, at the same time, a living, public celebration of that which has brought us all together to this place tonight: Music and Hill Auditorium.
Serenade to Music
How sweet the moonlight sleeps upon this bank! Here will we sit, and let the sounds of music Creep in our ears: soft stillness and the night Become the touches of sweet harmony. Look, how the floor of heaven Is thick inlaid with patines of bright gold: There's not the smallest orb that thou behold'st But in his motion like an angel sings Still quiring to the young-eyed cherubins; Such harmony is in immortal souls; But, whilst this muddy vesture of decay Doth grossly close it in, we cannot hear it. Come, ho, and wake Diana with a hymn! With sweetest touches pierce your mistress' ear, And draw her home with music. I am never merry when I hear sweet music.
The reason is, your spirits are attentive:
The man that hath no music in himself,
Nor is moved with concord of sweet sounds,
Is fit for treasons, stratagems and spoils;
The motions of his spirit are dull as night,
And his affections dark as Erebus:
Let no such man be trusted
Music! hark!
It is your music of the house.
Methinks it sounds much sweeter than by day.
Silence bestows that virtue on it.
How many things by season season'd are.
To their right praise and true perfection!
Peace, ho! the moon sleeps with Endymion,
And would not be awaked.
Soft stillness and the night
Become the touches of sweet harmony.
Additional Biographies
Richard Cordery has performed extensively as both a theater and screen actor. Theater credits include Corvino in Volpone, as well as roles in Lovegirl and the Innocent, Toilus and Cressida, Richard II, Hamlet, The Merchant of Venice, Much Ado About Nothing, and Maids Tragedy, all for the Royal Shakespeare Company (RSC); Weinberl in On the Razzle, Captain Absolute in The Rivals, Rosencrantz and Guildenstern are Dead, Catch 22, and Guys and Dolls, for the Leeds Theatre; Mike in The View From the
Bridge and Bonaventura in Tis Pity She's a Whore for the National Theatre; Friar Lawrence in Romeo and Juliet and Wilbraham in The Company of Men at Covent Garden; Chief Bromden in
One Flew Over the Cuckoo's Nest, the title role in Macbeth, Leonard in Time and Time Again, Hotspur in Henry IV, Solo in Judgement, Atahuallpa in Royal Hunt of the Sun, and Kelville in A Woman of No Importance, all for the Coventry Theatre.
Mr. Cordery's television credits include Absolute Power, The Falklands Play, Casualty, Jasper Carotts Trial, Scrutiny, Trauma, Of Mice and Men, and Love Hurts for BBC; as well as other productions for ITV, London Weekend Television, and for Thames and Granada Television.
Mr. Cordery was the only cast member from the Royal Shakespeare Company to par?ticipate in both the 2001 and 2003 University of Michigan RSC residencies. During the residen?cies, he played Mennius in Corialanus, Falstaff in The Merry Wives of Windsor, the Duke of Gloucester in Henry VI, Parts I and II, and Buckingham in Richard III, as well as partici?pating in several educational outreach events.
Tonight's celebration marks Richard Cordery's third visit to the University Musical Society. He made his UMS debut playing the Duke of Gloucester in Henry VI, Parts I and II, and Buckingham in Richard III during the Royal Shakespeare Company's 2001 residency at the University of Michigan.
Kenneth C. Fischer is the President of the University Musical Society (UMS). Before assuming his present position at UMS in 1987, Mr. Fischer was a management consultant,
independent concert presenter, and association executive in Washington, DC. Mr. Fischer is a board member of Interlochen Center for the Arts, Chamber Music America, Association of Performing Arts Presenters,
American Arts Alliance, Arts Midwest, and ArtServe Michigan. He is also active with Rotary, United Negro College Fund, and Classical Action Performing Arts Against AIDS. Mr. Fischer grew up in nearby Plymouth, attended the Interlochen Arts Camp, and has degrees from The College of Wooster in Ohio and the University of Michigan. He is married to flutist Penelope Peterson Fischer. They have one son, Matthew, living in San Francisco.
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 agen?cies. In her scientific career, she served for 19 years as a member of the biochemistry 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 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.
Special thanks to Peter Laki, Jerry Blackstone, Martin Katz, Richard LeSueur, Mark Jacobson, and Michael Kondziolka for their contributions to the program notes used for tonight's celebration.
Chanticleer
Joseph Jennings, Music Director
Soprano and Alto
Ian Howell Timothy Maguire Jesse Antin Clifton Massey Fraser Walters
Tenor
Brandon Brack Justin Montigne Matthew Oltman
Baritone and Bass
Eric Alatorre John Bischoff Ben Johns Mark Sullivan
Chanticleer is a non-profit organization, governed by a volun?teer Board of Trustees, administered by a professional staff with a full-time professional ensemble, and is a recipient of funding from the National Endowment for the Arts and the Grants for the ArtsSan Francisco Hotel Tax Fund.
Chanticleer recordings are available on the Teldec Classics and Chanticleer Records labels.
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 lennifer Cornell Marie Ankenbruck Davis Shawn Driemeier Kathy Neufeld Dunn Patricia Forsberg-Smith lennifer 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 Young Park
Nancy K. Paul
Ulrike Peters
Margaret Dearden Petersen
Sara Peth
Marie Phillips
[udith A. Premin
Mary A. Schieve
lennifer 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
Alto
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
Carren A. Sandell
Tricia Sartor
Cindy Shindledecker
Rhonda Sizemore
Beverly N. Slater
(ari 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
Tenor
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 Klaffke
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
Bass
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 Bill Malone Joseph D. McCadden Henry Millat Gerald Miller Michael Pratt William Premin Neil Safier Andrew Schulz Michael Scionti Rodney Smith JeffSpindler Robert Stawski Michael Steelman Robert D Strozier Steve Telian John Joseph Tome Terril O.Tompkins James Wessel Walker Donald R. Williams Mike Zeddies
University of Michigan School of Music
Karen L. Wolff, Dean
University Symphony Orchestra
Kenneth Kiesler, Director of Orchestras Jonathan Shames, Associate Director of Orchestras
Violin
Annie Gu?nette,
Concertmaster (First half) Julia Gish, Concertmaster
(Second half) Eric Wuest, Principal
(First half) Sarah Whitney, Principal
(Second half) Emma Banfield Sarah Charness Myriam Clermont Andrew d'Allemand Michelle Davis Mili Fernandez Leena Gilbert Seo-Yeon Han Andy Harvey Joseph Hintz Shawn Jaeger Min Lee Ashley Malloy Diego Piedra Benjamin Rous Jennifer Salmon Eric Shieh Stephanie Song Trina Stoneham Tzu-Yin Su Brittany Uschold Jennifer Walvoord Austin Wulliman
Viola
Megan Mason, Principal Jason Amos Elvis Chan Daniel McCarthy Kathleen Overfield
Cello
Andrew Barnhart,
Principal Will Dunlap Kareem Goode Geein Hwang Amy McGinn Diane Strasser Benjamin Vickers Chris Wild
Double Bass
Anna Jensen, Principal Pearl Alexander B.K. Daniels Jordan Scapinello Andrew Kratzat Evan Premo Isaac Trapkus
Flute
Jennifer Hooker Melissa Klauder Kelly Sulick Marie Tachouet
Oboe
Sarah Davis Aaron Hill Jenny Sengpiel Jessica Warner
Clarinet
Jeremy Benhammou Catherine Gatewood Jonathon Troy Lyle Wong
Bassoon
Derek Bannasch Sam Childers Chris Reid Tristan Rennie
Horn
Brian Allen Patrick Carlson Tasha O'Neal Tom Weber William Wiegard
Trumpet
Adam Decker Kevin Gebo Timothy Krohn Alex Noppe Louis Reed
Trombone
Eric Newsome Steven Peterson
Bass Trombone Robert Graham
Tuba
Grant Harville
Timpani and Percussion
Jeffrey Barudin Hayes Bunch Dan Fineberg Daniel Karas Renee Keller Olman Piedra Chuck Ricotta
Harp
Rachel Brandwein Hannah Foster Nadia Pessoa
Piano
Julius Abrahams
Celeste Nikolas Caoile
Harpsichord
Todd Decker
Aiitiplioii.il Brass
Horn
Tasha O'Neal
Ian Zook
Trumpet Adam Dickson Timothy Krohn Jordan Olive Louis Reed Beth Thomas Brian Winegardner
Trombone Patrick Coletta Kevin Geraldi Arthur Haecker Elliott Tackitt
Concertmasters () and principal () string players rotate positions during the season. Wind players rotate prin?cipal positions during the concert.
Production Staff
David Aderente,
Managing Director Brian Eldridge,
Personnel Manager Eric Newsome, Equipment
After an 18-month, $38.6million dollar restoration and renovation project, which began on May 13, 2002, Hill Auditorium has re-opened. Originally built in 1913, restorations have restored the building to its original, arts-and-crafts-inspired splendor while renovations have updated Hill's infrastructure to contemporary standards of audience comfort and safety.
Very special thanks to the following companies, organizations, and the hundreds of workers who displayed their dedication to Hill Auditorium's restoration:
AACP
Albert Kahn Associates
American Material Handling
American Seal & Restoration
Ann Arbor Engineering DDA
Architectural Paving & Stone
Bay Fire Protection
Booms Stone
CBN Steel Construction, Inc.
CE1 Roofing
Chelsea Glass
The Christman Company
Christman Constructors, Inc.
Continental Interiors
Cooney Engineering Co.
Cummins & Barnard, Inc.
Dahlgren's Inc.
Dick Houghten
DS Building
Eagle Excavation
Fantasee Lighting
FisherDachs Associates
Future Fence
Gary Steffy Lighting Design
Horizon Engineering Associates
Irwin Seating
J.T. Crawford, Inc.
John Canning Decorative Painting
John Darr Mechanical
Kirkegaard Associates
Kulbacki, Inc.
Newkirk Electric
Payne-Rosso Company
Phillips Pro Audio
Plant Extension, University
of Michigan Plant Operations, University
of Michigan Quinn Evans Associates Safway Steel Products Schindler Electric Simone Contracting Spence Brothers Trident National Corp. TriStar Fire Protection Western Waterproofing WPM, Inc.
UMS
with
Forest Health Services,
Pfizer Global Research
and Development
and
The University
of Michigan
present
Orchestre Revolutionnaire et Romantique and The Monteverdi Choir
Sir John Eliot Gardiner, Conductor and Artistic Director
Program
George Frideric Handel Wolfgang Amadeus Mozart
Franz Joseph Haydn
Sunday Evening, January 18, 2004 at 6:00 Hill Auditorium Ann Arbor
Coronation Anthem No.l, HWV 258,"Zadok the Priest"
Andante maestoso -A tempo ordinario
Vesperae solennes de confessore, K. 339
Dixit Dominus (Allegro vivace)
Confitebor (Allegro)
Beatus vir (Allegro vivace)
Laudate pueri
Laudate Dominum (Andante ma un poco sostenuto)
Magnificat (Adagio -Allegro)
INTERMISSION
Mass in B-flat Major, Hob. XXII:10, "Heiligmesse"
Kyrie
Gloria
Credo
Sanctus
Benedictus
Agnus Dei
36th Performance of the 125th Annual Season
125th Annual Choral Union Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Special thanks to Randall and Mary Pittman for their continued and generous support of the University Musical Society, both personally and through Forest Health Services.
