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UMS Concert Program, Friday Jan. 30 To Feb. 14: University Musical Society: Winter 2004 - Friday Jan. 30 To Feb. 14 --

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University Musical Society
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Season: Winter 2004
University Of Michigan, Ann Arbor

University Musical Society
of the University of Michigan
Winter 2004 Season
125th ums season
university musical society
Winter 04 University of Michigan Ann Arbor
UMS leadership
tters from the Presiden ,
Letter from the Chair
Corporate Leaders Foundatio
UMS Board of Directors S--
Advisory Committee
UMS Staff Teacher Advisory Committee
General Information , -------
Gift Certificates
UMS History UMS Choral Union Venues Burton Memorial .
The 125th Winter UMS Season ,,
Education 8c Audience Development
UMS Preferred Restaurant 8c Business Program
Advisory Committe
Sponsorship 8c Adve____D
Internships 8c College Work-Study Ushers
UMS Advertisers
Frant Ctmr. Simon Shahwn, Guthrie Theater's Othello, Cecilia laitoli, Lyon Oera lallet dancers lack Ctven Dee Dee Iridgewater, Maestro Leopold Stokowski bows
he University of Michigan joins the ; University Musical Society (UMS) L 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. 1
Mary Sue Coleman
President, University of Michigan
. hank 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
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 i 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 jn 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 or call me at 734.647.1174.
Very best wishes,
Kenneth C. Fischer UMS President
le UMS 125th season continues with the opening of a newly renovated Hill i 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.
Prue Rosenthal !
Chair, UMS Board of Directors
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Sandra Ulsh
Vice President and Executive Director, Ford Motor Company Fund "Through music and the arts we are . inspired to broaden our horizons, bridg 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 J. 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
"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 jg 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 s "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.1
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 3. Malek
Community President, National City Bank "A commitment to quality is the main reason we are a proud supporter of the University Musical Society's efforts to bring the finest artists and special events to our community."
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."______
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
National Endowment for the Arts
$10,000 49,999
Continental Harmony ,
_. .'
S1.000 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 t of the University of Michigan 1
Prudence L. Rosenthal,
Chair Clayton Wilhite,
Vice-Chair Sally Stegeman DiCarlo,
Secretary Michael C. Allemang,
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
(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. Con-Jon Cosovich Douglas Crary Ronald M. Cresswell
Robert F. DiRomualdo lames 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 r
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 James L. Telfer Susan B. Ullrich Eileen Lappin Weiser Gilbert Whitaker B. Joseph White Marina v.N. Whitman Iva M. Wilson
Louise Townley, Chair Raquel Agranoff, Vice Chair Morrine Maltzman, Secretary Jeri Sawall, Treasurer
Barbara Bach Tracey Baetzel Paulctt 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 Jean 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 Lorctta Skewes Maryanne Telcse Dody Viola Wendy Woods Mary Kate Zelenock
AdministrationFinance Kenneth C. Fischer, President Elizabeth E. Jahn, Assistant to the
President John B. Kennard, Jr., Director of
Chandrika Pate), Senior Accountant John Peckham, Information Systems
Manager Alicia Schuster, Gift Processor
Choral Union
Jerry Blackstone, Interim Conductor
and Music Director Jason Harris, Associate Conductor Steven Lorenz, Assistant Conductor Kathleen Operhall, Chorus Manager Jean Schneider, Accompanist Donald Bryant, Conductor Emeritus
Susan McClanahan, Director Mary Dwyer, Manager of Corporate
Support Julaine LeDuc, Advisory Committee
and Events Coordinator Lisa Michiko Murray, Manager of
Foundation and Government Grants M. Joanne Navarre, Manager of
Annual Fund and Membership 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
MichaelJ. 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
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 lennie Salmon Christy Thomas Sean Walls Amy Weatherford Christine Won Chun
Noelle Butzlaff Jia Lim Claire Rice
President Emeritus
Gail W. Rector
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 JeffKass
Rosalie Koenig Sue Kohfeldt Laura Machida Ken McGraw Patty Meador Don Packard Susan Pollans Katie Ryan Julie Taylor
u MS services
Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for
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.
Please allow plenty of time for parking as the campus area may be congested. Parking is avail-1 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 I
each performance. There is a $10 fee for this service. UMS members at the Producer level and above are invited to use this service at no charge.
For up-to-date parking information, please visit the UMS website at
Refreshments are served in the lobby during intermissions of events in the Power Center and 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
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.
i 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.
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
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.
oin the thousands of savvy people who log onto each month!
Why should you log onto
In September, UMS launched a new web site, with more information that you can use:
Tickets. Forget about waiting in long ticket lines. Order your tickets to UMS performances online! You can find your specific seat location before you buy.
UMS E-Mail Club. You can join UMS's E-Mail Club, with information delivered directly to your inbox. Best of all, you can customize your account so that you only receive information you desire -including weekly e-mails, genre-specific event notices, encore information, 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.
hrough 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 jp 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.
hroughout its 125-year history, the UMS Choral Union has performed with many of the world's distin?guished orchestras and conductors.
__ Based in Ann Arbor under the aegis
of the University Musical Society, the 150-voice Choral Union is known for its definitive 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 or call 734.763.8997. ?JKSHSMyragggJKjgHK.
Hill Auditorium ''&?
fteran 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 W--:--??:? ??a.
he Power Center for the Performing Arts was bred from a realization that the University of Michigan had no adequate proscenium-stage theater for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was built to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities was mentioned "a new the?ater." The Powers were immediately interested, realizing that state and federal government were
unlikely to provide financial support for the construction of a new theater.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieves the seemingly contradictory combination of providing a soaring interior space with a unique level of intimacy. Architectural features include two large spiral staircases leading from the orchestra level to the balcony and the well-known mirrored glass panels on the exterior. 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
?he 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
y n exciting new era in EMU athletics was set in motion in the fall of 1998 with the opening of the $29.6-million Convocation Center. The Barton-Malow Company along with the architectural firm Rossetti Associates of BirminghamThe Argos Group began 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
een from miles away, Burton Memorial
Tower is one of the most well-known University of Michigan and Ann Arbor land?marks. Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet.
UMS administrative offices returned to 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-upticket 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.
of the University of Michigan, Ann Arbor
Winter 2004
125th Annual Season
Event Program Book
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 I 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, i 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.
Friday, January 30 through Saturday, February 14,2004
Emerson String Quartet
Friday, January 30, 8:00 pm Rackham Auditorium
Simon Shaheen and Qantara
Saturday, January 31,8:00 pm Michigan Theater
Michigan Chamber Players
Sunday, February 8, 6:00 pm Rackham Auditorium
Hilary Hahn
Thursday, February 12, 8:00pm Hill Auditorium f
Canadian Brass
Saturday, February 14, 8:00pm Hill Auditorium
Miller, Canfield, Paddock and Stone
Emerson String Quartet
Philip Setzer, Violin (1st in Haydn and Shostakovich) Eugene Drucker, Violin (1st in Beethoven) ---?? Lawrence Dutton, Viola ?
Franz Joseph Haydn
Dmitri Shostakovich
Friday Evening, January 30,2004 at 8:00 Rackham Auditorium Ann Arbor ael
String Quartet No. 68 in d minor. Op. 103, Hob. Ill: 83
(Unfinished) .;
Andante grazioso Menuetto ma non troppo presto
String Quartet No. 9 in E-flat Major, Op. 117
Moderato con moto 4
Allegretto ------
(Attacca: played without pause) .
. -. -
Ludwig van Beethoven
String Quartet in B-flat Major, Op. 130
Adagio ma non troppo; Allegro i4?? Presto
Andante con moto, ma non troppo Alia danza tedesca: Allegro assai ?, Cavatina: Adagio molto espressivo ;s
Grosse Fuge, Op. 133 j?
"-----1 Overtura il
t Fuga: Allegro -Meno mosso e moderato --
if Allegro molto e con brio -Meno mosso e moderato --
38th Performance of the 125th Annual Season
41st Annual Chamber Arts Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by Miller, Canfield, Paddock and Stone. Additional support provided by media sponsor WGTE 91.3 FM.
The Emerson String Quartet appears by arrangement with IMG Artists, New York, NY, and records exclusively for Deutsche Grammophon.
Large print programs are available upon request.
String Quartet No. 68 in d minor, Op. 103, Hob. Ill: 83
Franz Joseph Haydn
Born March 31, 1732 in Rolirau, Lower Austria
Died May 31, 1809 in Vienna
"Gone is all my strength, old and weak am I." Joseph Haydn had these words printed on his visiting card in 1803, as he had set them to music in the part-song "Der Greis" (The Old Man) some years earlier. He included this excerpt when he sent two movements of an unfinished string quartet to the publisher. He had come to the painful realization that he just didn't have the strength to compose the other two movements. jjj0""
In 1799, Haydn had begun work on a pro?jected set of six string quartets for Prince Franz Joseph Lobkowitz, a very prominent Viennese aristocrat who was an important patron of music. He only finished two quartets (these were eventually published as Op. 77) and then stopped -possibly because he had heard that his rebellious former student, Ludwig van Beethoven, was also working on a set of quar?tets for Lobkowitz (Beethoven's Op. 18). Four years later, now 71-years old and in declining health, Haydn tried to add a third quartet to the set, but he only managed the two middle move?ments -the "Andante" and the "Minuet." The more complex outer movements proved to be beyond his powers. After this fragment, Haydn wrote no more music until his death six years later.
For all this, the two extant movements of Haydn's last quartet do not show the slightest sign of the weakness of old age. Quite to the contrary, Haydn broke new ground in this work, continuing the bold path he had taken in the two quartets of Op. 77. More "modern" than the young Beethoven, he introduced com?plex modulations and extreme chromaticism that were far ahead of his time. The "Andante" takes a simple but highly expressive theme through a series of variations that have little in common with his earlier works in the same form. As he negotiates a true harmonic maze of distant key relationships, he transforms the
character of the theme almost beyond recogni?tion. Shortly before the end of the movement there is a passage that H.C. Robbins Landon, in his masterful five-volume biography of Haydn, calls "an almost heartbreaking moment when Haydn seems to bid farewell to music itself." The minuet is also unlike any other. The first eight bars already contain all 12 tones of the chromatic scale -and chromaticism (the inclusion of half-steps not normally part of a major or minor key) always spells drama and turmoil in music. The second half of the min?uet continues in this vein, with more harmonic surprises including one passage where Haydn comes astoundingly close to Wagner's famous Tristan chord! The Trio provides temporary relief with its major key, but even there, the principal phrase is irregular in length and utter?ly unpredictable. Haydn's last, unfinished quar?tet is a prophetic work that looks far into the future. The master quit composing before he let anything out of his hands that was unworthy of his genius.
Program note by Peter Laki.
String Quartet No. 9 in E-flat Major, Op. 117
Dmitri Shostakovich SwS8S?S!Sm-Born September 25, 1906 in St. Petersburg Died August 9, 1975 in Moscow
Shostakovich wrote 10 of his 15 string quartets after he turned 50 (in comparison, 10 of his 15 symphonies were written before he reached that age). With String Quartet No. 8 (1960), the 54-year-old composer created one of his most per?sonal works, often considered "autobiographi?cal" because of the many self-quotes it contains and the prominent use of the D-E-flat-C-B motive, which translates the composer's Germanized initials (D. Sch.) into musical tones. Four years after that landmark work, Shostakovich composed two more quartets (Nos. 9 and 10), and it is evident that the intense soul-searching of String Quartet No. 8
continues here. (Significantly, Shostakovich destroyed another quartet he had written between No. 8 and No. 9.)