Additional support is provided by media sponsors WGTE 91.3 FM and Observer & Eccentric Newspapers.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for tonight's concert.
Orchestre Revolutionnaire et Romantique and the Monteverdi Choir appear by arrangement with ICM Artists, Ltd.
Large print programs are available upon request.
Forest Health Services presents the 125th Annual Choral Union Series.
Coronation Anthem No. 1, HWV 258, "Zadok the Priest"
George Frideric Handel
Born on February 23, 1685 in Halle, Germany
Died on April 14, 1759 in London
For the coronation of King George II of England in 1727, Handel wrote four anthems for chorus and instrumental ensemble (Let Thy Hand Be Strengthened, My Heart is Inditing, The King Shall Rejoice, and Zadok the Priest). Each of these anthems is a setting of Biblical verses appropriate for the occasion, and the musical style reflects the grandeur and opulence of the royal festivities.
Zadok the Priest is in three short sections. As musicologist Paul Henry Lang wrote in his clas?sic book on Handel: "[it] begins with a simple undulating introduction in the strings which, welling up repeatedly, leads to a veritable explo?sion when the chorus enters." The chorus makes a solemn proclamation ("Zadok the Priest and Nathan the Prophet anointed Solomon King") over this undulating string fig?ure. After a second section full of vitality ("And all the people rejoic'd") and a short Adagio inserted to create a suspenseful moment ("...and said:..."), the chorus launches into the third and most substantial section of the anthem ("God save the King!"). The music is a single strain of festive D-Major fanfares and virtuoso choral passages, where the voices take turns singing long runs of rapid 16th-notes. The jubilant tone and the many repeats of the word "forever" anticipate the "Hallelujah" cho?rus from Messiah, written in the same key of D Major some 15 years after Zadok the Priest.
Vesperae solennes de confessore, K. 339
Wolfgang Amadeus Mozart Born January 27, 1756 in Salzburg Died December 5, 1791 in Vienna
The two Vespers settings -one for an ordinary Sunday, the other for the feast day of a saint -stand at the end of Mozart's life in Salzburg.
They show his genius seeking to break free from the strictures imposed by local liturgical usage, which called for simplicity and conci?sion. Mozart, on the other hand, was bursting with ideas that could not easily be accommo?dated by the rules governing church music.
The backbone of the vespers, or evening service, is formed by the singing of five psalms and the Magnificat -the latter being the Virgin Mary's canticle in praise of the Lord, which follows the structure of Old Testament psalms with its verses divided into two (not necessarily equal) halves (Luke 1:46-55). In the Salzburg of 1780, this meant six through-com?posed movements, each corresponding to a psalm or canticle, set for chorus and soloists, with little or no repetition of text to keep per?formance time as short and possible.
It was no small challenge to write six move?ments of the same type without falling into monotony. Since all psalm readings in church, as well as the Magnificat, end with the so-called doxology ("Glory to the Father and to the Son and to the Holy Spirit..."), these words had to be set six times, each time to different music.
Mozart met this challenge by making his music unusually varied in harmony, rhythm and texture. He was always attentive to the affect, or emotional content, of the text, which often changes from one verse to the next -and at the same time, he created a seamless and continuous form in each movement. Thus, he conveyed the jubilant mood of the Dixit Dominus (Ps. 110), the solemnity of the Confitebor (Ps. 111), and the joy of Beatus vir (Ps. 112), with a great flourish for the soprano soloist on the word exaltabitur.
Laudate pueri (Ps. 113) is an austere fugue in d minor on a theme anticipating the Kyrie from Mozart's Requiem, written in the same key more than a decade later.
Laudate Dominum (Ps. 117) opens with a gentle soprano solo whose theme is repeated by the chorus. One commentator called this move?ment "one of the most magical...in all Mozart's vocal music."
After a solemn Adagio introduction, the Magnificat is made to fit into an almost regular
sonata form. It also brings the entire work full circle by restoring the initial C-Major tonality and the celebratory feelings associated with that key.
Mass in B-flat Major, Hob. XXIIrlO, "Heiligmesse"
Franz Joseph Haydn
Born March 31, 1732 in Rohrau, Lower Austria
Died May 31, 1809 in Vienna
The present Mass is the first of six Haydn wrote between 1796 and 1802 for performances at the Bergkirche (Mountain Church) in Eisenstadt, during the month of September when the nameday of Princess Marie Hermenegild Esterhazy was celebrated. During those years (which also produced the two great oratorios The Creation and The Seasons), Haydn concen?trated his energies on large-scale choral works like he never had before. After his final return from England in 1795, he stopped writing sym?phonies -he obviously felt that he had said his last word in the genre with the 12 magnifi?cent London works. He now poured his sym?phonic thoughts into his Masses and oratorios, which in many ways represent the summation of his art.
The official title of the work on tonight's program is Missa Sancti Bernardi de Offida. It was dedicated to a 17th-century Capuchin monk who had been made a saint by Pope Pius VI in 1795, the year before Haydn's Mass was written. In the German-speaking lands, it became known as the Heiligmesse on account of the German church hymn "Heilig, heilig, heilig" (Holy, Holy, Holy), whose melody is quoted at the beginning of the Sanctus movement.
Like the rest of Haydn's late choral music, the Heiligmesse radiates an optimism and a confidence that struck the Romantic generation as naive, but it is really nothing of the sort. In fact, Haydn's musical technique was never more sophisticated and his ideas never more abun?dant than they are here.
The succession of sections in different tem?pos and meters was planned with special care.
Musicologist Martin Chusid found in 1970 that the five movements are organized into three four-section musical units that can be described as three "vocal symphonies:"
Vocal symphony No. 1
I.-Kyrie (Adagio Allegro moderato)
II. Gloria in excelsis (Vivace)
III. Gratias agimus tibi (Allegretto -Piu allegro)
IV. Quoniam tu solus sanctus (Vivace)
Vocal symphony No. 2
I. Credo in unum Deum (Allegro)
II .Et incarnatus est (Adagio)
III. Et resurrexit (Allegro)
IV. Et vitam venturi saeculi (Vivace assai)
Vocal symphony No. 3
I. Sanctus (Adagio Allegro)
II. Benedictus (Moderato)
III. Agnus Dei (Adagio)
IV. Dona nobis pacem (Allegro)
The first "symphony" displays a neat sym?metry in that the Kyrie contains a fugal section anticipating the extended double fugue "In Gloria Dei Patris" at the end. In the middle stands the "Gratias agimus," scored for solo quartet and beginning in the minor mode.
The Credo, which forms the second "vocal symphony," has an even more interesting design. After the energetic opening section, there follows a canon, for solo singers, in an Adagio tempo ("Et incarnatus"). The melody of this section is shared by a playful canon by Haydn on the words:
Gott im Herzen, ein gut Weibchen im Arm, Jenes macht selig, dieses g'wiss warm.
God in the heart and a good wife on the arm, The one makes us holy, the other one warm.
One wonders whether the first audiences in Eisenstadt knew this canon. In his authoritative five-volume biography of Haydn, H.C. Robbins Landon leaves open the question as to which came first, the Mass or the canon. Whatever the case, this canon contrasts effectively with the
dark "Crucifixus" section, given to three male soloists (one tenor and two basses). The "vocal symphony" then continues with an "Et resur-rexit" which emphasizes the moment of the Last Judgement in an almost terrifying way: the timpani and the trumpets enter fortissimo on the words judkare vivos (to judge the living). Et mortuos (and the dead) is added in a whisper. The melody of "Heilig, heilig" at the beginning of the Sanctus is, interestingly enough, sung not by the sopranos but the altos, reinforced by bas?soons and second violins. Haydn superimposed a new treble line -a "descant," as it were -on top of this tune.
The Sanctus and the ensuing Hosanna are kept extremely brief; by contrast, the Benedictus is expanded into one of the longest movements in the entire Mass. It is a real gem, scored for full chorus, not soloists as most Benedictus movements are; its melody is particularly mem?orable. As the first critic to review the work, J.F. Rochlitz, wrote in 1802: "[It] is a most excellent movement -so gentle, so moving and pious, so simple and easy to grasp and appreciate, yet so artistic!" A highly unusual moment occurs toward the middle of the movement, where Haydn uses the full first and second violin sec?tions but only a single viola. Contrary to cus?tom, the Osanna following the Benedictus is not the same music as the earlier Osanna: it is, in the words of Robbins Landon, "mellow, quiet, and in keeping with the inward beauty of the whole movement."
The Agnus Dei is a haunting Adagio for choir, strings, and organ in the rare and strik?ingly dark key of b-flat minor. The winds re-enter for the triumphant Dona nobis pacem in which Haydn doesn't pray for peace but rather demands it. The effect of this movement is enhanced by a few subito piano (suddenly soft) sections with pizzicato (plucked) strings. Just before the end, there is a stunning deceptive cadence, as the closing chord is delayed by an unexpected dissonance creating a moment of great suspense.
Program notes by Peter Laki.
Founder and artistic director of the Monteverdi Choir, the English Baroque Soloists, and the Orchestre Revolutionnaire et Romantique, Sir John Eliot Gardiner appears regularly in the most prestigious international concert halls and opera houses, both with his own ensembles and as guest conductor with major symphony orchestras.
Highlights of 2003 have included Janacek's The Cunning Little Vixen at the Royal Opera House at Covent Garden, a European tour of Bach's St. John Passion with the Monteverdi Choir and the English Baroque Soloists in March and April, and a rapturously received new production of Berlioz's Les Troyens with the ORR at the Theatre du Chatelet in Paris in October. He has just returned from touring two programs of Beethoven and Walton with the London Symphony Orchestra.
Over the years, Sir John Eliot Gardiner's many recordings have won countless interna?tional awards, and he has won more Gramophone awards than any other living artist. Recent recordings included Haydn's last six Masses for Philips Classics. The last double-CD set (Heiligemesse and Paukenmesse) and his record?ing with the Orchestre Revolutionnaire et Romantique and Viktoria Mullova of the Beethoven and Mendelssohn violin concertos were released in the spring.
This evening's performance marks Sir John Eliot Gardiner's UMS debut.
The Orchestre Revolutionnaire et Romantique (ORR) was estab?lished in 1990 by Sir John Eliot Gardiner and has since made a major impact on the international music scene. It has attained a world standing with performances in London and throughout Europe; in Tokyo and Osaka, where it per?formed the complete Beethoven symphony cycle; and in New York, where the orchestra took part in the inaugural Lincoln Center Festival. This rapid success owes much to its shared heritage with the English Baroque Soloists, formed by Sir John Eliot Gardiner in 1978. The ORR extends the range of period-instrument performance to repertoire of the 19th and early 20th centuries.
One of the orchestra's outstanding success?es to date has been the series of performances of music by Berlioz. This series began with the Symphonie Fantastique, performed and filmed in the former Conservatoire de Musique in Paris, where the very first performance took
place in December 1830. The resulting video, laserdisc, and CD were released by Philips Classics to great critical acclaim. In October 1993 the ORR joined the Monteverdi Choir under Sir John Eliot Gardiner to give the first performances since 1827 of Berlioz's Messe Solennelle. After touring the work in Europe, the United Kingdom premiere at Westminster Cathedral was broadcast live on BBC2. This performance was also released by Philips Classics on CD and video in March 1994. A recording of the complete Beethoven sym?phonies by the ORR and Sir John Eliot Gardiner for DG Archiv received worldwide praise from the press and was named "Record of the Year" by Classic CD magazine. Viewed by many as the most important Beethoven record?ing since the arrival of CD, this set has been widely recognized as setting a new standard in the performance of the Beethoven symphonies on period instruments and as recovering the original spirit of Beethoven's works with a unique force.
Si' John Eliot Gardiner
In 2002 the orchestra returned to the Chatelet for the third annual residence in the spring with performances of Weber's Oberon, with a concluding performance at the Barbican in London. This was followed by a recording for Philips of the Beethoven and Mendelssohn violin concertos. In September 2002, the ORR toured Europe with acclaimed performances of Beethoven's Missa Solemnis.
This evening's performance marks the Orchestre Revolutionnaire et Romantique's UMS debut.
The Monteverdi Choir is one of Britain's most prestigious choirs, having garnered numerous distinc?tions, including four Gramophone awards, all under the direction of its founder, Sir John Eliot Gardiner.
The Monteverdi Choir was founded at Cambridge in 1964, for a performance of the Monteverdi Vespers in King's College Chapel. It soon became famous for its passionate, commit?ted singing and stylistic conviction. At the fore?front of the Early Music revival in Europe, the Monteverdi Choir has brought life and public awareness to a range of magnificent but forgot?ten music by composers such as Gabrieli, Gesualdo, Campra and Leclair, as well as master?pieces of the Baroque and 19th-century masters. The choir has undertaken numerous inter?national tours, the greatest being the Bach Cantata Pilgrimage in 2000, performing each of J. S. Bach's 198 sacred cantatas in 63 churches throughout Europe to celebrate the 250th anniversary of the composer's death. As an opera chorus, the Monteverdi Choir has performed in the theaters of La Scala, Zurich, Paris, Lyons, and Strasbourg, in productions ranging from Rameau to Handel.
The Monteverdi Choir has more than 100 recordings to its name, for DG Archiv, Philips, Erato, Decca, and EMI. Recent projects have included highly acclaimed performances of Verdi's Falstaffal the Chatelet in Paris, an a cap-pella tour of church music of the 15th and 16th
centuries at some of Britain's most exceptional cathedrals, and BBC Proms performances of Handel's Israel in Egypt and Berlioz's L'Enfance du Christ.
This evening's performance marks the Monteverdi Choir's second appearance under UMS auspices. The choir made its UMS debut with the Orchestra of Hamburg in October 1975 in Hill Auditorium.
Orchestre Revoiutionnaire et Romantique and The Monteverdi Choir
Sir John Eliot Gardiner, Conductor and Artistic Director
Coronation Anthem No. 1, HWV 258, "Zadok the Priest"
George Friderk Handel
Zadok the Priest, and Nathan the Prophet, anointed King Solomon. And all the people rejoic'd, and said: God save the King, long live the King, may the King live forever! Amen, Alleluja!
(after Kings I: 39-40) :
Vesperae solennes de confessore, K. 339 Wolfgang Amadein Mozart
Dixit Dominus (Vulgate, Psalm 109)
Dixit Dominus Domino meo:
sede a dextris meis,
donee ponam inimicos tuos scabellum
peduni tuoriun.
Virgam virtutis tuae emittet Dominus
ex Sion:
dominare in medio inimicorum tuorum. Tecum principium in die virtutis tuae, in splendoribus sanctorum: ex utero ante luciferum genui te. Juravit Dominus et non poenhebit cum: Tu es saccrdos in aelcrnum secundum ordincm Melchisedech. Dominus a dextris tuis confregit in die irae suae reges. Judicabit in nationibus, implebit ruinas; conquassabil capita in terra inultorum. De torrente in via bibct: propterea exaltabit caput.
Gloria Patri, et Filio,
et Spiritui Sancto.
Sicut erat in principio, et mine, et semper, et in saecula saeculorum.
Amen.
The Lord said to my Lord:
sit thou at My right hand,
until I make thine enemies
my footstool.
The Lord will send forth the scepter
of thy power out of Sion: rule thou in the midst of thine enemies. With thee is the principality in the day of thy strength in the brightness of the saints: from the womb before the day star I begot thee. The Lord hath sworn and He will not repent Thou art a priest forever according to the order of Melchisedech. The Lord at thy right hand hath broken kings in the day of His wrath.
He shall judge among nations, He shall fill ruins: He shall crush the heads in the lands of many. He shall drink in the torrent of the way: therefore shall He lift up the dead.
Glory be to the Father, and to the Son,
and to the Holy Ghost. As it was in the beginning, is now, and ever shall be.
Amen.
Confitebor (Vulgate, Psalm 110)
Confitebor tibi Domine, in toto corde meo, in consilio justorum, et congregatione. Magna opera Domini, exquisita in omnes voluntates ejus. Confessio et magnificentia opus ejus: et justitia ejus manet in saeculuni saeculi. Memoriam fecit
mirabilium suorum; misericors et miserator et Justus: escam dedit timentibus se. Menior erit in saeculum testamenti sui. Virtutem operum suorum annuntiabit populo suo. Ut det ill is hereditatem
gentium:
opera manuum ejus veritas et judicium. Fidelia omnia mandata ejus: confirmata in saeculum saeculi, facta in veritate et aequitate. Redeniptionem misit Dominus populo suo: mandavit in aeternum testamentum suum. Sanctum et terribile noinen ejus: initium sapientia timor Domini.
Gloria Patri,... etc.
Beatus vir (Vulgate, Psalm 111)
Beatus vir qui timet Dorninum: in mandatis ejus volet iiimis. Potens in terra erit semen ejus: generatio rectorum benedicetur. Gloria et divitiae in domo ejus: et justitia ejus manet in saeculum saeculi. Exortum est in tenebris lumen rectis: misericors, et miserator, et Justus. Jucundus homo qui miseretur
et commodat;
disponet sermones suos in justitia; quia in aeternum non commovebitur In memoria aeterna erit Justus: ab auditione mala non timebit. Paratum cor ejus sperare
in Domino,
I will praise Thee, O Lord, with my whole heart,
in the council of the just, and in the congregation.
Great are the works of the Lord,
sought out according to His wills.
His work is praise and magnificence:
and His justice continueth for ever and ever.
He hath made a remembrance of
His wonderful works; being a merciful and gracious Lord: He hath given food to them that fear Him. He will be mindful for ever of His covenant: He will show forth to His people the power of His works. That He may give them the inheritance
of the Gentiles:
the works of His hands are truth and judgment. All His commandments are faithful: confirmed forever and ever, made in truth and equity. He hath sent redemption to His people: He hath commanded His covenant forever. Holy and terrible is His name: the fear of the Lord is the beginning of wisdom.
Glory be to the Father,... etc.
Blessed is the man that feareth the Lord:
he shall delight exceedingly in His commandments.
His seed shall be mighty upon the earth:
the generation of the righteous shall be blessed.
Glory and wealth shall be in his house:
and his justice remaineth tor ever and ever.
To the righteous a light is risen up in darkness:
He is merciful, and compassionate and just.
Acceptable is the man that showeth mercy
and lendeth:
he shall order his works with judgment, because he shall not be moved forever. The just shall be in everlasting remembrance: he shall not fear the evil hearing. His heart is ready to hope in the Lord, his heart
is strengthened:
iion commovebitur donee despicial
inimicos sues. Dispersit, dedit pauperibus: justitia ejus manet in saeculum,
in saeculum saeculi: cdrnu ejus exaltabitur in gloria. Peccator videbit, el irascetur, dentibus suis fremet et tabescet: desiderium peccatorum peribit.
Gloria Patri,... etc.
Laudate pueri (Vulgate, Psa]m 112)
Laudate pueri Dominum: laudate noinen Domini. Sit nomen Domini benedictum, ex hoc nunc et usque in saeculum. A sol is ortu usque
ad occasum.
laudabile nomen Domini. F.xcelsus super omnes gentes Dominus, et super coelos gloria ejus. Quis sicut Dous noster, qui in altis habitat, et humilia respicit in coelo
et in terra
Suscitans a terra inopem, et de stercore erigens pauperem: Ut collocet eum cum principibus, cum principibus populi sui. Qui habitare facil sterilem in domo, matrem filiorum laetantem.
Gloria Patri,... etc.
Laudate Dominum (Vulgate, Psalm 116)
Laudate Dominum omnes gentes: laudate eum omnes populi. Quoniam confirmata est super
nos misericordia ejus: el veritas Domini manet in aeternum.
Gloria Patri,... etc.
he shall not be moved until he look over
his enemies.
Me hath distributed, he hath given to the poor: li is justice remaineth
forever and ever; his horn shall be exalted in glory. The wicked shall see and be angry, he shall gnash with his teeth and pine away: the desire of the wicked shall perish.
Glory be to the Father,... etc.
Praise the Lord, ye children:
praise ye the name of the Lord.
Blessed be the name of the Lord:
from henceforth now and forever.
From the rising of the sun until the going down
of the same,
the name of the Lord is worthy of praise. The Lord is high above all nations: and His glory above the heavens. Who is as the Lord, who dwelleth on high, and looketh down on the low tilings in heaven
and in earth
Raising up the needy from the earth: and lifting up the poor out of the dunghill. That He may place him with princes: with the princes of his people. Who maketh a barren woman to dwell in a house: the joyful mother of children.
Glorv be to the Father,... etc.
O praise the Lord, all ye nations: praise Him, all ye people. For His mercy is
confirmed upon us: and the truth of the Lord remaineth forever.
Glory be to the Father,... etc.
Magnificat (Luke 1:46-56)
Magnificat anima mea Dominum, el exsultavil spiritus meus -hi Deo salutari meo. Quia respexit humilftatem
:in. ill.n' suae: ecce enim ex hoc beatam me dicent omnes gencrationes. Quia fech mihi magna oui potensest,
qui potens est, et sanctum nonien ejus. F.t misericordia ejus a progenie
a progenie
in progenies timentibus eum. Fecit potentiam in brachio suo: dispersit superbos niente cordis sui.
cordis sui.