The five movements of String Quartet No. 9 are played without a pause, and are connected by musical "bridges." These can be single notes held by one of the instruments, carrying over from one movement to the next, or else identi?cal motives at the end of one movement and at the beginning of the next. The overall form -a central scherzo flanked by two slow move?ments, all placed between an opening "Moderato" and a final "Allegro" -is symmet?rical, yet the overall feeling is hardly one of per?fect emotional balance. In fact, our sense of restlessness grows as the piece wears on: i between the trcwquillo opening and the fero?cious ending, the music passes through stages of despair, sarcasm, and violent drama, in typi?cal Shostakovichian fashion.
The first movement exemplifies a mood typ?ical of Shostakovich's later works that Alfred Schnittke once called "philosophical lyricism." A meandering violin melody, taken through many keys and harmonic contexts, is followed by a more rhythmical second idea. Both are woven together, rather than "developed" in a traditional way, to form a neutral background, after which the wrenching lament of the second movement has an even more powerful effect. The third movement is one of several Shostakovich scherzos where a theme, inten?tionally kept simple almost to the point of vul?garity, reaches extraordinary levels of emotional intensity. The trio section provides some relief, but is still characteristically ambivalent: it is hard to say whether it is an idyll, or a parody of one. Afterwards, we are soon plunged into new depths of despair with the "Adagio," where dra?matic pizzicato (plucked) chords, played by one instrument at a time, ultimately lead to a pow?erful tutti outburst. The finale is a ferocious danse macabre which, at its climax, recalls the most passionate moment of the previous move?ment. At the end, the theme of the scherzo returns, and the work ends with a restatement of this pithy but extremely expressive material.
The quartet is dedicated to Shostakovich's
third wife, Irina, whom the composer had mar?ried in 1962. After the death of his first wife and a short-lived, unsuccessful second marriage, Shostakovich had finally found the companion who would be at his side during years of increasing world celebrity and declining health.
Program note by Peter Laki. '
String Quartet in B-flat Major, Op. 130 with Grosse Fugue------------------------
Ludwig van Beethoven
Born December 15 or 16, 1770 in Bonn
Died March 26, 1827 in Vienna ?
At the premiere of Beethoven's String Quartet in B-flat Major, Op. 130, on March 21, 1826, the composer decided not to attend the perform?ance in person, and waited in a nearby tavern. When Karl Holz, the second violinist in the Schuppanzigh Quartet came to him to report on the work's reception, he told the composer that the audience insisted on encores for the second and fourth movements. Beethoven replied, "Yes, these delicacies! But why not the fugue" The Quartet's fugal finale had proven inscrutable to the performers and audience alike. Later, the publisher asked Beethoven to compose another finale more suited to the rest of the Quartet. He agreed, and the Quartet was published with this new finale the following year. The original ending was later published separately as the Grosse Fuge (Great Fugue), Op. 133. But in the process, Beethoven's original concept had been compromised. Separately, the revised Quartet and the Grosse Fuge are still monumental achievements, but when re-com?bined as the composer originally intended, they take on an even more impressive significance. The Op. 130 quartet is the last of the three quartets written for Prince Galitzin, though it was the second published. The two earlier quar?tets for Galitzin (Op. 127 and Op. 132) also had passages of fugal writing, so it's not surprising that the composer should have included a fugue in the last one. No one expected, though, that it would be so long and relentlessly complex, or
that it would come after an extra scherzo and slow movement had already been added to the quartet. The audience's lack of enthusiasm for the fugue at the work's premiere may simply have been a lack of patience. But the work has subsequently earned a reputation for requiring some extra effort or particular insight in order to be understood. While patience does help, Beethoven never intended his music to be intentionally difficult, and neither the quartet nor the fugue are beyond the comprehension of those willing to listen.
The first movement opens with an adagio, but it is not a slow introduction as such. Just after the allegro proper begins, the adagio returns, and the juxtaposition of two contrast?ing tempi (rather than contrasting motifs or keys) prove to be an essential aspect of the movement's musical argument. The tempo variations are especially prominent in the development section and the coda.
The "Presto" that follows is extremely short, though still a fully-fledged Scherzo and Trio in form, complete with a somewhat leisurely re-transition to the Scherzo. It shows Beethoven's wit and charm, and his facility for constructing cheerful dance-like music from repetitions of short melodic cells.
The third movement "Andante," neither slow nor fast, smoothly elides melancholy with naive mirth. Though the pulse is leisurely, the rhythms trip along lightly. This movement avoids the depths of emotion in which the composer occa?sionally indulged in his slow movements.
The second scherzo -a brief Alia danza tedesca (in the style of a German dance) -is a swaying, rhythmic Landler, with a central sec?tion that continues the rustic flavor. Originally intended for the Op. 132 quartet, it was trans?posed to G for this quartet: a key somewhat related to the tonic B-flat, but curiously distant from the D-flat of the preceding "Andante." At the return of the opening section, the melody is gradually fragmented measure by measure, but is quickly reconstituted before the final cadence.
The "Cavatina" is an example of Beethoven's "interior music:" intense, taciturn, but filled with an eloquence that verges on the spiritual.
fragmented main subject. For over 125 meas?ures of the fugue Beethoven does not drop below a relentless fortissimo dynamic level, with accents to add even more power to the wild music. Then suddenly the music quiets, the key changes, and another fugal episode, based on the subsidiary theme and the main subject ensues, all pianissimo. The third episode, faster in tempo, is based on a rhythmic transforma?tion of the main theme. Varied sections follow, all growing from the same material though reworked and refashioned into an amazing vari?ety of shapes and forms. The coda offers fleeting glimpses of the different subjects in a similar manner to the "Overtura" and then builds to still another climax and an abrupt ending.
Program note by Luke Howard and Melvin Berger.
cclaimed for its insightful perform?ances, brilliant artistry and technical mastery, the Emerson String Quartet is one of the world's fore?most chamber ensembles. The Quartet has amassed an impressive list of achievements: a brilliant series of recordings exclusively documented by Deutsche Grammophon since 1987, six Grammy Awards including two unprecedented honors for "Best Classical Album" and complete cycles of the Bartok, Beethoven, and Shostakovich string quartets performed in the major concert halls of the world. Today, the ensemble is lauded globally as a string quartet that approaches both classical and contemporary repertoire with equal mastery and enthusiasm.
The Quartet's current 0304 season contin?ues to showcase its penchant for inventive pro?gramming. The Emerson explores the bound?aries of spirituality in music with a three-con?cert series as part of Lincoln Center's Great Performers Series. Featured repertoire will be Haydn's Seven Last Words of Christ on the Cross and Bach's Art of the Fugue interwoven with the late Beethoven string quartets. The group par?ticipates in the opening festival of Carnegie
Hall's Zankel Hall with performances of Haydn, Rorem, and Dvorak. In addition to its active performance schedule in the major concert halls of North America, the Quartet embarks on two special tours: to Europe in the winter of 2004 with stops in Barcelona, Frankfurt, Manchester, Freiburg, Linz, and St. Gallen, fol?lowed by a tour to Asia in the spring of 2004 with concerts in Hong Kong, Taipei, Seoul, Singapore, and Kuala Lumpur. The quartet also celebrates its 25th consecutive season at the Smithsonian Institution in Washington, DC. This past summer audiences enjoyed its return to the Salzburg, Lucerne, and Schubertiade Festivals as well as Aspen, Tanglewood, and
Emerson String Quartet
Newark's Mostly Mozart. In the fall of 2002 the Emerson joined Stony Brook University as Quartet-in-Residence, coaching chamber music, giving master classes, and providing instrumental instruction. In addition to these duties they also perform several concerts dur?ing the year at Stony Brook's Staller Center for the Arts.
The Emerson has received six Grammy Awards; two for its Shostakovich cycle, two for its Bartok cycle, one for American Originals (works by Ives and Barber) and one for the complete quartets of Beethoven. The quartet's relationship with Deutsche Grammophon con-
tinues with Bach's Art of the Fugue (released in September 2003) and Haydn's Seven Last Words of Christ on the Cross slated for spring of 2004. Formed in 1976, the Emerson String Quartet took its name from the American poet and philosopher Ralph Waldo Emerson. Violinist Eugene Drucker and Philip Setzer alternate in the first chair position and are joined by violist Lawrence Dutton and cellist David Finckel. The Quartet is based in New York City. x$Mfi
Tonight's performance marks the Emerson String Quartet's 11th appearance under VMS auspices. The Quartet made their VMS debut in March 1989 and has made annual appearances in the UMS Chamber Arts Series since 1998.
Simon Shaheen and Qantara i
Simon Shaheen, Composer, Arranger, Oud, Violin
Bassam Saba, Nay, Flute
Najib Shaheen, 2nd Oud
William Shaheen, Violin vy
Thomas Bramerie, Contra Bass
Jamey Haddad, World Percussion ,
Antonio Escapa, World Percussion
with special guest musicians '?
Dhafer Tawil, Arabic Percussion
Brad Schoeppach, Acoustic and Electric Guitar
Billy Drewes, Soprano Saxophone
a and regional musicians
Abdel Karim Bader, Oud $MM'
John Sarweh, Qanun i
Saturday Evening, January 31, 2004 at 8:00 Michigan Theater Ann Arbor
Simon Shaheen s
Farid Al-Atrash
@@@@Instrumental Medley
Improvisation on the Qanun ,v
Saraab with Improvisation on the Nay -Olive Harvest with various improvisations
Raqsat Al-Jamal Al-Qantara
Arboresque I ________________
Mr. Karim Bader, Mr. Dlaikan, Mr. Sarweh UMS Commission and World Premiere
Blue Flame
Waving Sands (with Mijwiz Intro)
@@@@This project is made possible in part by a grant from the Association of Performing Arts Presenters Arts Partners Program, which is underwrit?ten by the Wallace Foundation and Doris Duke Charitable Foundation.
This project is also presented with support from the Whitney Fund.
Additional support is provided by the Heartland Arts Fund, a program of Arts Midwest funded by the National Endowment for the Arts with additional contributions from General Mills Foundation, Land O'Lakes Foundation, Sprint Corporation, and Michigan Council for Arts and Cultural Affairs.
Commissioning support is provided by the University of Michigan and by Continental Harmony. Continental Harmony links communities with composers through the creation of original musical works. The pro?gram is a partnership of American Composers Forum and the National Endowment for the Arts, with additional funds provided by the John S. & James L. Knight Foundation, Rockefeller Foundation, and from Marshall Field's Project Imagine with support from the Target Foundation.
UMS, as a proud partner with ACCESS, thanks Comerica Bank for its gift to support Fann Wa Tarab.
Additional support provided by media sponsors WEMU 89.1 FM and Metro Times.
Simon Shaheen and Qantara appear by arrangement with Dawn Elder Management and World Entertainment.
Large print programs are available upon request.
Dance Mediterranea
This piece evokes the sunny villages on either side of the Mediterranean and the glinting waters that connect them. The flute and violin weave around each other on the themes, while the improvisations are firmly rooted in the Arabic tradition, but still daring to venture into new territories of musical expression.