Deposuit potentes de sede, et exaltavit humiles. F.surientes implevit bonis: et divites dimisit inanes. Suscepit Israel puerum suum, recordatus misericordiae suae. Sicut locutus est ad pat res noslros, Abraham et semini ejus in saecula.
Gloria Patri, ...etc.
My soul doth magnify the Lord.
And my spirit hath rejoiced
in God my Savior.
Because He hath regarded the humility
of His handmaid:
for behold from henceforth all generations shall call me blessed. Because He that is mighty hath done
great things to me: and holy is His name. And His mercy is from generation
unto generations, to them that fear Him. He hath showed might in His arm: He hath scattered the proud in the conceit
of their heart.
He bath put down the mighty from their seat and hath exalted the humble. He hath filled the hungry with good things: and the rich He hath swept away. He hath received Israel His servant, being mindful of His mercy. As He spoke to our fathers: to Abraham and to his seed forever.
Glory be to the Father,... etc.
Mass in B-flat Major, Hob. XXII:10, "Heiligmesse" Franz Joseph Haydn
Kyrie (Chorus)
Kyrie eleison. Chrisle eleison. Kyrie eleison.
Gloria (Chorus)
Gloria in excelsis Deo, el in terra pax hominibus bonae voluntatis. Laudamus le, benedicimus tc, adoramus te, glorificamus to.
Gratias Agimus (Soloists and Chorus)
Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex coelestis ,
lord, have mercy. Christ, have mercy. Lord, have mercy.
Glory to God in the highest, and on earth peace to men of good will.
We praise You, we bless You, we worship You, we glorify You.
We give You thanks for Your great glory. Lord God, heavenly King,
Deus pater omnipotens. Domine Fill unigenite Jesu Christe,
Domine Deus, Agnus Dei, Filius Patris.
Qui Tollis (Chorus)
Qui toljis peccata mundi: miserere nobis; qui tollis peccata mundi: suscipe deprecationem nostram; qui sedes ad dexteram Patris: miserere nobis.
Quoniam Tu Solus (Chorus)
Quoniam tu solus sanctus,
tu solus Dominus,
tu solus altissimus,
Jesu Christe,
cum sancto spiritu,
in gloria Dei Patris. Amen.
Credo (Chorus)
Credo in unum Deum, Patrem omnipotentem, fectotem coeli et terrae, visibilium omnium et invisibilium. Credo in ununi Dominuni, et ex patre natum ante oinnia saecula. Deum de Deo, lumen de lumine, Deum verurn de Deo vero. Genitum, non factum, consubstantialem Patri, Per quern oinnia facta sunt. Qui propter nos homines et propter nostram salutem descendit de coelis.
Et Incarnatus Est (Soloists and Chorus)
Et incarnatus est de Spiritu Sancto ex Maria virgine, et homo fact us est. Crucifixus etiam pro nobis, sub Pontio Pilato passus, et sepultus est.
God the Father almighty. The only-begotten Son, Lord Jesus Christ, Lord God, Lamb of God, Son of the Father.
You take away the sin of the world:
have mercy on us;
You take away the sin of the world:
receive our prayer;
You are seated at the right hand of the Father:
have mercy on us.
For You alone are the Holy One,
You alone are the Lord,
You alone are the Most High,
Jesus Christ,
with the Holy Spirit,
in the glory of God the Father. Amen.
We believe in one God,
the Father, the Almighty,
maker of heaven and earth,
of all that is, seen and unseen.
We believe in one Lord,
eternally begotten
of the Father.
God from God, Light from Light,
true God from true God,
begotten, not made,
of one Being with the Father.
Through Him all things were made.
For us men and
for our salvation
He came down from heaven.
By the power of the Holy Spirit
He became incarnate from the Virgin Mary,
and was made man.
For our sake He was crucified
under Pontius Pilate; He suffered death
and was buried.
Ft Resurrexit (Chorus)
Ft resurrexit tertia die secundum scripturas; et ascendit in coelum sedet ad dexterarn Patris. Ft iteruin venturus est cum gloria judicare vivos et mortuos, cujus regni non erit finis. Ft in Spiritum Sanctum, Dominum et vivificantem, (ui cum Patre et Filio simul adoratur et conglorificatur. Qui locutus est per Prophetas. Ft ununi sanctam catholicam et apostolicam ecclesiam. Confiteor unum baptisma in remissionem peccatorum. Ft expecto resurrectionem
Ft Vitam Venturi (Chorus)
Et vitam venturi seculi. Amen.
Sanctus (Chorus)
Sanctus, sanctus, sanctus Dominus,
Deus Sabaoth,
pleni sunt coeli et terra
gloria tuae.
Osanna in excelsis.
Benedictus (Chorus)
Benedictus qui venit in nomine Domini. Osanna in excelsis.
Agnus Dei (Chorus)
Agnus Dei,
qui tollis peccata mundi:
miserere nobis.
Agnus Dei,
qui tollis peccata mundi:
miserere nobis.
Agnus Dei,
qui tollis peccata mundi:
dona nobis pacem.
Dona Nobis Pacem (Chorus) Dona nobis pacem.
On the third day lie rose again
in accordance with the Scriptures;
and ascended into heaven and is seated
at the right hand of the Father.
He will come again in glory
to judge the living and the dead,
and Mis kingdom will have no end.
We helieve in the Holy Spirit,
the Lord, the giver of life,
with the Father and the Son
lie is worshipped and glorified.
He has spoken through the Prophets.
We believe in one holy catholic and
apostolic Church.
We acknowledge one baptism for the
forgiveness of sins.
We look for the resurrection of the dead.
And the life of the world to come. Amen.
Holy, holy, holy Lord, God of power and might, heaven and earth are full of Your glory. Hosanna in the highest.
Blessed is he who comes in the name of the Lord. Hosanna in the highest.
Lamb of God,
You take away the sins of the world:
have mercy on us.
Lamb of God,
You take away the sins of the world:
have mercy on us.
Lamb of God,
You take away the sins of the world:
grant us peace.
Grant us peace.
Orchestre Revolutionnaire et Romantique and The Monteverdi Choir
Sir John Eliot Gardiner, Conductor and Artistic Director
Violin
Alison Bury, Leader Ken Aiso Sophie Barber Sarah Bealby-Wright Dedan Daly Jane Gillie Lucy Howard Nicolette Moonen Andrew Roberts Anne Schumann Deirdre Ward Henrietta Wayne Hakan Wikstrom Hildburg Williams
Viola
Annette Isserlis Andrew Byrt Lisa Cochrane Katherine McGillivray
Cello
Richte van der Meer Ruth Alford Catherine Rimer Philipp von Steinaecker
Bass
Valery Botwright Markus van Horn
Oboe
Michael Niesemann James Eastaway
Bassoon
Alastair Mitchell Philip Turbett
Trumpet
Michael Harrison Robert Vanryne Neil Brough
Timpani
Robert Kendell
Soprano
Donna Deam Suzanne Flowers Angharad Gruffydd Jones Angela Kazimierczuk Elin Manahan Thomas Charlott Mobbs Cecilia Osmond Emma Preston-Dunlop Belinda Yates
Alto
Simon Baker Frances Bourne Margaret Cameron David Clegg Clare Wilkinson
Tenor
Andrew Busher Mark Dobell Nicolas Robertson Paul Tindall Simon Wall
Bass
Michael Bundy Julian Clarkson Benjamin Davies Robert Davies Samuel Evans
Vocal Soloists
Orchestre Revolutionnaire et Romantique and Monteverdi Choir Administration
Per Hedberg, General Manager
Helen Marriage, Development Associate
Charlott Runevret, Artistic Planning I Tour Manager
Katherine Adams, Orchestra Manager
'CM Artists, Ltd.
David V. Foster, President and CEO
Leonard Stein, Vice President and Director, Tour Administration
Ira Pedlikin, Associate Manager, Attractions
Kay McCavic, Company Manager
UMS
with
Forest Health Services,
Pfizer Global Research
and Development
and
The University
of Michigan
present
Jazz Divas Summit
featuring
Dee Dee Bridgewater, Regina Carter, and Dianne Reeves
Dee Dee Bridgewater, Vocals
Ira Coleman, Bass, Musical Director
Thierry Eliez, Piano
Hans van Oosterhout, Drums
Regina Carter, Violin David Budway, Piano Chris Lightcap, Bass Alvester Garnett, Drums Mayra Casales, Percussion
Dianne Reeves, Vocals Greg Hutchinson, Drums Peter Martin, Piano Reuben Rogers, Bass
Program Monday Evening, January 19, 2004 at 7:30
Hill Auditorium Ann Arbor
There will be a brief pause between the first two sets of tonight's program and one 15-minute intermission before the concluding set this evening.
Tonight's program will be announced from the stage by the artists.
37th Performance of the 125th Annual Season
10th Annual Jazz Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is co-presented with the University of Michigan Office of Academic Multicultural Initiatives as part of the 2004 MLK Day Symposium.
Presented with support from JazzNet, a program of the Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation and the National Endowment for the Arts.
Additional support is provided by media sponsors WEMU 89.1 FM, WDET 101.9 FM, Michigan Chronicle, and Michigan Front Page.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for tonight's concert.
The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
Ms. Bridgewater appears by arrangement with Ted Kurland Associates.
Ms. Carter appears by arrangement with Unlimited Myles, Inc.
Ms. Reeves appears by arrangement with International Music Network.
Large print programs are available upon request.
Few entertainers command such depth of artistry as Dee Dee Bridgewater. As a sparkling ambassador for jazz, she was bathed in music before she could walk. Her mother played the greatest albums of Ella Fitzgerald and her father was a trumpeter who taught music to Booker Little, Charles Lloyd, and George Coleman. In 1970 Ms. Bridgewater made her phenomenal New York debut as the lead vocalist for the band led by Thad Jones and Mel Lewis, one of the premiere jazz orchestras of our time. This led to concerts and recordings with jazz giants Sonny Rollins, Dizzy Gillespie, Dexter Gordon, Max Roach, and with Roland Kirk, Norman Connors, Stanley Clarke, and Frank Foster's "Loud Minority."
In 1974 Ms. Bridgewater turned her atten?tion to acting and singing on Broadway, where her success as Glinda the Good Witch in The Wiz earned her a Tony Award. She captured the hearts of audiences worldwide with her rendi?tion of her signature song, "If You Believe," which according to Nick Ashford of Ashford and Simpson, "personified a generation and gave us all hope."
What followed were invitations to perform in Tokyo, Los Angeles, Paris, and London, where she garnered the coveted Laurence Olivier Award nomination for "Best Actress" for her portrayal of jazz legend Billie Holiday in Stephen Stahl's Lady Day. Performing the lead in equally demanding roles as Sophisticated Ladies, Cosmopolitan Greetings, Black Ballad, Carmen Jazz, and the musical Cabaret (the first black actress to star as Sally Bowles), she secured her reputation as a consummate enter?tainer.
Ms. Bridgewater has received countless distinctions, including a Tony Award ("Best Featured Actress in a Musical" for The Wiz), a nomination for the London theater's West End equivalent, the Laurence Oliver Award, for Lady Day, two Grammy Awards (1998's "Best Jazz Vocal Performance" and "Best Arrangement Accompanying a Vocal" for "Cottontail," Slide Hampton, arranger, Dear Ella), and France's 1998 top honor, the Victoire de la Musique.
Dee Dee Bridgewater
Named ambassador to the United Nations' Food and Agriculture Organization (FAO) in October 1999, Ms. Bridgewater continues to speak out against world hunger. She was also Branford Marsalis' successor on the NPR show JazzSet, which enables her to continue sharing her message with listeners. JazzSet with Dee Dee Bridgewater is the jazz lover's ears and eyes on the world of live music, taking listeners from Puerto Rico and Cuba, across the North American continent, and to Marciac in the French countryside.
This evening's performance marks Dee Dee Bridgewater's UMS debut.
Regina Carter's career has been a veritable crescendo of success that shows no sign of letting up. Indeed, she tours with relentless purpose and a seemingly endless supply of energy. Over the past four years, Ms. Carter and her quintet have brought audiences to their feet with exhilarating performances worldwide.
In December 2001, Ms. Carter became the first jazz artist and the first African-American to be chosen to play Paganini's famed Guarneri "Cannon" violin, in the city of Genoa, Italy,
where it resides under lock and key. She subse?quently went back to Genoa to employ the use of the Paganini violin for her latest recording, Paganini: After a Dream. In May 2002, she appeared in a special televised Boston Pops program, which featured her quintet as well as the world-premiere performance of Chris Brubeck's Interplay for three violinists, with Nadja Salerno-Sonnenberg, and Eileen Ivers.
Ms. Carter's early musical experiences in her hometown of Detroit, including her associ?ation as a member of the Detroit Civic Symphony Orchestra and the popfunk group Brainstorm, were seminal in shaping her dis?tinctive musical personality. Her influences range from R&B to East Indian, jazz, and classi?cal. As a college student, Ms. Carter took on a double major in classical music and African-American music studies at both the prestigious New England Conservatory in Boston and Oakland University in Rochester, Michigan, where she earned a Bachelor of Arts degree in Performance.
Ms. Carter has appeared with dozens of artists ranging from pop icons Aretha Franklin and Patti Labelle to legendary jazz pianist Kenny Barron and Pulitzer Prize-winning Wynton Marsalis. She has also recorded with some of the new divas in the R&B arena, including Mary J. Blige and Lauryn Hill.
Regina Carter
Just as prolific as her accomplishments on stage are Ms. Carter's performances on record. Regina has four recordings under her own name, two of which are on Atlantic Records: Regina Carter and Something For Grace. In 1998 she signed with Verve Records and the follow?ing spring, Rhythms of the Heart became her first release on the label. Her fourth CD, Motor City Moments, was released in September 2000 and is a tribute to the musical legacy of her hometown of Detroit. Freeall, a collaboration with pianist Kenny Barren, was released in 2001 and was nominated for a Grammy award.
Ms. Carter recently received the State of Michigan's esteemed 18th Annual Governor's Award for Arts and Culture.
This evening's performance marks Regina Carter's second appearance under UMS auspices. Ms. Carter made her UMS debut as violin soloist with the Lincoln Center Jazz Orchestra in a per?formance ofWynton Marsalis' Pulitzer Prize-winning oratorio Blood on the Fields in February 1997 in Hill Auditorium.
Recognized as one of jazz's pre-emi?nent vocalists, Dianne Reeves is one of the most significant singers to come into her own in the last decade. With her strong, agile voice, rhythmic virtuosity, and improvisational ease, Dianne Reeves was clearly born of jazz, but her singing draws upon a world of influ?ences. The nobility of her singing is rooted in her childhood. Born in Detroit and raised in Denver, Reeves lost her father when she was two, but the women in her family provided an unshakable sense of security and fortitude. Music was another family gift, and she studied piano in her childhood. Her father had been a singer; her mother played trumpet; and an uncle, Charles Burrell, worked as a bassist with the Colorado Symphony. Further inspiration came from cousin George Duke, the celebrated keyboardist, composer and arranger, who would later become her producer.
At 16-years-old, Ms. Reeves put her vocal training on display when she sang with her
high school band at a National Association of Jazz Educators convention in Chicago. One of the people who heard her was trumpeter Clark Terry, who invited Ms. Reeves to sing with vari?ous all-star groups and became the first in her long line of illustrious mentors. She later moved to Los Angeles in 1976, only to find that straight-ahead jazz singing was at a commercial low. Ms. Reeves began recording with the Latin fusion group Caldera and keyboardist Eddie del Barrio and an experimental jazz band led by pianist and arranger Billy Childs, with whom she has subsequently worked with for nearly 25 years.
A Blue Note Records recording artist, Ms. Reeves has recorded a total of 13 albums and has won two consecutive Grammy Awards. Her two latest releases pay tribute to her own musi?cal heritage as well as one of the greatest jazz singers. The Calling: Celebrating Sarah Vaughn pays homage to the esteemed jazz vocalist who originally inspired Ms. Reeves to pursue profes?sional singing. Also released in 2001 was The Best ofDianne Reeves, a 12-song collection that charts her ascent as one of jazz's most impor?tant vocalists.
In 2002, Dianne Reeves wove a spellbinding performance at the Winter Olympics Closing Ceremonies. She also appeared in the season finale of HBO's Sex and the City. In November 2002, Dianne was named Creative Chair for Jazz for the Los Angeles Philharmonic. Her lat?est album, A Little Moonlight, was recently nominated in the Best Jazz Vocal Category in the 46th Annual Grammy awards.
Dianne Reeves currently lives in Denver but spends much of her life performing to audiences around the globe.
This evening's performance marks Dianne Reeves' UMS debut.
Dianne Reeves
experience
the 125th ums season
January 2004
Sat 17 Hill Auditorium Celebration Sun 18 Orchestre Revolutionnaire et Romantique and The Monteverdi Choir Mon 19 Jazz Divas Summit: Dee Dee Bridgewater, Regina Carter & Dianne Reeves Fri 30 Emerson String Quartet Sat 31 Simon Shaheen and Qantara
February
Sum 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
March
Thur-Sun 4-7 Guthrie Theater: Othello
Fri-Sat 12-13 Merce Cunningham Dance Company
Sun 14 Kronos Quartet
Fri 19 An Evening with Ornette Coleman
Sat 20 Israel Philharmonic and Pinchas Zukerman, violin
Sun 21 Takacs Quartet
Thur 25 The Tallis Scholars
Sat 27 Jazz at Lincoln Center's Afro-Latin Jazz Orchestra
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 www.ums.org.
April
Thur 1 Lang Lang, piano
Fri-Sat 2-3 Lyon Opera Ballet: Philippe Decoufle's Trkodex
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
Fn 16 Girls Choir of Harlem
Sat 17 Orchestra Baobab Dance Party
Sun 18 Shoghaken Ensemble
Thur 22 Karita Mattila, soprano
Fri 23 ADDED EVENT! Cassandra Wilson and Peter Cincotti
Sat 24 DATE CHANGE! Rossetti String Quartet with Jean-Yves Thibaudet, piano
May
Sat 15 Ford Honors Program: Sweet Honey in the Rock
EDUCATION & AUDIENCE DEVELOPMENT
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 www.ums.org, e-mail umsed@umich.edu, or call 734.647.6712. Join the UMS E-Mail Club for regular reminders about educational events.
Artist Interviews
These in-depth interviews engage the leading art-makers of our time in conversations about their body of work, their upcoming perform?ance, and the process of creating work for the world stage.
Master Classes
Master classes are unique opportunities to see, hear, and feel the creation of an art form. Through participation andor observation, individuals gain insight into the process of art making and training.
Study Clubs
Led by local experts and educators, UMS Study Clubs offer audiences the opportunity to gain deeper understanding of a particular text, artist, or art form. The study clubs are designed to give the audience a greater appreciation of a specific subject matter within the context of the performance prior to attending the show.
PREPs and Lectures
Pre-performance talks (PREPs) and lectures prepare audiences for upcoming performances
Meet the Artists
Immediately following many performances, UMS engages the artist and audience in conve sation about the themes and meanings within the performance, as well as the creative process
Artists-in-Residence
Many artists remain in Michigan beyond their performances for short periods to deepen the connection to communities throughout the region. Artists teach, create, and meet with community groups, university units, and schools while in residence. For the 0304 sea?son, major residencies include Simon Shaheen Children of Uganda, Merce Cunningham, and Ornette Coleman.
UMS YOUTH, TEEN, AND
FAMILY EDUCATION
PROGRAM
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 www.ums.org, e-mail umsyouth@umich.edu, 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. Remaining events in the 0304 Youth Performance Series include:
Regina Carter and Quartet
Simon Shaheen and Qantara
Children of Uganda
Guthrie Theater: Shakespeare's Othello
(Clare Venables Youth Performance)
Girls Choir of Harlem
Educators who wish to be added to the youth performance mailing list should call 734.615.0122 or e-mail umsyouth@umich.edu,
Primary supporters of the Youth Education Program are:
A complete listing of Education Program supporters are listed at www.ums.org.
Teacher Workshop Series
As part of UMS's ongoing effort to incorporate the arts into the classroom, local and national arts educators lead in-depth teacher workshops designed to increase educators' facility to teach through and about the arts. UMS is in partner?ship with the Ann Arbor Public Schools as part of the Kennedy Center's Partners in Education Program. This year's Kennedy Center workshop series will feature a return engagement by noted workshop leader Sean Layne, who will lead two 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:
Arts Advocacy: You Make the Difference led by Lynda Berg
Music of the Arab World: An Introduction led by Simon Shaheen
Behind the Scenes: Children of Uganda led by Alexis Hefley and Frank Katoola
For information or to register for a workshop, please call 734.615.0122 or e-mail umsyouth@umich.edu.
Special Discounts for Teachers and Students to Public Performances
UMS offers group discounts to schools attend?ing evening and weekend performances not offered through our Youth Education Program. Please call the Group Sales Coordinator at 734.763.3100 for more information.
UMS Teen Ticket
UMS offers area teens the opportunity to attend performances at significantly reduced prices. For more information on how to access this program, call 734.615.0122 or e-mail umsyouth@umich.edu.
The Kennedy Center Partnership
UMS and the Ann Arbor Public Schools are members of the Kennedy Center Partners in Education Program. Selected because of its demonstrated commitment to the improve?ment of education in and through the arts, the partnership team participates in collaborative efforts to make the arts integral to education and creates professional development opportu?nities for educators.
Family Programming and Ann Arbor Family Days
These one-hour or full-length performances and activities are designed especially for children and families. UMS provides child-friendly, informa?tional materials prior to family performances.