Instrumental Medley_____________
A saraab is a desert mirage, and the impression?istic playing here acts as a dulab, a short instru?mental introduction, establishing a mode and meditation mood, creating a ghostly, stately image fulfilled by the nay as it evokes the shift?ing mystery of the desert. . ,,,,
Olive Harvest
This folk melody, evocative of both the rural Levant and Turkey in its rhythm, brings to mind the women and men working in the olive groves during harvest, and dancing in celebra?tion at dusk in the center of the village.
Raqsat Al-Jamal
This is the dance of beauty, a captivating melody interweaving with moving Arabic rhythm allowing several improvisations on var?ious instruments such as the qanun, the oud, and the nay. .,,_
"Al-Qantara was among the first pieces of this kind that I wrote, in 1989," remembers Shaheen. Recording in Madrid, he visited the old town of Alcantara -whose name came from the Arabic al-Qantara, meaning "arch," which gives the band its name. The heavily rhythmic, Flamenco, Andalusian feel has its roots across the Mediterranean in North Africa, where the style originated before traveling to Spain. The drama and passion of the melody are purely Arabic, and Shaheen takes the oud to new horizons on some technically complex pas-
The title of a new piece Shaheen has composed to be premiered for tonight's concert. For this performance, Shaheen's group Qantara will be joined by accomplished Arab musicians from the Detroit metropolitan area, performing on a variety of Arabic instruments such as the qanun (zither), the oud, the nay, the mizmar (Arabic shawm), and the Mijwiz (double clarinet). This composition was made possible by a commis?sioning grant from the University Musical _, Society (UMS) and ACCESS. ?""
Blue Flame
The flame casts a shifting candlelight on several worlds, from the Middle East of the melody and taqasim, the Africa of the percussion, and the American jazz of the improvisations. It's also a showcase of Shaheen's fiery oud skills -from the bravura opening to the breathtaking central solo, which contrast with the lyrical middle theme.
Waving Sands
A joyful, rich tune, "Waving Sands had its gen?esis on Sahanah, the 1996 album Shaheen made with Indian vina player, Vishwa Mohan Bhatt, where the bright, rhythmic refrain was part of one of Shaheen's improvisations. Here it serves as the springboard for a series of celebratory solos by Qantara and members of the Near Eastern Music Ensemble.
escribed by the Village Voice as "one of the world's greatest musicians," master oud and violin player Simon Shaheen has taken his classical and Arabic music background and fused it with jazz, Latin, and global sounds to create something completely new and forward look?ing. After forming his fusion group Qantara, Shaheen has become highly regarded by music critics worldwide for forging new musical ter?rain. His latest album, Blue Flame, represents his latest explorations and mediations in the world of music making allowing him to tran?scend the boundaries of genre and geography. His work not only looks back on the history of Arabic music, but also continues to push for?ward, embracing many different styles in the process. This unique contribution to the world of arts was recognized in 1994 when Shaheen was honored with the prestigious National Heritage Award.
Mr. Shaheen is also one of the most signifi?cant Arab musicians, performers and com-
posers of his generation. In the 1990s he released four albums of his own and con?tributed music to the soundtracks for The Sheltering Sky and Malcolm X. He composed the soundtrack of the documentary For Everyone Everywhere. Broadcast globally in December 1998, this film celebrated the 50th anniversary of the United Nation's Human Rights Charter. He also wrote the music for the documentary of the British Museum's Egyptian collection, which is nearing the end of a three-year tour of US museums, with the documen?tary an integral part of the exhibit's introduc?tion for audiences.
Born in Tarshiha, Galilee, in 1955, Simon Shaheen grew up surrounded by music. His father, Hikmat Shaheen, was a professor of music and a master oud player. Mr. Shaheen began learning the instrument at the age of five, and a year later began studying violin at the Conservatory for Western Classical Music. After graduating from the Academy of Music in Jerusalem in 1978, he was appointed Instructor
Simon Shaheen
of Arabic music, performance and theory. He moved to New York City two years later to complete his graduate studies in performance at the Manhattan School of Music, and later in performance and music education at Columbia. Since 1994, Mr. Shaheen has produced the Annual Arab Festival of Arts, Mahrajan Al-Fan. Held in New York, the festival showcases a melody of the finest Arab artists, while present?ing the scope, depth and quality of Arabic cul?ture. In 1997, Mr. Shaheen founded the Annual Arabic Music Retreat. Held each summer at Mount Holyoke College, this weeklong inten?sive program of Arabic music studies draws participants across the US and the world.
Tonight's performance marks Simon Shaheen s UMS debut and marks the culmination of Mr. Shaheen s three-week residency in southeastern Michigan.
antara made their first live recording 1 debut on Mondo MelodiaARK21's Historic Live Recording of the Two Tenors of Arabic Music & Qantara, featuring the Tenors Wadi al Safi and Sabah Fahkri. The band, whose name means "arch" or "bridge" in Arabic, is Mr. Shaheen's vision of the unbridled fusion of Arabic, jazz, Western Classical and Latin music, a perfect alchemy meld where the music transcends the boundaries of genre and geography. The ensemble was featured on Mr. Shaheen's most recent recording, Blue Flame.
Tonight's performance marks Qantara's UMS debut. --"-------------------------
Abdul Karim Bader was born into a musical family in Beirut in 1921. His father was an orchestral conductor. Surrounded by musicians, as Abdul Karim was, it was easy for him to pick and choose between instruments and instruc?tors. At age 12, he became specifically interested in Arabic music and he began studying the oud and kamanjah. At age 21, Abdul Karim moved
to Baghdad where he found work as the orches?tra director for Radio Baghdad. In 1971 he decided to immigrate to the US after having visited here on several performing tours. Abdul Karim is one of the Detroit area's most respect?ed musical instructors, with a focus on the oud. He is currently performing several nights a week at LaShish in West Bloomfield. Mr. Bader resides in Southfield with his wife. (
Tonight's performance marks Abdul Karim Bader s UMS debut. ......
At an early age, Nadim Dlaikan defied his fam?ily's career expectations for him and devoted himself to the full-time study of music at the Beirut Conservatory, after which he became a professional musician. He traveled frequently throughout the Middle East as a part of Lebanon's best-known folk troupe, where he was exposed to the traditional music of several other Arab countries and met many leading musicians. Mr. Dlaikan was encouraged to move to the US by a member of the US diplo?matic corps who heard him play at an embassy party in 1967. He traveled with his group to New York and eventually settled in Detroit. Mr. Dlaikan is a highly sought after musician on the local, national, and South American concert circuit. He has performed with world music and jazz ensembles in and around the Detroit area, most notably, the Earth Island Orchestra. He is also the only nye maker in the US. In 1993, Mr. Dlaikan was awarded a Michigan Heritage Award and in 2002 traveled to Washington DC to receive the National Heritage Fellowship Award. He currently per?forms at LaShish Restaurant in West Bloomfield and continues to perform at concerts and par?ties. He resides in Southgate with his wife and two daughters.
Tonight's performance marks Nadim Dlaikan s UMS debut.
John Sarweh was raised into a musical family: his father was a renowned singer; his three brothers are all professional musicians.
Mr. Sarweh is a well-known composer, hav-
ing worked professionally with many singers from Egypt. After completing music school, he continued orchestration and harmony studies with Dr. Antony Freeman of the Boston ? Philharmonic Orchestra between 1959-62. Soon, Mr. Sarweh was hired at the Oriental Radio Orchestra as a qanun player, and shortly thereafter became the conductor of the Jordanian Radio Orchestra.
In 1962, Mr. Sarweh conducted at the renowned Jarash Festival and would direct the Jordanian Radio Orchestra in the score for the French film Ancient Wonders. In 1974, he moved to Canada with his family and played at the Montreal Olympics in 1976. After perform?ing around the world, Mr. Sarweh moved to the US in 1994.
Mr. Sarweh is also a highly regarded instru?ment maker. A special qanun was crafted for the Detroit Institute of Art. He is the only qanun maker in the US.
In 2003, Mr. Sarweh released The Beauty of the East, a CD featuring his own compositions. He is currently writing a new music method book on the Oriental Scale to aid his students and to keep the traditions of the music alive.
Tonight's performance marks John Sarweh's UMS debut.
Special thanks to the following individuals and organizations for their involvement in this residency:
Ismael Ahmed, Anan Ameri, Steve Heath, Greta Anderson, the Arab Community Center for Economic and Social Services (ACCESS), Joe Yunkman, Forte Media Productions, Patrick Murphy, Nancy Connell, UMTV, Judith Hommel, Maryam Barrie, Washtenaw Community College, Judith Becker, U-M Department of Musicology, Marya Ayyash, Michael Fahy, Marcia Inhorn, U-M Center for Middle Eastern and North African Studies, Marysia Ostafin, International Institute, Lester Monts, Elaine Sims, Krista Hopson, U-M University Hospital Gifts of Arts Program, Herb David, Nancy Lynn, Herb David Guitar Studio, Tim Grimes, Ann Arbor District Library, Mike Grace, Community High School, Amer Zahr, Cafe Oz, Steve Shipps, U-M School of Music Strings Division, U-M School of Music Composition Department, Aida Al Adawi, Marwan Nashef, and Judy Piazza. -----
Jeff Peters, Sound Engineer
Michigan Chamber Players
s Faculty Artists of the University of Michigan School of Music______
Suren Bagratuni, Cello ___?
Richard Beene, Bassoon Yehonatan Berick, Violin Luretta Bybee, Mezzo-soprano Timothy Cheek, Piano Soren Hermansson, French Horn Andrew Jennings, Violin
Martin Katz, Piano
Diana Lungu, Violin Fred Ormand, Clarinet Yizhak Schotten, Viola Martha Sheil, Soprano Steven Shipps, Violin Kathryn Votapek, Viola
Johannes Brahms
Leos Jandcek
Sunday, February 8, 2004 at 6:00 Rackham Auditorium Ann Arbor
Two Songs with Viola, Op. 91
Gestillte Sehnsucht Geistliches Wiegenlied L
i Bybee, Schotten, Katz ! Concertino for Piano and Chamber Ensemble
Moderato s
Piu mosso
Con moto '
Allegro .r.i.
Shipps, Jennings, Hermansson, Beene, Ormand, Cheek
Franz Schubert
Auf dem Strom, D. 943
s Sheil, Hermansson, Katz
String Quintet No. 2 in G Major, Op. Ill
Allegro non troppo, ma con brio Adagio .j'"? ?"" ?
Un poco allegretto '
Vivace ma non troppo
Berick, Lungu, Votapek, Schotten, Bagratuni
40th Performance of the 125th Annual Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Thanks to all of the U-M School of Music Faculty Artists for their ongoing commitment of time and energy to this special UMS performance.
Large print programs are available upon request.
Two Songs with Viola, Op. 91
Johannes Brahms 1
Born on May 7, 1833 in Hamburg, Germany
Died on April 3, 1897 in Vienna
Brahms' love of burnished mahogany has proven a godsend to any instrument that natu?rally produces such a shade. As a result, the repertoires for low voice and for viola have been wonderfully enriched with important pieces from his pen. The two viola sonatas from Opus 120 doubled that instrument's romantic chamber music overnight, and the Opus 53 Rhapsody for Alto, along with countless songs originally in low keys achieve the same for the vocal repertoire. In a letter to Clara Schumann, Brahms expressed great pride and affection for the aforesaid rhapsody and even more particu?larly for these two songs that we hear tonight, wherein both of these favored instruments join together. In Riickert's haunting poem of bitter?sweet yearning, Brahms has given the viola the role of the breeze, now restless, now serene, while the singer's broad and sweeping lines seek the peace so rarely found. The second song takes a childlike Christmas carol played by the viola as its inspiration. The form Brahms has chosen for this song traces the poem's architec?ture completely, as Mary moves from gentle lullaby to heated concern, from a glimpse into Jesus' future pain and finally back to the manger's domestic bliss. Throughout these songs, the piano provides a rich background for the two instruments, but never assumes a pro?tagonist's role.