Wild Swan Theater's The Firebird
Children of Uganda
Lyon Opera Ballet
Ann Arbor Family Days Saturday, April 3 and Sunday, April 4, 2004. Many Ann Arbor organi?zations are joining together to offer families a day of performances, master classes, workshop, and demonstrations. Watch for more informa?tion 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.
UMS Preferred Restaurant and Business Program
Join us in thanking these fine area restaurants and businesses for their generous support of UMS:
Amadeus Restaurant
122 East Washington -
665.8767
Blue Nile Restaurant
221 East Washington -
998.4746
The Chop House
322 South Main -
888.456.DINE
The Earle Restaurant
121 West Washington -
994.0211
Gratzi
326 South Main -
888.456.DINE
Great Harvest Bread
Company
2220 South Main 996.8890
La Dolce Vita
322 South Main-669.9977
Paesano's Restaurant
3411 Washtenaw 971.0484
Palio
347 South Main -
888.456.DINE
Real Seafood Company
341 South Main -
888.456.DINE
Red Hawk Bar & Grill
316 South State 994.4004
Schakolad
110 East Washington -
213.1700
Sweetwaters Cafe
123 West Washington -
769.2331
Weber's Restaurant
3050 Jackson 665.3636
Zanzibar
216 South State 994.7777
UMS Preferred Businesses
Format Framing and Gallery
1123 Broadway 996.9446
King's Keyboard House
2333 East Stadium -
663.3381
Parrish Fine Framing and Art
9 Nickels Arcade 761.8253
Schlanderer & Sons
208 South Main 662.0306
UMS Delicious Experiences
Back by popular demand, friends of UMS are offering a unique donation by hosting a variety of dining events to raise funds for our nationally recognized educational programs. Thanks to the generosity of the hosts, all proceeds from these delightful dinners go to support these important activities. Treat yourself, give a gift of tickets, or come alone and meet new people! For more information or to receive a brochure, call 734.936.6837 or visit UMS online at www.ums.org.
MSsupport
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.
ADVISORY COMMITTEE
The 58-member UMS Advisory Committee serves an important role within UMS. From ushering for our popular Youth Performances to coordinating annual fundraising events, such as the Ford Honors Program gala and "Delicious Experiences" dinners, to marketing Bravo!, UMS's award-winning cookbook, the Committee brings vital volunteer assistance and financial support to our ever-expanding educational programs. If you would like to become involved with this dynamic group, please call 734.647.8009.
SPONSORSHIP & ADVERTISING Advertising
When you advertise in the UMS program book you gain season-long visibility among ticket-buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to performance experience. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book.
Sponsorship
As a UMS corporate sponsor, your organization comes to the attention of an educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treas?ures, and also receive numerous benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
Enhancing corporate image
Cultivating clients
? Developing business-to-business relationships
? Targeting messages to specific demographic groups
? Making highly visible links with arts and education programs
? Recognizing employees
Showing appreciation for loyal customers
For more information, call 734.647.1176.
Internships & College Work-Study
Internships with UMS provide experience in performing arts administration, marketing, ticket sales, programming, production and arts education. Semesterand year-long unpaid internships are available in many of UMS's departments. For more information, please call 734.615.1444.
Students working for UMS as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, ticket sales, fundraising, arts education, arts programming and production. If you are a University of Michigan student who receives work-study financial aid and who is interested in working at UMS, please call 734.615.1444.
Ushers
Without the dedicated service of UMS's Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing pro?gram books and providing that personal touch which sets UMS events above others.
The UMS Usher Corps comprises over 300 individuals who volunteer their time to make your concert-going experience more pleasant and efficient. The all-volunteer group attends an orientation and training session each fall or winter. Ushers are responsible for working at every UMS performance in a specific venue for the entire concert season.
If you would like information about becoming a UMS volunteer usher, call the UMS usher hotline at 734.913.9696 or e-mail fohums@umich.edu.
SUPPORT FOR THE UNIVERSITY MUSICAL SOCIETY
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 December 1, 2003. Every effort has been made to ensure its accuracy. Please call 734.647.1175 with any errors or omissions.
UMS is PROUD to be
a MEMBER of the FOLLOWING ORGANIZATIONS
Ann Arbor Area Convention & Visitors Bureau
ArtServe Michigan
Association of Performing Arts Presenters Chamber Music America
International Society for the Performing Arts
Michigan Association of Community Arts Agencies
National Center for Nonprofit Boards State Street Association
SOLOISTS
$25,000 or more Mrs. Gardner Ackley Carl and Isabelle Brauer Hattie McOmber Randall and Mary Pittman Philip and Kathleen Power
MAESTROS
$10,000-$24,999
Ronnie and Sheila Cresswell
Robert and Pearson Macek
Paul and Ruth McCracken
Tom and Debby McMullen
Mrs. Robert E. Meredith
M. Haskell and Jan Barney Newman
Gilbert Omenn and Martha Darling
Prudence and Amnon Rosenthal
Ann and Clayton Wilhite
VIRTUOSI
$7,500-$9,999
Maurice and Linda Binkow
Barbara Everitt Bryant
Thomas and Marilou Capo
Dave and Pat Clyde
Ken and Penny Fischer
Beverley and Gerson Geltner
Don and Judy Dow Rumelhart
Lois and Jack Stegeman
Edward and Natalie Surovell
Marion T. Wirick and James N. Morgan
CONCERTMASTERS
$5,000-$7,499
Michael Allemang
Herb and Carol Amster
Emily W. Bandera, M.D. and Richard H. Shackson
Albert M. and Paula Berriz
Ralph G. Conger
Douglas D. Crary
Pauline and Jay J. De Lay
Molly Dobson
Jack and Alice Dobson
Mr. and Mrs. Thomas C. Evans
Friends of Hill Auditorium
David and Phyllis Herzig
Toni M. Hoover
Robert and Gloria Kerry
Leo and Kathy Legatski
Concertmasters, cottt.
Dr. and Mrs. Richard H. Lineback Charlotte McGeoch Julia S. Morris Charles H. Nave John Psarouthakis and Antigoni Kefalogiannis Mr. Gail W. Rector John and Dot Reed Maria and Rusty Restuccia Richard and Susan Rogel Loretta M. Skewes James and Nancy Stanley Susan B. Ullrich Dody Viola
PRODUCERS
$3,500-4,999
Kathy Benton and Robert Brown
Dr. Kathleen G. Charla
Katharine and Jon Cosovich
Mr. and Mrs. George W. Ford
Betty-Ann and Daniel Gilliland
Dr. Sid Gilman and Dr. Carol Barbour
Debbie and Norman Herbert
Keki and Alice Irani
Shirley Y. and Thomas E. Kauper
Lois A. Theis
Marina and Robert Whitman
LEADERS
$2,500-$3,499
Bob and Martha Ause
Essel and Menakka Bailey
Raymond and Janet Bernreuter
Edward and Mary Cady
Maurice and Margo Cohen
Mary Sue and Kenneth Coleman
Mr. Michael J. and Dr. Joan S. Crawford
Al Dodds
Jim and Patsy Donahey
David and Jo-Anna Featherman
Ilene H. Forsyth
Michael and Sara Frank
Sue and Carl Gingles
Linda and Richard Greene
Carl and Charlene Herstein
Janet Woods Hoobler
John and Patricia Huntington
David and Sally Kennedy
Connie and Tom Kinnear
Marc and Jill Lippman
Natalie Matovinovic
Judy and Roger Maugh
Susan McClanahan and
Bill Zimmerman Eleanor and Peter Pollack lim and Bonnie Reece Barbara A. Anderson and
John H. Romani Sue Schroeder Helen and George Siedel Steve and Cynny Spencer Don and Carol Van Curler Don and Toni Walker BJoseph and Mary White
PRINCIPALS
$1000-$2,499
Dr. and Mrs. Gerald Abrams
Jim and Barbara Adams
Bernard and Raquel Agranoff
Michael and Suzan Alexander
Dr. and Mrs. David G. Anderson
Rebecca Gepner Annis and Michael Annis
Jonathan W. T. Ayers
Lesli and Christopher Ballard
Dr. and Mrs. Robert Bartlett
Astrid B. Beck and David Noel Freedman
Ralph P. Beebc
Patrick and Maureen Belden
Harry and Betty Benford
Ruth Ann and Stuart J. Bergstein
Suzanne A. and Frederick J. Beutler
Joan Akers Binkow
John Blankley and Maureen Foley
Dr. and Mrs. Ronald Bogdasarian
Elizabeth and Giles G. Bole
Howard and Margaret Bond
Sue and Bob Bonfield
Charles and Linda Borgsdorf
Laurence and Grace Boxer
Dale and Nancy Briggs
William and Sandra Broucek
Jeanninc and Robert Buchanan
Robert and Victoria Buckler
Sue and Noel Buckner
Lawrence and Valerie Bullen
Laurie Burns
Mr. and Mrs. Richard J. Burstein
Letitia J. Byrd
Amy and Jim Byrne
Betty Byrne
Barbara and Albert Cain
Jean W. Campbell
Michael and Patricia Campbell
Carolyn M. Carty and Thomas H. Haug
Jean and Kenneth Casey
Janet and Bill Cassebaum
Anne Chase
James S. Chen
Janice A. Clark
Mr. and Mrs. John Alden Clark
Leon and Heidi Cohan
Hubert and Ellen Cohen
Nan and Bill Conlin
Jane Wilson Coon and A. Rees Midgley, Jr.
Anne and Howard Cooper
Susan and Arnold Coran
Paul N. Courant and Marta A. Manildi
George and Connie Cress
Kathleen J. Crispell and Thomas S. Porter
Julie F. and Peter D. Cummings
Richard J. Cunningham
Roderick and Mary Ann Daane
Peter and Susan Darrow
Lloyd and Genie Dethloff
Steve and Lori Director
Andrzej and Cynthia Dlugosz
Elizabeth A. Doman
John Dryden and Diana Raimi
Martin and Rosalie Edwards
Charles and Julia Eisendrath
Joan and Emil Engel
Bob and Chris Euritt
Dr. and Mrs. John A. Faulkner
Eric Fearon and Kathy Cho
Dede and Oscar Feldman
Yi-tsi M. and Albert Feuerwerker
Mrs. Gerald J. Fischer (Beth B.)
Bob and Sally Fleming
John and Esther Floyd
Marilyn G. Gallatin
Bernard and Enid Galler
Marilyn Tsao and Steve Gao
Thomas and Barbara Gelehrter
Beverly Gershowitz
William and Ruth Gilkey
Mr. and Mrs. Clement Gill
Mrs. Cozette T. Grabb
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 HofT
Carolyn Houston
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
Allen and Evie Lichter
Carolyn and Paul 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
Ernest and Adele McCarus
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
Melinda and Bob Morris
Brian and Jacqueline Morton
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
Principals, cont.