Program note by Martin Katz.
Concertino for Piano and Chamber Ensemble
Leos Janacek
Born July 3, 1854 in Hukvaldy, Moravia,
Czechoslovakia Died August 12, 1928 in Moravskd Ostrava
Auf dem Strom (On the River), D. 943
Franz Schubert
Born January 31, 1797 in Vienna .-------
Died November 19, 1828 in Vienna
Schubert gave only one public concert of his works during his lifetime. It was held in Vienna on March 26, 1828. The event was an artistic and financial success, and he used the proceeds to celebrate at a local tavern, pay off old debts, acquire a new piano, and buy tickets for Nicolo Paganini's much-anticipated debut in Vienna three days later. Schubert's program included the first movement of his String Quartet in G Major (D. 887), the Piano Trio in E-flat (D. 929), the Schlachtgesang (Battle Song) for male chorus (D. 912), and a setting of Rellstab's "Auf dem Strom," which he composed specially for the event.
Ludwig Rellstab was a prominent music crit?ic in Berlin and a writer of high ambitions. In April 1825 he came to Vienna, hoping to con?vince Beethoven to set some of his poems, per?haps even one of his opera librettos. While Rellstab was ultimately unsuccessful with Beethoven -the composer never set a syllable of his poetry -he had better luck with Schubert, who set some of his last songs to Rellstab's poetry. "Auf dem Strom" was the first of Schubert's nine Rellstab settings, all com?posed within the final eight months of his life.
"Auf dem Strom" falls into 11 short, distinct sections. Six parts for horn and piano (an intro?duction, four interludes, and a coda) alternate with five sections for soprano, horn, and piano, corresponding to the stanzas of Rellstab's poem. (The soprano, however, repeats her final line in the coda.) Musicologist Rufus Hallmark has noted Schubert's indebtedness to Beethoven in this work. Most striking among the many connec?tions he raises is Schubert's quotation of the "Marcia funebre" from Beethoven's Symphony No. 3, heard in the setting of the second stanza. Hallmark suggests that Schubert's work may have a tribute to the memory of the older composer. Perhaps it was no coincidence, then, that the concert for which "Auf dem Strom" was written fell on the first anniversary of Beethoven's death.
Program note O1997 Richard E. Rodda.
String Quintet No. 2 in G Major, Op. Ill
Cellist Suren Bagratuni is Associate Professor of Violoncello at Michigan State University. He is the winner of the Silver Medal at the 1986 Tchaikovsky Competition. He received his Master of Music and Doctor of Musical Arts degrees from the Tchaikovsky State Conservatory in Moscow where he studied with Natalia Shakhovskaya. He is also the recipient of an Artist Diploma from the New England Conservatory in Boston where he studied with Laurence Lesser. His credentials include first prizes in several national and international competitions including the All-USSR Cello Competition and Premio Vittorio Gui in Italy. Dr. Bagratuni has held performances with all major orchestras of the former Soviet Union including the Moscow Philharmonic and the Armenian Philharmonic, as well as the Stuttgarter Kammerorchester, the Boston Pops Orchestra, L'Orchestre Jeune Philharmonic, the Weimar Staatskapelle, and the Symphony Orchestras of Chile, Guatemala, and the Dominican Republic. He is founder and director of the chamber music series "Cello Plus ...," a member of Nobilis, Artistic Advisor to the Niagara Falls International Music Festival, and co-founder of an international master class series in St. Moritz, Switzerland. He has record?ings on the Ongaku, Marco Polo, Russian Disc, CMH, and Melodiya (Russia) labels. Dr. Bagratuni has appeared on NHK TV (Japan) and has been featured on National Public Radio, CBC Radio Canada, WNYU (New York), and WGBH and WBUR (Boston). He is origi?nally from Yerevan, Armenia.
This evening's performance marks Suren Bagratuni's UMS debut.
Richard Beene is active as an orchestral player, soloist, chamber musician, and educator. He performs as principal bassoonist with the Toledo Symphony Orchestra, where he has also appeared numerous times as a soloist. He toured Europe in 1991 as solo bassoonist with the American Sinfonietta and toured Japan the following year as a featured soloist with the Colorado Music Festival. In 1994 he performed as a soloist at the Festival de Musique de St. Barthelemy in the French West Indies. Chamber music and recital engagements have taken him to New York's Merkin Concert Hall and to the Library of Congress in Washington, DC, as well as Germany, Switzerland, Italy, and Austria. He has been a featured recitalist at the annual con?vention of the International Double Reed Society. Summer festival engagements have included the Sunflower Music Festival in Kansas, the Basically Bach Festival in Anchorage, the Colorado Music
Festival, the Arkansas Music Festival, ______
Pennsylvania's Allegheny Music Festival, Washington's Centram Chamber Music Festival, and the Bellingham Festival of Music. He holds degrees from the University of Wisconsin and Baylor University and has served previously on the faculties of Michigan State University and Wichita State University.
This evening's performance marks Richard Beetle's 11th appearance under UMS auspices.
A prizewinner at the 1993 Naumburg competi?tion and a recipient of the 9697 Prix Opus, violinist Yehonatan Berick is in high demand as a soloist, recitalist, chamber musician, and pedagogue. He has performed under Yoav Talmi, Mendi Rodan, Kees Baakels, and Keith Lockhart, with the Quebec, Windsor, Jerusalem, and Haifa Symphonies, and the Israeli, Cincinnati, Montreal and Manitoba Chamber Orchestras. He has presented numerous recitals with pianists including James Tocco, Louis Lortie, Stephen Prutsman, and Michael Chertock, and he has collaborated in chamber music performances with David Soyer, Michael Tree, Peter Wiley, Stephen Isserlis, Wolfgang Meyer, James Campbell, and Julius Baker. Mr.
Berick's many festival credits include Marlboro, Ravinia, Seattle, Vancouver, Ottawa, Jerusalem, El Paso, Great Lakes, Leicester, Moritzburg, Lapland, Riihimaki, Strings in the Mountains, and Bowdoin. As a chamber musician, he has been featured at such music centers as London's Wigmore Hall, Paris' Musee du Louvre, Milan's Sala Verdi, New York's Carnegie Hall and Metropolitan Museum, Washington's Kennedy Center, Toronto's Glenn Gould Studio, and Quebec City's Palais Montcalm. On CD, Mr. Berick has recorded for the Summit, Gasparo, Acoma, JMC, and Helicon labels. Previously he has held the position of Professor of Violin at McGill University, as well as Visiting Professor of Violin at the Eastman School of Music. Mr. Berick started his musical education at the age of six. His violin teachers were Ilona Feher, Henry Meyer, Kurt Sassmanshauss, and Dorothy Delay. ;filiPSP
This evening's performance marks Yehonatan Berick's second appearance under UMS auspices.
International recognition came early in mezzo-soprano Luretta Bybee's career when she sang the title role in the world tour of Peter Brook's La Tragedie de Carmen. Bizet's heroine has since taken her around the US and abroad, including her debut at New York City Opera. She joined the Metropolitan Opera roster in 1998. Ms. Bybee's interpretations of Rossini characters have also garnered widespread acclaim. In addi?tion to her appearances as Isabella in L'ltaliana in Algeri at NYCO, she has sung the role in Cologne, Dublin, and at the Festival International de Santander. Last season she made her Frankfurt Opera debut in concert performances of Tancredi. She sang the role of Falliero in the American premiere of Bianca e Falliero in Miami as well as Farnace in Mozart's Mitridate, Re di Ponto at the Wexford Festival and in Queen Elizabeth Hall in London. The Verdi Requiem marked the mezzo's Carnegie Hall debut. She sang Bernstein's Songfest to open the 9697 season at the 92nd St. Y in New York, and again in 1998 with Seiji Ozawa at the Tanglewood Festival at the Leonard Bernstein celebration. Ms. Bybee made her Seattle opera
debut singing Princess Maria in Prokofiev's Wa and Peace, which was recorded on video on the Sony label. Lucretia in Britten's The Rape of Lucretia will mark her debut with L'Opera de Montreal this coming season, along with her Seattle Symphony debut singing the mezzo solos in Handel's Messiah. Xl-
This evening's performance marks Luretia Bybee UMS debut
Pianist Timothy Cheek joined the U-M faculty in 1994 following studies at Oberlin, the University of Texas at Austin, and Michigan. He served opera internships at the Teatro ?, Comunale in Florence, Italy, and at the National Theatre in Prague. His performances as a collaborative pianist have taken him to 12 countries, and have been heard on worldwide broadcasts, PBS, and Austrian television. Highlights of his work include engagements at the Ravinia Festival's Stearns Institute, the Santa Fe Opera, the International Institute for Chamber Music in Munich, the Mozart Opera Studies Institute in Austria, the Israel Vocal Arts Institute in Tel Aviv, and recitals in Hong Kong, and at the American Academy in Rome. Mr. Cheek has held several grants, including an Olivetti Foundation Grant to perform in Italy, a Fulbright award, and an IREX grant to conduct research in the Czech Republic which led to his book Singing in Czech: A Guide to Czech Lyric Diction and Vocal Repertoire published by ? ,-. Scarecrow Press.
This evenings performance marks Timothy Cheek's UMS debut. ----------
Soren Hermansson is internationally known as performer and recording artist. He has been highly active as an ensemble performer, first as member of Norrkoping Symphony Orchestra and Gothenburg Symphony Orchestra (Neeme Jarvi, conductor). Since 1988 he has devoted his time to his solo career and teaching. He has performed with many orchestras in Sweden, Finland, Denmark, and also in England, the US, and San Juan, Puerto Rico. As a chamber musi?cian, he has performed in France, Germany,
Switzerland, Netherlands, Schandinavia, U S and Brazil. He has commissioned and pre?miered considerable new repertory for horn, much of which is included on significant recordings that he has made to wide critical acclaim. Before joining the Michigan faculty in 1999, Mr Hermansson was a faculty member at the Ingesund College of Music, and at School of Music, Gothenburg University in Sweden. He has also taught as a guest at the Royal University College of Music in Stockholm, and he was Artist in Residence, guest professor at University of Wisconsin in 1993. He has also given several master classes at different univer?sities in the US. Mr Hermansson has also taught and performed during international summer courses in Sweden, Finland, Switzerland, France, Estonia, and at Banff, Canada. Since 1997 he has taught in summers at Curso Internacional de Verao, at Escola de Musica de Brasilia, Brazil.
This evening's performance marks Sb'ren Hermansson's fourth appearance under UMS auspices.
Andrew Jennings graduated from The Juilliard School. His principal teachers were Ivan Galamian, Alexander Schneider, Pamela Gearhart and Raphael Druian. He was a found?ing member of the Concord String Quartet, a new ensemble that quickly gained international recognition by winning the Naumberg Chamber Music Award in 1972 and also per?formed more than 1200 concerts throughout the US, Canada, and Europe. Specializing in the performance of new works (with an emphasis on American composers), this Quartet gave more than 50 premieres and commissions; it also performed the standard repertory and 32 cycles of the complete Beethoven quartets and made numerous recordings, three of which were nominated for Grammy Awards. Mr. Jennings maintained his association with this Quartet until it disbanded in 1987. The Concord Trio, which Mr. Jennings subsequently formed with Norman Fischer and Jeanne Kierman, debuted in 1993. Mr. Jennings's teach-
ing career began at Dartmouth College where members of the Concord Quartet were engaged as artists-in-residence from 1974 to 1987. Later he served on the faculty of Oberlin College. He currently devotes his summers to chamber music instruction at the Tanglewood Music Center in Massachusetts where he holds the Beatrice Proctor Master Teacher Chair and to the Musicorda School for Strings Holyoke Massachusetts. His recordings can be found on RCA, Nonesuch, Vox, Turnabout, Equilibrium, Danacord and MMO.
This evening's performance marks Andrew Jennings' 17th appearance under UMS auspices.
Martin KatZ, dubbed "dean of accompanists" by The Los Angeles Times, was the 1998 recipient of Musical America's "Accompanist of the Year" award. He regularly collaborates in recitals and on recordings with artists including Marilyn Home, Frederica von Stade, Kiri Te Kanawa, Kathleen Battle, Cecilia Bartoli, David Daniels, and Jose Carreras. Highlights of Mr. Katz's more than 30 years of concertizing with the world's most celebrated vocal soloists include innumerable recitals at Carnegie Hall, appear?ances at the Salzburg Festival, tours in Australia and Japan, and performances at La Scala, the Paris Opera, and the Edinburgh Festival. His concerts are frequently broadcast both nation?ally and internationally. His work has been recorded on the RCA, CBS, Cetra, BMG, EMI, Phillips, and Decca labels. The Metropolitan, Houston, and Ottawa operas have performed his editions of Baroque and bel canto operas of Handel, Vivaldi, and Rossini. At the University of Michigan, in addition to instruction in ensemble for pianists, Mr. Katz coaches singers, teaches vocal repertory, and is a frequent con?ductor of the School's opera productions. He is the Artur Schnabel Collegiate Professor of Music.
This evening's performance marks Martin Katz's 27th appearance under UMS auspices.
Violinist Diana Lungu completed a bachelor's degree in performance at the Gh. Dima Conservatory in Cluj, Romania, and a master's degree in performance from the University of Nevada, Las Vegas. She is now pursuing a doc?toral degree at the University of Michigan with Aaron Berofsky. Ms. Lungu has participated in various summer music festivals, including Sighisoara (Romania), Trossingen (Germany), Bratislava (Slovakia), and Brevard (US). Ms. Lungu has toured Europe as a member of the Trossingen International Orchestra and Transilvania Philharmonic, and she also served as concertmaster for two years with the UNLV Symphony Orchestra. I
This evening's performance marks Diana Lungn's UMS debut.
Clarinetist Fred Ormand has played with the Chicago, Cleveland, and Detroit symphony orchestras and has performed as a soloist with orchestras in the US, China, and Europe. He founded and has toured extensively with the Interlochen Arts Quintet and the Dusha Quartet. Formerly a faculty member at several leading American universities, he was visiting professor at the Shanghai Conservatory in 1988. In 1995 he gave master classes in England, Denmark, and Sweden. Since 1988 he has been a member of the summer faculty at the Music Academy of the West. From 1990 to 1992 Mr. Ormand served as president of the International Clarinet Association and is often invited to perform at the international confer?ences of this group. In recent years he has pub?lished editions of the music for winds of Amilcare Ponchielli. In 1996 he released a CD on Danacord Records titled Convegno, a pre?miere recording of Ponchielli's solo works for winds.
This evening's performance marks Fred Ormand s 14th appearance under UMS auspices.
Yizhak Schotten's solo appearances have included performances with conductors Seiji Ozawa, Thomas Schippers, Sergiu Commissiona, Joseph Swensen, and Arthur Fiedler. He has
concertized in Israel, Japan, Taiwan, Malaysia, Holland, Austria, Mexico, England, Canada, and throughout the US. He has appeared at Town Hall, Carnegie Hall, Merkin Hall, Jordan Hall, the Cleveland Museum of Art, the Library of Congress, and the Concertgebouw. Formerly a member of the Boston Symphony Orchestra, he subsequently became principal violist of the Cincinnati and Houston symphony orchestras. He is the music director of the Maui Chamber Music Festival, Strings in the Mountains Festival, and SpringFest in Ann Arbor. In 1997, he represented the US as a judge and performer at the Tertis International Viola Competition in England. Mr. Schotten was the Artistic Director of the XIV International Viola Congress and has been a featured artist at six other interna?tional Congresses. His CRI recording was cho?sen as "Critics' Choice" for three months in High Fidelity magazine. Pearl Records recently included his playing on its anthology History of the Recording of the World's Finest Violists. He has given recitals and master classes in England, at the Tertis International Competition, the Menuhin School, the Guildhall School of Music, and Royal College of Music. He has also given master classes in Israel at the Tel-Aviv and Jerusalem Academies of Music, and at the Sydney Conservatorium of Music in Australia.,
This evening's performance marks Yizhak
Schotten's 20th appearance under UMS auspices.
Soprano Martha Shell made her professional debut under Julius Rudel at the New York City Opera as the Contessa in Le Nozze di Figaro. She sang 15 major roles during her six years with that company, including the world pre?miere of Argento's Miss Havisham's Fire. Specializing in the heroines of Verdi, Puccini, and Mozart her recent performances have taken her to Atlanta, Cleveland, Los Angeles, Seattle, Hawaii, and the Kennedy Center. Her European debut was at the Stadttheater in Luzern, Switzerland; she has also performed at the Heidelberg Schloss-spiele. In 1988 she gave a series of master classes at the World Master Courses in Korea. Ms. Sheil was the winner of
the American Wagner Association Prize and the Minna-Kaufmann Ruud Competition. She studied at the Curtis Institute of Music where she received a bachelor of music in voice and the Artist Certificate in opera. She taught at the University of Iowa before joining the Michigan faculty.
This evening's performance marks Martha Sheil's third appearance under UMS auspices.
Violinist Stephen Shipps studied with Josef Gingold at Indiana University. He also studied with Ivan Galamian and Sally Thomas at the Meadowmount School and with Franco Gulli at the Academia Chigiana in Siena, Italy. He is a member of the Meadowmount Trio, a past member of the Fine Arts Quartet and the Amadeus Trio, and he has appeared as soloist with the symphony orchestras of Indianapolis, Dallas, Omaha, Seattle, and Ann Arbor, as well as the Piedmont Chamber Orchestra and the Madiera Bach Festival. He has been a member of the Cleveland Orchestra, associate concert-master of the Dallas Symphony and concert-master of the Dallas Opera, concertmaster and associate conductor of the Omaha Symphony and the Nebraska Sinfonia, and guest concert-master for the Seattle and Toledo symphony orchestras. Mr. Shipps has recorded for American Gramophone, Bay Cities, NPR, RIAS Berlin, Hessiche Rundfunk of Frankfurt, MelodiyaRussian Disc and Moscow Radio. His work on the Mannheim Steamroller Christmas albums has yielded a dozen gold and two plat?inum records. He has adjudicated major national and international competitions for almost two decades and is director of the American String Teachers Association National Solo Competition. Prior to joining the faculty in 1989 he served on the faculties of Indiana University, the North Carolina School of the Arts, and the Banff Centre in Canada.
This evening's performance marks Stephen Shipps' 13th appearance under UMS auspices.
A native of East Lansing, Michigan, violist Kathryn Votapek has been a member of the Chester String Quartet since 1990. In residence at Indiana University and as an associate pro?fessor of violin, Ms. Votapek has attended pres?tigious music festivals including the Stearns Young Artists Institute at Ravinia and the Tanglewood Music Center. As a guest artist, she performed with the Chicago Chamber Musicians and the Speedside Festival in Canada. Ms. Votapek received degrees from Indiana University under Franco Gulli and from The Juilliard School under Robert Mann.
This evening's performance marks Kathryn Votapek's third appearance under UMS auspices.
Hilary Hahn
Natalie Zhu, Piano
Thursday Evening, February 12, 2004 at 8:00 Hill Auditorium Ann Arbor
WolfgangAmadeus Mozart Sonata for Violin and Piano in G Major, K. 301
Allegro con spirito
Johann Sebastian Bach
Partita No. 2 in d minor, BWV 1004
Courante [
! Sarabande
Gigue !
I Ciaccona '!
Ernest Bloch
Sonata for Violin and Piano No. 1
Agitato j ---------
; Molto quieto
: Moderato T
Sonata for Violin and Piano in A Major, K. 526
: Molto Allegro Andante Presto I
This performance is sponsored by Pfizer Global Research and Development, Ann Arbor Laboratories.
Special thanks to Dr. David Canter of Pfizer Global Research and Development, Ann Arbor Laboratories for his generous support of the University Musical Society.
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 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.
The Steinway piano used in this evening's performance is made possible by -William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan. M
Hilary Hahn appears by arrangement with IMG Artists, New York, NY. jSfHiS;
Natalie Zhu appears by arrangement with William Reinert Associates, Inc., New York, NY.
Large print programs are available upon request.
Forest Health Services presents the 125th Annual Choral Union Series.
Sonata for Violin and Piano in G Major, K. 301 ___________"
Wolfgang Amadeus Mozart
Born January 27, 1756 in Salzburg, Austria T
Died December 5, 1791 in Vienna : '"
The history of the classical violin sonata is largely a history of how the role of the violin increased to the point where it became the piano's absolute equal. The first sonatas Mozart wrote as a child were (following the norms of the 1760s) essentially solo works where the vio?lin played a relatively unimportant part (in some cases one could leave it out completely and the piano part could stand on its own). This situation changed gradually over the next couple of decades: in Mozart's K. 301, from the first set of violin sonatas he wrote as an adult, the piano is still the leader. In K. 526, nine years later, the equality of the two instruments is complete.
The earlier of the two sonatas belongs to a set of six written in 1778. The cycle was begun in Mannheim, where Mozart was enjoying the company of some of the finest musicians of the time, and completed in Paris later in the year. The present sonata was the first in the set, and like all its companions except one, has only two movements.
The memorable opening melody of the first movement is introduced first by the violin and only later by the piano. Later the piano is allowed to indulge in a short virtuosic solo while the violin is holding a long note, but in general, the two partners evenly share most themes. Another interesting feature of the movement is an energetic unison theme that appears several times in different forms, inter?rupting, time and time again, the abundant lyrical flow of the music.
The second movement is an ingenious com?bination of a minuet and a rondo. The opening idea has the gait of a dance but incorporates more thematic development than one would normally encounter in a minuet. After a central section in the minor mode, the first section returns in its entirety, followed by a coda where
both instruments play, in unison, a striking melodic idea containing a rather unusual drop of a major seventh.
Partita No. 2 in d minor, BWV 1004
Johann Sebastian Bach j
Born March 21, 1685 in Eisenach Died July 28, 1750 in Leipzig
Johann Sebastian Bach was not the first to write unaccompanied 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 lav?ished on it in the three sonatas and three parti?tas written at Kothen around 1720. The Six Solos, as Bach called them, were copied into one of the most beautiful Bach autographs known today (there are several facsimile editions avail?able).