Margaret and lack Petersen Elaine and Bertram Pitt Richard and Mary Price leanne Raisler and Jon Cohn Donald H. Regan and
Elizabeth Axelson Ray and Ginny Reilly Bernard E. and Sandra Reisman 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 John and Reda Santinga Maya Savarino David and Marcia Schmidt Meeyung and
Charles R. Schmitter Mrs. Richard C. Schneider Rosalie and David Schottenfeld Steve and Jill Schwartz John I. H. Schwarz Erik and Carol Serr Janet and Michael Shatusky Carl P. Simon and Bobbi Low Frances U. and Scott K. Simonds Katharine B. and Philip Soper Uoyd and Ted St. Antoine Victor and Marlene Stoeffler Dr. and Mrs. Stanley Strasius Katharine Terrell and Jan Svejnar Virginia G. Tainsh Jim Toy Joyce A. Urba and
David J. Kinsella lack and Marilyn van der Velde Elly Wagner Florence S. Wagner Willes and Kathleen Weber Elise Weisbach Robert O. and
Darragh H. Weisman Dr. Steven W. Werns Marcy and Scott Westerman 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
BENEFACTORS
$500-$999
Dr. and Mrs. Robert G. Aldrich
Anastasios Alexiou
Christine Webb Alvey
David and Katie Andrea
Dr. and Mrs. Rudi Ansbacher
lanet and Arnold Aronofif
Emily Avers
Rowyn Baker
Robert L. Baird
Paulett Banks
M. A. Baranowski
Norman E. Barnett
Mason and Helen Barr
1S. Berlin
Ph
-j. ucnin Philip C. Berry leffrey Beyersdorf
Sara Billmann and Jeffrey Kuras Jerry and Dody Blackstone Donald and Roberta Blitz Tom and Cathie Bloem Jane Bloom, MD and
William L. Bloom Mr. and Mrs. Richard Boyce Dr. and Mrs. Ralph Bozell Susan Bozell Paul and Anna Bradley Joel Bregman and
Elaine Pomeranz June and Donald R. Brown Morton B. and Raya Brown Trudy and Jonathan Bulkley H. D. Cameron Bruce and Jean Carlson Edwin and Judith Carlson Jim and Priscilla Carlson Jack and Wendy Carman Cheryl Cassidy and
Richard Ginsburg Tsun and Siu Ying Chang Dr. Kyung and Young Cho Alice S. Cohen Lois and Avern Cohn Malcolm and Juanita Cox Sally A. Cushing Charles and Kathleen Davenport Marnee and John DeVine Lorenzo DiCarlo and
Sally Stegeman DiCarlo Mary E. Dwyer Jack and Betty Edman Judge and Mrs. S.). Elden Patricia Enns Elly and Harvey Falit John W. Farah DDS PhD Claudine Farrand and
Daniel Moerman Irene Fast
Sidney and Jean Fine Carol Finerman Clare M. Fingerle John and Karen Fischer Ray and Patricia Fitzgerald Jason I. Fox Dr. Ronald Freedman Harriet and Daniel Fusfeld Otto and Lourdes E. Gago Professor and
Mrs. David M. Gates Drs. Steve Geiringer and
Karen Bantel Jasper Gilbert Paul and Anne Glendon Jack and Kathleen Glezen Alvia G. Golden and
Carroll Smith-Rosenberg William and Sally Goshorn Jenny Graf
Dr. and Mrs. Lazar J. Greenfield Seymour D. Greenstone David and Kay Gugala Ken and Margaret Guire Don P. Haefner and
Cynthia J. Stewart Mr. and Mrs. Elmer F. Hamel Susan A. Hamilton Clifford and Alice Hart Sivana Heller J. Lawrence and
Jacqueline Stearns Henkel Kathy and Rudi Hentschel Herb and Dee Hildebrandt Mrs. W.A. Hiltner Sun-Chien and Betty Hsiao Mrs.V.C.Hubbs Ann D. Hungerman Thomas and Kathryn Huntzicker Eileen and Saul Hymans Jean Jacobson
Mark Jacobson
Elizabeth Jahn
Rebecca S. Jahn
Wallie and Janet Jeffries
Jim and Dale Jerome
Ben M. Johnson
Herbert and Jane M. Kaufer
Dr. and Mrs. Robert P. Kelch
John B. and Joanne Kennard
Emily Kennedy
Dr. David E. and
Heidi Castleman Klein Hermine R. Klingler Philip and Kathryn Klintworth Michael J. Kondziolka and
Mathias-Philippe Florent Badin Charles and Linda Koopmann Dr. and Mrs. Melvyn Korobkin Bert and Catherine La Du Ted and Wendy Lawrence Mr. John K. Lawrence Julaine E. Lc Due Mr. and Mrs. Fernando S. Leon Jacqueline H. Lewis E. Daniel and Kay Long Brigitte and Paul Maassen William Maddix Nicole Manvel Marilyn Mason Micheline Maynard Griff and Pat McDonald Bernice and Herman Merte Leo and Sally Miedler Myrna and Newell Miller Lisa Murray and Mike Gatti Gerry and Joanne Navarre Edward Nelson Eulalie Nohrden Kathleen I. Operhall Marysia Ostafin and
George Smillie Nicole Paoletti Ms. Chandrika S. Patel John Peckham Wallace and Barbara Prince Mrs. Gardner C. Quarton Mrs. Joseph S. Radom Ms. Claudia Rast Ms. Rossi Ray-Taylor Molly Resnik and John Martin Jay and Machree Robinson Dr. Susan M. Rose Mrs. Doris E. Rowan Lisa Rozek
James and Adrienne Rudolph Paul and Penny Schreiber Alicia Schuster Terry Shade
Howard and Aliza Shevrin George and Gladys Shirley Pat Shure
Robert and Elaine Sims Irma J. Sklcnar Herbert Sloan'
Donald C. and lean M. Smith Gus and Andrea Stager Curt and Gus Stager David and Ann Staiger 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. Townlev Joan Lowenstein and
[onathan Trobe Jeff and Lisa Tulin-Silvcr Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger Charlotte Van Curler
Raven Wallace Harvey and Robin Wax Lawrence A. Weis Raoul Weisman and
Ann Friedman Angela and Lyndon Welch Reverend Francis E. Williams Warren Williams Lawrence and Mary Wise David and April Wright Mayer and Joan Zald
ASSOCIATES
$250-$499
Jesus and Benjamin Acosta-Hughes
Michael and Marilyn Agin
Robert Ainsworth
Helen and David Aminoff
Douglas B. Anderson
Harlene and Henry Appelman
Jack and Jill Arnold
Jeff and Deborah Ash
Mr. and Mrs. Arthur J. Ashe, III
Dwight T. Ashley
Dan and Monica Atkins
Linda Bennett and Bob Bagramian
Laurence R. and Barbara K. Baker
Lisa and Jim 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
Lourdes Bastos Hansen
Tom and Judith Batay-Csorba
Francis J. and Lindsay Bateman
Mrs. Jere M. Bauer
Gary Beckman and Karla Taylor
Professor and Mrs. Erling
Blondal Bengtsson Dr. and Mrs. Ronald M. Benson Joan and Rodney Bentz Dr. Rosemary R. Berardi James A. Bergman and
Penelope Hommel Steven J. Bernstein and
Maria Herrero Dan and Irene Biber John E. Billi and Sheryl Hirach Roger and Polly Bookwalter Victoria C. Botek and
William M. Edwards Jim Botsford and
Janice Stevens Botsford William R. Brashear David and Sharon Brooks Dr. Frances E. Bull Susan and Oliver Cameron Valerie and Brent Carey Jeannette and Robert Carr Dr. and Mrs. Joseph C. Cerny Kwang and Soon Cho Reginald and Beverly Ciokajlo Brian and Cheryl Clarkson Harvey Colbert Wayne and Melinda Colquitt Merle and Mary Ann Crawford Peter C. and Lindy M. Cubba Mary R. and John G. Curtis Sunil and Merial Das Art and Lyn Powrie Davidge John and Jean Debbink Elena and Nicholas Delbanco Elizabeth Dexter Judy and Steve Dobson Thomas and Esther Donahue Cecilia and Allan Dreyfuss Elizabeth Duell
Associates, cont.
Dr. Alan S. Eiser
Sol and Judith Elkin
Janel Fain
Phil and Phyllis Fellin
Stephen and Ellyce Field
Dr. James F. Filgas
Susan FilipiakSwing City
Dance Studio Herschel Fink C Peter and Bev A. Fischer Gerald B. and Catherine L Fischer Dennis Flynn Paula L. Bockenstedt and
David A. Fox
Howard and Margaret Fox Betsy Foxman and
Michael Boehnke Lynn A. Freeland Richard and Joann Freethy Dr. Leon and Marcia Friedman Lela J. Fuester
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 James W. and Maria J. Gousseff Michael L. Gowing Maryanna and
Dr. William H. Graves III Bob Green
Ingrid and Sam Gregg Bill and Louise Gregory Raymond and Daphne M. Grew Werner H. Grilk John and Susan Halloran Tom Hammond Robert and Sonia Harris Naomi Gottlieb Harrison and
Theodore Harrison DDS Paul Hysen and Jeanne Harrison Jeannine and Gary Hayden Henry R. and Lucia Heinold Rose and John Henderson Dr. and Mrs. Keith S. Henley Peter Hinman and Elizabeth Young Louise Hodgson
Mr. and Mrs. William B. Holmes Dr. Ronald and Ann Holz Jane H. Hughes Marilyn C. Hunting Robert B. Ingling David Jahn Ellen C. Johnson Kent and Mary Johnson Paul and Olga Johnson Arthur A. Kaselemas Frank and Patricia Kennedy Donald F. and Mary A. Kiel Rhea Kish
Paul and Dana Kissner Steve and Shira Klein Laura Klem Jean and Arnold Kluge Thomas and Ruth Knoll John Koselka and Suzanne DeVine Bert and Geraldine Kruse Mrs. David A. Lanius Mr. and Mrs. Henry M. Lapeza Nea] and Anne Laurance Beth and George LaVoie lohn and Theresa Lee lim and Cathy Leonard Sue Leong
Myron and Bobbie Levine Ken and Jane Lieberthal Rod and Robin Little "'-Cheng and Hsi-Yen Liu Dr. Lennart H. Lofstrom
Naomi E. Lohr Ronald Longhofer and
Norma McKenna Florence LoPatin Jenifer and Robert Lowry Edward and Barbara Lynn Pamela). MacKintosh Melvin and Jean Manis James E. and Barbara Martin Margaret E. McCarthy Margaret and Harris McClamroch )ames M. Beck and
Robert J. McGranagKan Michael G. McGuire Nancy A. and Robert E. Meader George R. and Brigitte Merz Shirley and Bill Meyers Mr. and Mrs. Eugene Miller 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 Frederick C. Neidhardt and
Germaine Chipault Richard and Susan Nisbett Laura Nitzberg and Thomas Carli Arthur and Lynn Nusbaum Drs. Sujit and Uma Pandit William and Hedda Panzer Karen M. Park Joyce Phillips
Mr. and Mrs. Frederick R. Pickard Wayne Pickvet and Bruce Barrett Donald and Evonne Plantinga Bill and Diana Pratt Larry and Ann Preuss Leland and Eli2abeth Quackenbush Jim and leva Rasmussen Anthony L. Reffells and
Elaine A. Bennett Constance O. Rinehart Kathleen Roelofs Roberts Gay and George Rosenwald Mr. Haskell Rothstein Ina and Terry Sandalow Michael and Kimm Sarosi Mike Savitski
Dr. Stephen J. and Kim R. Saxe Frank J. Schauerte Mary A. Schieve Mrs. Harriet Selin Jean and Thomas Shope Hollis and Martha A. Showalter Alida and Gene Silverman Scott and Joan Singer Susan and Leonard Skerker John and Anne Griffin Sloan Tim and Marie Slottow Alene Smith Carl and Jari Smith Mrs. Robert W. Smith Dr. Elaine R. Soller Hugh and Anne Solomon Yoram and Eliana Sorokin Tom Sparks Jeffrey D. Spindler Allen and Mary Spivey Judy and Paul Spradlin Burnette Staebler Gary and Diane Stahle Rick and Lia Stevens James L. Stoddard Barbara and Donald Sugerman Brian and Lee Talbot Eva and Sam Taylor Edwin J. Thomas Bette M. Thompson Nigel and Jane Thompson Claire and Jerry Turcotte Mr. James R. Van Bochove
Hugo and Karla Vandersypen Marie Vogt
Harue and Tsuguyasu Wada Charles R. and
Barbara H. Wallgren Robert D. and Liina M. Wallin Carol Weber lohn Weber Deborah Webster and
George Miller Iris and Fred Whitehouse Leslie Clare Whitfield Professor Steven Whiting Cynthia and Roy Wilbanks Anne Marie and Robert J. Willis Lioyd and Lois Crabtree Beverly and Hadley Wine Charles Witke and Aileen Gatten Charlotte A. Wolfe Richard E. and Muriel Wong Al and Alma Wooll Frances A. Wright Don and Charlotte Wyche MaryGrace and Tom York
Corporate Fund
$100,000 and above Ford Motor Company Fund Forest Health Services
Corporation University of Michigan Pfizer Global Research and
Development: Ann Arbor
Laboratories
$20,000-$49,999 Bank of Ann Arbor Borders Group, Inc. DaimlerChrysler Foundation Kaydon Corporation KeyBank TIAA-CREF
$10,000-$19,999 Bank One
Brauer Investment Company CFI Group
Comerica Incorporated DTE Energy Foundation Edward Surovell Realtors McKinley Associates Sesi Lincoln Mercury Volvo Mazda
$5,000-$9,999 Albert Kahn Associates Ann Arbor Automotive Butzel Long Attorneys Crowne Plaza Elastizell Corporation
of America
MASCO Charitable Trust Miller Canfield Paddock
and Stone P.L.C. National City Bank Quinn EvansArchitects TCF Bank
Thomas B. McMullen
Company Total Travel Management
$l,000-$4,999
Arts at Michigan
Blue Nile
Bosart Financial Group
Charles Reinhart Company,
Realtors
Chase Manhattan Mortgage Conlin Travel Joseph Curtin Studios Lewis Jewelers ProQuest Republic Bancorp United Bank & Trust
$100-$999
ABN AMRO Mortgage Group,
Inc.
Adult Learning Institute Ayse's Courtyard Cafe Ann Arbor Builders Ann Arbor Commerce Bank Bed & Breakfast on Campus Bennett Optometry Bivouac
Burns Park Consulting Clark Professional Pharmacy Coffee Express Comcast
Edward Brothers, Inc. Garris, Garris, Garris &
Garris, P.C. Malloy Incorporated Michigan Critical Care
Consultants Rosebud Solutions Seaway Financial Agency
Wayne Milewski SeloShevel Gallery Swedish Women's Educational
Association
Foundation & Government Support
UMS gratefully acknowl?edges the support of the following foundations and government agencies:
$100,000 and above Association of Performing
Arts Presenters Arts
Partners Program Community Foundation for
Southeastern Michigan Doris Duke Charitable
Foundation The Ford Foundation JazzNet Michigan Council for Arts
and Cultural Affairs The Power Foundation
Foundation & Government Support, cont.
The Wallace Foundation The Whitney Fund
$50,0OO-$99,999 Anonymous
National Endowment for the Arts
$10,0OO-S49,999 Continental Harmony
$1,000-S9,999 Akers Foundation Altria Group, Inc. Arts Midwest Cairn Foundation Heartland Arts Fund The Lebensfeld Foundation Martin Family Foundation Maxine and Stuart Frankel
Foundation
Mid-America Arts Alliance The Molloy Foundation Montague Foundation THE MOSAIC FOUNDA?TION (of R. and P. Heydon)
Sams Ann Arbor Fund Vibrant of Ann Arbor
Tribute Gifts
Contributions have been received in honor andor memory of the following individuals:
H. Gardner Ackley
Herb and Carol Amster
Maurice Binkow
Tom and Laura Binkow
Mr and Mrs. Thomas Caterino
T. Earl Douglass
Robert Bruce Dunlap
Alice Kelsey Dunn
David Eklund
Kenneth C. Fischer
Dr. Beverley B. Geltner
Michael Gowing
Lila Green
Werner Grilk
Elizabeth E. Kennedy
Ted Kennedy, Jr.
Dr. Gloria Kerry
Alexandra Lofstrom
loyce Malm
Frederick N. McOmber
Evelyn P. Navarre
Phil and Kathy Power
Gwen and Emerson Powrie
Prof. Robert Putnam
Ruth Putnam
Mrs. Gail Rector
Steffi Reiss
Prue Rosenthal
Margaret E. Rothstein
Eric H. Rothstein
Nona R. Schneider
Ruth E. Schopmeyer
Prof. Wolfgang Stolper
Diana Stone Peters Peter C. Tainsh Dr. Isaac Thomas HI Clare Venables Francis V.Viola III Horace Warren Donald Whiting Peter Holderness Woods Barbara E. Young Elizabeth Yhouse
Burton Tower Society
The Burton Tower Society recognizes and honors those very special friends who have included VMS in their estate plans. VMS is grateful for this important support, which will continue the great traditions of artistic excellence, educational opportunities and community partnerships in future years.
Anonymous
Carol and Herb Amster
Dr. and Mrs. David G. Anderson
Mr. Neil P.Anderson
Catherine S. Arcure
Mr. Hilbert Beyer
Elizabeth Bishop
Mr. and Mrs. Pal E. Borondy
Carl and Isabelle Brauer
Barbara Everitt Bryant
Joanne A. Cage
Pat and George Chatas
Mr. and Mrs. John Alden Clark
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. WiJlard L Rodgers Prudence and Amnon Rosenthal Mr. Haskell Rothstein Irma 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 Vniversity Musical Society is secured in part by income
from UMS's endowment. UMS extends its deepest appreciation to the many donors who have established andor contributed to the following funds. H. Gardner Ackley
Endowment Fund Herbert S. and Carol Amster
Fund Catherine S. Arcure
Endowment Fund Carl and Isabelle Brauer
Endowment Fund Choral Union Fund Hal and Ann Davis
Endowment Fund Ottmar Eberbach Funds Epstein Endowment Fund JazzNet Endowment Fund William R. Kinney
Endowment Fund NEA Matching Fund Palmer Endowment Fund Mary R. Romig-deYoung
Music Appreciation Fund Charles A. Sink Memorial Fund Catherine S. ArcureHerbert
E. Sloan Endowment Fund University Musical Society
Endowment Fund
In-Kind Gifts
A-l Rentals, Inc.
Raquel and Bernard Agranoff
Alexandra's in Kerrytown
Amadeus Cafe
Ann Arbor Automotive
Ann Arbor An 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
Kathy Benton and Bob Brown
Bivouac
The Blue Nile Restaurant
Bodywise Therapeutic Massage
Mimi and Ron Bogdasarian
Borders Book and Music
Janice Stevens Botsford
Susan Bozcll
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 Daane
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 Farrell
Ken and Penny Fischer
Food Art
Sara Frank
The Gandy Dancer
Beverley and Gerson Geltner
Great Harvest Bread Company
Linda and Richard Greene
Nina Hauser
John's Pack & Ship
Steve and Mercy Kasle
Cindy Kellerman
Kerrytown Bistro
Kilwin's Chocolate Shoppe
King's Keyboard House
Kinko's Copies
Laky's Salon
Ray Lance
George and Beth Lavoie
LeDog
Leopold Bros. Of Ann Arbor
Richard LeSueur
Carl Lutkehaus
Doni Lystra
Mainstrcet Ventures
Ernest and Jeanne Merlanti
John Metzger
Michael Susanne Salon
Michigan Car Services, Inc. and
Airport Sedan, LTD Moe Sport Shops Inc. Robert and Melinda Morris Joanne Navarre Nicola's Books, Little Professor
Book Co.
Paesano's Restaurant Pfizer Global Research and
Development: Ann Arbor
Laboratories Preview Properties Produce Station Randy Parrish Fine Framing Red Hawk Bar & Grill Regrets Only Rightside Cellar Ritz Camera One Hour Photo Don and Judy Dow Rumelhart Safa Salon and Day Spa Salon Vertigo Rosalyn Sarvar Maya Savarino Penny and Paul Schreiber Shaman Drum Bookshop Loretta Skewes Dr. Elaine R. Soller Maureen Stoeffler STUDIOsixteen Two Sisters Gourmet Van Bovens
Washington Street Gallery Whole Foods Weber's Restaurant Zanzibar
UMS ADVERTISERS
29 16 Hands
14 Ann Arbor Symphony
Orchestra
25 Aquarian Age Media 14 Automated Resource
Management, Inc. 14 Bank of Ann Arbor
29 Bellanina Day Spa
25 Big George's Home Applicance
20 Bodman, Longley and Dahling, LLP
26 Butzel Long
25 Charles Reinhart Realtors
30 Chelsea Musical Celebrations
20 Comerica, Inc. 16 Dr. Regina Dailey
26 Dance Gallery Studio
40 Edward Surovell Realtors
40 Forest Health Services
20 Format Framing
28 Glacier Hills
19 Herman Thompson
Therapeutic Massage 42 Howard Cooper, Inc. 42 IATSE Local 395 37 In Touch Therapeutic
Massage
42 Jules Furniture 36 Kellogg Eye Center 26 Kerrytown Concert
House 38 Kerrytown Market
& Shops 46 Key Bank 16 King's Keyboard 5 Lewis Jewelers 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. 18 Washtenaw Woodwrights 38 WDET 46 WEMU 48 WGTE 44 WKAR 28 Zanzibar

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