Although best known in his own day as a virtuoso organist, Bach was also a professional-level violinist. His first job -for a few months in 1703, when he was 18-years old -was actu?ally as a violin player in Weimar. Bach was therefore intimately familiar with the technique of the instrument, and in his unaccompanied violin works he demonstrated that knowledge by offering a true encyclopedia of Baroque vio?lin playing.
The partitas are sets of dances whose sequence differs from case to case. Partita in d minor retains the basic "Allemande" -"Courante" "Sarabande" "Gigue" ordering; it ends with the famous and unique "Ciaccona." Each of the first four movements is cast in a large binary form, where each half is repeated, as usually happens in dances. The specific types of rhythmic motion associated with the indi?vidual dance forms remain unchanged throughout the movements, while the har?monies (implied or made explicit through mul?tiple stops) are tremendously diversified. Many musical characteristics of the third-movement "Sarabande" (rhythm, multiple stops) antici-
ate the final "Ciaccona," Bach's single longest nstrumental movement. The "Ciaccona" [(which is often performed by itself without the Test of the partita) stands out even among Bach's works as an unusual work of genius. A chaconne is a set of variations on a descending bass line -a genre that was often used in ?_, Baroque music, though never on such a grandiose scale or with such breadth of expres?sion as here. The four-note descending line is repeated no fewer than 64 times. The variations are arranged in a large three-part structure with an extended major-key area as a contrasting middle section. A wide array of violin tech?niques (including multiple stops, scales, and arpeggios) are used to individualize the varia?tions, and passages of primarily rhythmical and primarily melodic interest alternate with one another throughout the "Ciaccona." At the end of the piece, the eight-bar theme returns in its original form.
onata for Violin and Piano No. 1
rnest Bloch orn July 24, 1880 in Geneva, Switzerland Jiedjuly 15, 1959 in Portland, Oregon
Western music was at a crossroads in the years after World War I. The 19th-century antago?nism of Brahms and Wagner was dwarfed by what seemed a much deeper gulf between the serialist Schoenberg and Stravinsky, the Russian nationalist turned cosmopolitan neo-classicist. Others sought artistic renewal in folklore like Bart6k, in a "new objectivity" like Hindemith, or in a total rejection of all traditional tech?niques like Edgard Varese.
Ernest Bloch's course was different from all of the above. He did not develop a rational sys?tem on which to base his music, and remained a Romantic at heart. Yet his Romanticism has nothing nostalgic or backward looking about it, and retains the passion of the greatest 19th-century Romantics while using an early 20th-century harmonic idiom, harsher than that of he preceding era. He was deeply committed to
his Jewish roots; his best-known work, Schelomo, is part of a cycle exploring his her?itage. Despite this, he rarely used traditional Jewish melodies in his work. A native French speaker who received an important part of his education in Germany and then lived for many years in the US, he followed a unique path; he could never be imitated and his influence on younger composers was negligible. A "voice crying in the wilderness" if ever there was one in music, he remains, in many ways, an elusive figure.
The first of his two sonatas for violin -the instrument he used to play as a young man -is a case in point. This is music burning with red-hot intensity from start to finish; every sin?gle measure seems to be a matter of life and death. Early reviewers evoked fanciful visual imagery to convey the unusual moods in the sonata: Paul Rosenfeld, in his Musical Chronicle C1917-1923), spoke of "the titanic, virulent and incommensurable forces upon whose breast man lies tiny and impotent," and then proceed?ed to develop this idea of a fateful struggle over eight pages.
The work begins with an almost brutal osti-nato theme; the violin groans and shrieks as the piano provides a dark background with its vir-tuosic arpeggios. At one point, the complexity of the rhythm demands separate barlines in the violin and piano parts. The tension is main?tained even in the slower and more introspec?tive passages that eventually yield to a return of the agitated opening material.
The second movement begins "Molto qui-eto," with a muted violin melody against the misterioso harmonies of the piano. Yet the vol?ume and the tempo soon begin to increase; before long, the mute comes off and another powerful dramatic outburst occurs. The climac?tic moment exudes unspeakable despair, but the music finally calms down and returns to its ini?tial state, with the mute being used again and the piano conjuring up a magical, dream-like atmosphere.
The final movement is another enormous show of force, beginning as a vision of some horrific power marching relentlessly onward,
and continuing with an eerie violin theme played not only with mute but sulponticello (near the bridge, resulting in a special sound color). The ostinatos of the first movement return to add even more momentum but then, surprisingly, all the tension dissipates and the sonata, which has taken us on such a turbulent journey, finds a peaceful resolution. The last sonority of the work is a pure E-Major chord played pianissimo.
This sonata, begun in New York City, was completed in Ohio after Bloch moved to Cleveland to become the founding director of the Institute of Music. In March 1921, Paul Kochanski and Arthur Rubinstein performed it in New York City.
There is a wealth of gorgeous melodies, but the violin melody of the central episode, in the Romantic key of f-sharp minor, stands out by its noble passion and intense cantabile (singing) character. Then the virtuoso runs return and dominate the music to the end.
According to Neal Zaslaw, one of the leading Mozart authorities of our time, this finale was based on a sonata by Carl Friedrich Abel, a composer and gamba player famous in his own day, whom Mozart had met as a child in London. Zaslaw thinks it could be a tribute to the older man, who died on June 20, 1787, two months before this sonata was written.
Program notes by Peter Laki.
Sonata for Violin and Piano in A Major, K. 526
Perhaps the most technically demanding of all the Mozart violin sonatas, this work appears in the Kochel catalog immediately before Don Giovanni (K. 527). The outer movements are characterized by a level of rhythmic energy rarely seen in Mozart. The opening theme of the first movement has only fast eighth-notes in it, and it is not long before 16th-notes appear in both the violin and piano parts. Once they do, they remain a constant component in the lively musical texture -except in the development section, which maintains the momentum in a different way: the eighth-notes of the main theme are developed in imitation, which means that there is not a single moment when we don't hear that insistent pulse.
The second-movement "Andante" offers a brief respite. It is an exquisitely lyrical dialog between the two instruments, lavishly orna?mented and full of emotionally charged har?monic changes. The Dutch musicologist Marius Flothuis sensed "a strong foretaste of the world of Franz Schubert" in this music.
In the "Presto" finale, the mad rush starts again. The piano part is virtually a perpetual motion, but the violin doesn't stay far behind.
t the age of 23, Grammy Award-win?ning violinist Hilary Hahn has
established herself as one of the most accomplished and compelling artists . on the international concert circuit. Named "America's Best" young classical musi?cian by Time Magazine in 2001, she appears regularly with the world's great orchestras in _ Europe, Asia, and North America.
Highlights of Ms. Hahn's current season include recital debuts at the Kennedy Center in Washington DC, Disney Hall in Los Angeles, and the Kimmel Center in Philadelphia; a three-week debut tour of New Zealand with the New Zealand Symphony; and additional recitals that take her from Ann Arbor to Valencia. Other concerts include appearances and record?ings with the London Symphony Orchestra. In Europe, Ms. Hahn tours Germany and the Netherlands with the Penderecki Orchestra.
Ms. Hahn records exclusively for Deutsche Grammophon. Her first album on that label, released in September 2003, features four violin concertos by Bach. In recent years, prior to signing with Deutsche Grammophon, Ms. Hahn made five recordings for Sony Classical. Her first album won Diapason's 1997 "d'Or of the Year." Her next recording brought her first Grammy nomination, as well as a second Diapason "d'Or," the Echo Klassik award for 1999, and Gramophone magazine's "CD of the
Hilary Hahn
Month"; and her third album won the Deutsche Schallplattenpreis and the Cannes Classical Award. Her 2001 recording of the concertos of Brahms and Stravinsky won a Grammy Award as well as Gramophone's "Editor's Choice," and became Ms. Hahn's fourth consecutive classical bestseller.
Admitted to Philadelphia's Curtis Institute of Music in 1990 at the age of 10, Hilary Hahn made her major orchestra debut a year-and-a-half later with the Baltimore Symphony Orchestra. Her 1993 Philadelphia Orchestra debut was followed by engagements with the Cleveland Orchestra, New York Philharmonic, and the Pittsburgh Symphony Orchestra. In 1996, Ms. Hahn com?pleted the graduation requirements for her bache?lor's degree at Curtis, signed an exclusive record?ing contract with Sony Classical, and made her Carnegie Hall debut in New York as soloist with the Philadelphia Orchestra.
Alongside her solo work, Ms. Hahn has long been interested in chamber music. Nearly every summer since 1992, she has appeared at the Skaneateles Chamber Music Festival, perform?ing both as chamber musician and as soloist with the festival orchestra. Between 1995 and 2000, she spent four summers studying and performing chamber music at the Marlboro Music Festival in Vermont, and from 1996 to 1998, she was an artist-member of the chamber music mentoring program of the Chamber Music Society of Lincoln Center. She now appears regularly with the Society as a guest artist. -"--
Tonight's recital marks Hilary Hahn's UMS debut.
Photo: Kasskara
he recipient of both the 2003 Avery Fisher Career Grant and the Andrew Wolf Chamber Music Award, pianist Natalie Zhu is a winner of Astral Artistic Services' 1998 National Audit?ions. A subsequent recital was later broadcast on National Public Radio's Performance Today. Ms. Zhu has performed throughout North America, Europe, and China as a soloist, recital-ist, and chamber musician.
Natalie Zhu has been the recipient of fl numerous awards including the grand prize in the both the 1988 and 1989 Young Keyboard Artists Association Competition. She was the first prizewinner in the Johanna Hodges Piano Concerto Competition in 1988 and 1991, hav?ing also received its 1991 Concert Series Award. In 1994, she was the top prizewinner in the first China International Piano Competition. An active chamber musician, she is a frequent soloist at the Amelia Island Festival and has appeared at both the Great Lakes Music and Marlboro Music Festivals. In the year 2000 she
was a renow at trie Tanglewood Music Festival.
Ms. Zhu began her piano studies with Xiao-Cheng Liu at the age of six in her native China I and made her first pub-1 lie appearance at age_____
Natalie 2hu nine in Beijing. At 11
she emigrated with her family to Los Angeles, and by 15 was enrolled at the Curtis Institute of Music where she received the prestigious a
Rachmaninoff Award while studying with Gary Graffman. In 2001 she joined the Curtis faculty as staff pianist. Natalie Zhu received a Masters of Music degree from the Yale School of Music where she studied with Claude Frank. SB--
Tonight's recital marks Natalie Zhu's UMS debut
Hilary Hahn records exclusively for Deutsche Grammophon and has albums available on Sony Classical.
KeyBank and McDonald
Investments, Inc.
David and
Martha Krehbiel
Girolamo Frescobaldi, Arr. Fred Mills
George Frideric Handel, Arr. Mills
Canadian Brass
Josef Burgstaller, Trumpet Stuart Laughton, Trumpet Jeff Nelsen, French Horn Eugene Watts, Trombone Charles Daellenbach, Tuba
Saturday Evening, February 14, 2004 at 8:00 Hill Auditorium Ann Arbor
Suite from Water Music
Allegro maestoso ;[-----
Giovanni Gabrieli, Arr. Mills
Canzona No. 5
Wolfgang Amadeus Mozart, Rondo Arr. Mills
I. s. BachAntonio Vivaldi, Concerto in G Major for Piccolo Trumpet
Arr. Mills
Music Arr. by Luther Hendersoti
A Celebration of Luther Henderson
An. ChristopherDedrick Glenn Miller Songbook
3g"Moonlight Serenade -String of Pearls -Danny Boy --
Michael Kamen
Georges Bizet, Arr. Mills
Highlights from Carmen
Overture ' Habanera Interlude
Seguidilla ?
Toreadors' Song
42nd Performance of the 125th Annual Season
Ninth Annual ?? Favorites Series
The photographing or sound recording of this concert or possession of any device for such photo?graphing or sound record?ing is prohibited.
This performance is sponsored by KeyBank and McDonald Investments, Inc
Additional support is provided by David Krehbiel in honor of Martha's Valentine birthday.
Additional support is provided by media sponsor Observer & Eccentric Newspapers. ' : is the official website of the Canadian Brass.
Canadian Brass perform on 24-karat gold-plated Yamaha instruments.
Canadian Brass may be heard on the Sony, BMG, Universal, and CB Collection labels. .....
Canadian Brass appear by arrangement with ICM Artists, Large print programs are available upon request.
, he five virtuosi of the Canadian Brass have made the brass quintet an exciting vehicle for serious concert music.
The Canadian Brass has a long his?tory of recording classical repertoire, 'hey have a special affinity for Baroque music, rhich showcases the brilliance of execution and uent command of musical structure that have ecome Canadian Brass trademarks. Their lore than 50 recordings include works by urcell, Vivaldi, Gabrieli, Pachelbel, Beethoven, nd Wagner, in meticulously crafted transcrip-ions that have created a new musical tradition n brass performance. They are especially Irawn to the works of J. S. Bach, most recently laving recorded The Goldberg Variations on the tCA Victor label. They have recorded Bach's amed Toccata and Fugue in d minor several imes and it is perhaps their most popular con-:ert work.
The Canadian Brass sprang from modest ind highly experimental roots in Toronto, Jntario, in 1970. The brass quintet was not hen established as a "serious" concert ensem-)le. Thanks to their pioneer status, the Canadian Brass developed a unique character d rapport with audiences that proved highly uccessful. The Canadian Brass have mastered a vide range of concert presentations, from for-nal classical programs to music accompanied
by lively dialogue and theatrical effects.
The five musicians spend most of their time on tour and have performed with major sym?phony orchestras internationally. They have gained a large international following for their solo performances, which offer a large variety of musical styles. Having started with the very limited base of traditional works for brass, the Canadian Brass set out to create their own musical world by transcribing, arranging, and commissioning more than 200 works. They not only present works in the classical repertoire but also take daring leaps into jazz, contempo?rary concert music, and popular songs.
All of the members of the Canadian Brass are keenly interested in training the next gener?ation of players. During their tours around the world, they often pause for master classes. They are brass quintet-in-residence at the University of Toronto and chamber quintet-in-residence at the Music Academy of the West in Santa Barbara, California. They have been invited by the Canadian Government to play for visiting heads of states on numerous official occasions.
Tonight's performance marks the Canadian Brass' 11th appearance under UMS auspices. The Canadian Brass were honored with the UMS Distinguished Artist Award at the 1999 Ford Honors Program in Hill Auditorium.
Canadian Brass
the 125th urns season
Sat 17 Sun 18
Mon 19
Fri 30 Sat 31
Thur-Sun 4-7
Fri-Sat 12-13
Sun 14
Fri 19
Sflf 20
Sun 21
TTiwr 25
Sflf 27
January 2004
Hill Auditorium Celebration Orchestre Revolutionnaire et Romantique and The Monteverdi Choir Jazz Divas Summit: Dee Dee Bridgewater, Regina Carter & Dianne Reeves Emerson String Quartet Simon Shaheen and Qantara
i lease note that a complete i listing of all UMS Educa1 al programs is conveniently Ited within the concert proi gram section of your program and is posted on th website at www.urn
Michigan Chamber Players (free admission) Hilary Hahn, violin ,
Canadian Brass Valentine's Day Concert Children of Uganda Cecilia Bartoli, mezzo-soprano, and Orchestra of the Age of Enlightenment
Guthrie Theater: Othello
Merce Cunningham Dance Company
Kronos Quartet
An Evening with Ornette Coleman
Israel Philharmonic and Pinchas Zukerman, violin
Takacs Quartet
The Tallis Scholars .Jgj
Jazz at Lincoln Center's Afro-Latin Jazz Orchestra

Thur 1 Lang Lang, piano
Fri-Sat 2-3 Lyon Opera Ballet: Philippe Decoufl?'s Tricodex
Sat 3 Lyon Opera Ballet One-Hour Family Performance
Thur 8 William Bolcom's Songs of Innocence and of Experience
Thur 15 Alfred Brendel, piano .,??:?.??? j__________?? ?
Fri 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
_[' Saf 24 DATE CHANGE! Rossetti String Quartet with Jean-Yves Thibaudet, piano
onsidered one of the top performing arts educational programs in the ? country, UMS strives to illuminate the performing arts through education and community engagement, offering audiences a multitude of opportunities to make con?nections and deepen their understanding of the arts.
UMS Community Education Program
The following activities enlighten and inform audiences about the artists, art forms, ideas, and cultures presented by UMS. Details about specific 0304 educational activities will be announced one month prior to the event. For more information about adult education or community events, please visit the website at, e-mail, or call 734.647.6712. Join the UMS E-Mail Club for regular reminders about educational events.
Artist Interviews
These in-depth interviews engage the leading art-makers of our time in conversations about their body of work, their upcoming perform?ance, and the process of creating work for the world stage.
Master Classes
Master classes are unique opportunities to see, hear, and feel the creation of an art form. Through participation andor observation, individuals gain insight into the process of art making and training.
Study Clubs
Led by local experts and educators, UMS Study Clubs offer audiences the opportunity to gain deeper understanding of a particular text, artist, or art form. The study clubs are designed to give the audience a greater appreciation of a specific subject matter within the context of the performance prior to attending the show.
PREPs and Lectures
Pre-performance talks (PREPs) and lectures prepare audiences for upcoming performances.
Meet the Artists w
Immediately following many performances, 1 UMS engages the artist and audience in conver?sation about the themes and meanings within the performance, as well as the creative process.
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. .......
MS has a special commitment to educat?ing the next generation. A number of programs are offered for K-12 students, educators, and families to further develop understanding and exposure to the arts. For information about the Youth, Teen, and Family Education Program, visit the website at, e-mail, or call 734.615.0122.
Youth Performance Series
Designed to enhance the K-12 curriculum, UMS Youth Performances cover the full spec?trum of world-class dance, music, and theater. Schools attending youth performances receive UMS's nationally recognized study materials that connect the performance to the classroom curriculum. 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,
Primary supporters of the Youth Education Program are:
A complete listing of Education Program supporters are listed at
Teacher Workshop Series
As part of UMS's ongoing effort to incorporate the arts into the classroom, local and national arts educators lead in-depth teacher workshops designed to increase educators' facility to teach through and about the arts. UMS is in partner?ship with the Ann Arbor Public Schools as part of the Kennedy Center's Partners in Education Program. This year's Kennedy Center workshop series will feature a return engagement by noted workshop leader Sean Layne, who will lead two
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 : ____
Special Discounts for Teachers and Students to Public Performances
UMS offers group discounts to schools attend?ing evening and weekend performances not offered through our Youth Education Program. Please call the Group Sales Coordinator at 734.763.3100 for more information.
UMS Teen Ticket
UMS offers area teens the opportunity to attend performances at significantly reduced prices. For more information on how to access this program, call 734.615.0122 or e-mail
The Kennedy Center Partnership
UMS and the Ann Arbor Public Schools are members of the Kennedy Center Partners in Education Program. Selected because of its demonstrated commitment to the improve?ment of education in and through the arts, the partnership team participates in collaborative efforts to make the arts integral to education and creates professional development opportu nities for educators.
Family Programming and Ann Arbor Family Days
These one-hour or full-length performances and activities are designed especially for children and families. UMS provides child-friendly, informa?tional materials prior to family performances.
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 -
Blue Nile Restaurant
221 East Washington:
The Chop House
322 South Main 1
888.456.DINE '
The Earle Restaurant
121 West Washington -
Gratzi !
326 South Main -
Great Harvest Bread
2220 South Main 996.8890
La Dolce Vita
322 South Main 669.9977
Paesano's Restaurant
3411 Washtenaw 971.0484
347 South Main -
Real Seafood Company
341 South Main -
Red Hawk Bar & Grill
316 South State 994.4004
110 East Washington -
Sweetwaters Cafe
123 West Washington -
Weber's Restaurant
3050 Jackson 665.3636
216 South State 994.7777
UMS Preferred Businesses Format Framing and Gallery 1123 Broadway 996.9446 King's Keyboard House 2333 East Stadium -
Parrish Fine Framing and Art 9 Nickels Arcade 761.8253 Schlanderer & Sons 208 South Main 662.0306
UMS Delicious Experiences i
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
Cast Yourself in a Starring ple
(Become a Member of the University Musical Society
he exciting programs described in this program book are made possible by the generous support of UMS mem?bers--dedicated friends who value the arts in our community and step forward each year to provide finan?cial support. Ticket revenue covers only 56 of the costs associated with presenting our season of vibrant performances and related educational programs. UMS mem?bers--through their generous annu?al contributions--help make up the difference. In return, members receive a wide variety of exciting benefits, including the opportunity to purchase tickets prior to public sale.
For more information on member?ship, please call the Development Office at 734.647.1175. To join now, please complete the form
printed at the bottom of this page.
Presenter's Circle
? $25,000 Soloist ($150)
For information about this v membership group, call the Development Officeat7.Vl.M7.1175.
? $10,000-524,999 Maestro ($150)
Virtuoso benefits, plus:
Opportunity to be a concert or supporting sponsor for a selected performance
G $7,500-$9,999 Virtuoso ($150)
Concertmaster benefits, plus:
Guest of UMS Board at a special thank-you event
O $5,000-S7,499 Concertmaster ($ 150)
Producer benefits, plus:
Opportunity to be a concert sponsor or supporting sponsor for a selected performance
Opportunity to meet artist backstage as guest of UMS president
Q $3,500-$4,999 Producer ($150)
Leader benefits, plus:
Opportunity to be a supporting sponsor for a selected performance
Complimentary valet parking for Choral Union Series performances at UM venues
? Invitation to selected Audience Development youth performances
LJ S2.50O-S3.499 Leader ($85)
Principal benefits, plus:
Opportunity to purchase prime scats up lo 48 hours before performance (subject (o availability)
? Complimentary parking passes for all UMS concerts at UM venues
G 51,000-52,499 Principal ($55)
Benefactor benefits, plus:
Ten complimentary one-night parking passes for UMS concerts
Priority subscription handling
Invitation to all Presenters Circle
LI 5500-5999 Benefactor
Associate benefits, plus:
Invitation to one working rehearsal (subject to artist approval)
Half-price tickets to selected performances
G 5250-5499 Associate
Advocate benefits, plus:
listing in UMS Program
G $100-5249 Advocate
UMS Card, providing discounts at Ann Arbor restaurants, music stores and shops
Advance notice of performances
Advance ticket sales
Denotes non-tax deductible portion ofgifi-
me member online t www.ums.oij.
(Pnnt names ewctty as you wish them to appear in UMS listings)
Comments or Questions
Please make checks payable to University Musical Society
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Send gifts to: University Musical Society, 881 N. University, Ann Arbor, MI 48109-1011
MS volunteers are an integral part of the success of our organization. ?? There are many areas in which ? volunteers can lend their expertise
___ and enthusiasm. We would like to
welcome you to the UMS family and involve you in our exciting programming and activities. We rely on volunteers for a vast array of activi?ties, including staffing the education residency a activities, assisting in artist services and mailings, escorting students for our popular youth per?formances and a host of other projects. Call 734.936.6837 to request more information.
he 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.
Internships & College Work-Study
Internships with UMS provide experience in performing arts administration, marketing, ticket sales, programming, production and arts education. Semesterand year-long unpaid , internships are available in many of UMS's departments. For more information, please call 734.615.1444.
Students working for UMS as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, ticket sales, fundraising, arts education, arts programming and production. If you are a University of Michigan student who receives work-study financial aid and who is interested in working at UMS, please call 734.615.1444.
Without the dedicated service of UMS's Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing pro?gram books and providing that personal touch which sets UMS events above others.
The UMS Usher Corps comprises over 300 individuals who volunteer their time to make your concert-going experience more pleasant and efficient. The all-volunteer group attends an orientation and training session each fall or winter. Ushers are responsible for working at every UMS performance in a specific venue for the entire concert season.
If you would like information about becoming a UMS volunteer usher, call the UMS usher hotline at 734.913.9696 or e-mail
his performance--and all o UMS's nationally recognize artistic and educational irograms--would not be possible ithout the generous support of lie community. UMS gratefully lowledges the following individ-ls, businesses, foundations and ;overnment agencies -and those "ho wish to remain anonymous -nd extends its deepest gratitude or their support. This list includes
rrent donors as of December 1, :003. Every effort has been made ensure its accuracy. Please call 47.1175 with any errors or-
$25,000 or more Mrs. Gardner Ackley Carl and Isabelle Brauer Hattie McOmber Randall and Mary Pittman Philip and Kathleen Power
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
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
$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
Dr. and Mrs. Richard H. Lineback Charlotte McGeoch Julia S. Morris Charles H. Nave John Psarouthakis t
and Antigoni Kefalogiannis Mr. Gail W. Rector
John and Dot Reed Maria and Rusty Restuccia Richard and Susan Rogel Loretta M. Skevves James and Nancy Stanley Susan B. Ullrich
Dody Viola
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 i
Bob and Martha Ause
Essel and Menakka Bailey
Raymond and Janet Bernreuter j
Edward and Mary Cady y
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' Jim 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 B. Joseph and Mary White
Dr. and Mrs. Gerald Abrams
fim and Barbara Adams
Bernard and Raquel AgranofT
Michael and Suzan Alexander
Dr. and Mrs. David G. Anderson
Rebecca Gepner Annis and Michael Annis
Jonathan W. T. Ayers ,
Lcsli and Christopher Ballard
Dr. and Mrs. Robert Bartlett
Astrid B. Beck and David Noel Freedman
Ralph P. Becbe
Patrick and Maureen Belden
Harry and Betty Benford
Ruth Ann and Stuart J. Bcrgstein
Suzanne A. and Frederick J. Bcutler
loan 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 j
William and Sandra Broucek
Jeannine and Robert Buchanan
Robert and Victoria Buckler '
Sue and Noel Buckner
Lawrence and Valerie Bullcn .._?..,.
Laurie Burns
Mr. and Mrs. Richard J. Burstein
Letitia J. Byrd
Amy and Jim Byrne 3
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 Co ran
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 Mar)' Ann Daane
Peter and Susan Darrow
Lloyd and Genie Dethloff
Steve and Lori Director :--------:'.'."'}
Andrzej and Cynthia Dlugosz
Elizabeth A. Doman
John Dry den and Diana Raimi
Martin and Rosalie Edwards
Charles and Julia Eisendrath
Joan and Emil Engel Jl
Bob and Chris Euritt
Dr. and Mrs. John A. Faulkner
Eric Fearon and Kathy Cho
Dede and Oscar Feldman
Yi-tsi M. and Albert Feucrwerker
Mrs. Gerald J. Fischer (Beth B.)
Bob and Sally Fleming
John and Esther Floyd
cK. ...-
Marilyn G. Gal I at in
Bernard and Enid Gallcr
Marilyn Tsao and Steve Gao
Thomas and Barbara Gelchrter
Beverly Gershowitz j
William and Ruth Gilkey
Mr. and Mrs. Clement Gill ,
Mrs. CozetteT. 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 Guldbcrg
Martin D. and Connie D. Harris _..?
Julian and Diane Hoff 4HP$I5
Carolyn Houston KaKfiB.'
Robert M. and Joan F. Howe
Drs. Linda Samuelson and Joel Howcll
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 I
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 ). and Carolyn Dana Lewis
Allen and Evie Lichter
Carolyn and Paul Lichter
Daniel Little and Bernadettc Lintz
Lawrence and Rebecca Lohr
Leslie and Susan Loomans
Mark and Jennifer LoPatin
Richard and Stephanie Lord j
Lawrence N. Lup, DDS
John and Cheryl MacKrcll
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 Georgians Sanders
Rebecca McGowan and Michael B. Staebler
Ted and Barbara Meadows
Henry D. Messer Carl A. House
Andy and Candice Mitchell
Thercse M. Molloy
Lester and Jeanne Monts jZEKI
Alan and Sheila Morgan ffvvl
Jane and Kenneth Moriarty i'yi
Melinda and Bob Morris 3BSfii3J!
Brian and Jacqueline Morton
Martin Neulicp 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 1 Dory and John D. Paul I
Margaret and Jack Peterscn Elaine and Bertram Pitt Richard and Mary Price Icanne Raisler and Jon Cohn Donald H. Regan and
Elizabeth Axelson Ray and Ginny Reilly Bernard E. and Sandra Reisman Kennelh 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 Rcda Santinga Maya Savarino David and Marcia Schmidt Mecyung and
Charles R. Schmitter Mrs. Richard C. Schneider Rosalie and David Schottenfeld Steve and Jill Schwartz John J. 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 y Lloyd and Ted St. Antoinc Victor and Marlene Stocffler Dr. and Mrs. Stanley Strasius Katharine Terrell and Jan Svejnar Virginia G. Tainsh Jim Toy Joyce A. Urba and
David J. Kinsella Jack and Marilyn van der Velde Elly Wagner {
Florence S. Wagner Wiltes and Kathleen Weber Elise Weisbach Robert O. and
Darragh H. Weisman Dr. Steven W. Wcrns '
Marcy and Scott Westerman Roy and JoAn Wetzel Harry C. White and
Esther R. Redmount Max Wicha and Sheila Crowley Dr. and Mrs. Max Wisgcrhof II Robert and Betty Wurtz Paul Yhouse Edwin and Signe Young Gerald B. and
Marv Kate Zelenock
Dr. and Mrs. Robert G. Aldrich
Anastasios Alexiou
Christine Webb Alvey
David and Katie Andrea
Dr. and Mrs. Rudi Ansbacher
Janet and Arnold Aronoff
Emily Avers
Rowyn Biker
Robert L. Baird
Paulett Banks
M. A. Baranowski
Norman E. Barnett
Mason and Helen Barr
1S. Berlin
Philip C. Berry
Jeffrey Beyersdorf
Sara Billmann and Jeffrey Kuras Jerry and Dody Blackstone
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 Pomcranz 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 Prise ilia 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 Stcgcman DiCarlo Mary E. Dwyer 1
Jack and Betty Edman I
Judge and Mrs. S. J. 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 :'-avst? -
Ciare M. Fingerle John and Karen Fischer Ray and Patricia Fitzger Jason I. Fox Dr. Ronald Frccdman Harriet and Daniel Fusfcld Otto and Lourdcs E. Gago Professor and
Mrs. David M. Gates Drs. Steve Gciringer 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
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 Hcnischel Herb and Dee Hildebrandt Mrs. W.A. Hiltncr Sun-Chien and Betty Hsiao Mrs. V. C. Hubbs Ann D. Hungerman Thomas and Kathryn Huntzicker
Mark Jacobson Elizabeth Jahn Rebecca S. Jahn Wallie and Janet Jeffrie 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
MathiasPhilippe Florent Badin Charles and Linda Koopmann Dr. and Mrs. Melvyn Korobkin Bert and Catherine La Du Ted and Wendy Lawrei 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 i
Micheline Maynard '
Griff and Pat McDonald Bernice and Herman Mcrte 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 Pcckham Wallace and Barbara Prince Mrs. Gardner C. Quarton Mrs. Joseph S. Radom (
Ms. Claudia Rast Ms. Rossi Ray-Taylor Molly Rcsnik and John Martin Jay and Machree Robinson Dr. Susan M. Rose .mms-MM Mrs. Doris E. Rowan ?&$g9S Lisa Rozek
James and Adrienne Rudolph : Paul and Penny Schxeiber ! Alicia Schuster ,
Terry Shade
Howard and Aliza Shevrin George and Gladys Shirley Pat Shure
[ and Elaine Sims Irma J. Sklenar Herbert Sloan
Donald C. and Jean M. Smith Gus and Andrea Stag Curt and Gus Stager David and Ann Staiger James C. Stewa
Prof. Louis J. and Glennis M. Stout Ellen and Jeoffrey K. Stross Charlotte B. Sundelson SS
Bob and Betsy Teeter
Paul and Jane Thiclking Elizabeth H. Thicme Dr. and Mrs. Merlin C. Townli Joan Lowenstcin and
Jonathan Trobe
Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger Charlotte Van Curler
Raven Wallace Harvey and Robin Wax
irence A. Weis Raoul Wcisman and
Ann Friedman ,
Angela and Lyndon Welch Reverend Francis E. Williams Warren Williams Lawrence and Mary Wise David and April Wright Mayer and loan Zald
Jesus and Benjamin Acosta-Hugh
Michael and Marilyn Agin
Robert Ainsworth
Helen and David Aminoff
Douglas B. Anderson
Harlene and Henry Appelman
lack and J ill Arnold
Jeff and Deborah Ash
Mr. and Mrs. Arthur I. 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 Bardcnstein
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 Hommcl Steven . Bernstein and
Maria Herrero Dan and Irene Bibcr John E. Billi and Sheryl Hirsch Roger and Polly Bookwalter Victoria C. Botek and
William M. Edwards Jim Botsford and
William R. Brashear David and Sharon Brooks Dr. Frances E. Bull Susan and Oliver Cameron Valerie and Brent Carey Jeannctte and Robert Carr Dr. and Mrs. Joseph C. Cerny Kwang and Soon Cho Reginald and Beverly Ciokajlo Brian and Cheryl Cla1-----
Wayne and Melinda Colquitt Merle and Mary Ann Crawford Peter C. and Lindy M. Cubba Mary R. and John G. Curtis Sunil and Mcrial Das Art and Lyn Powrie Davidge John and Jean Debbink Elena and Nicholas Dclbanco Elizabeth Dexter Judy and Steve Dobson Thomas and Esther Donahue Cecilia and Allan Drcyfuss Elizabeth Duell
Dr. Alan S. Eiser
Sol and Judith Elkin
Janel Fain
Phil and Phyllis Fell in
Stephen and Ellyce Field
Dr. James F. Filgas
Susan FilipiakSwing City
Dance Studio Herschcl Fink C. Peter and Bev A. Fischer Gerald B. and Catherine L Fischer Dennis Flynn Paula L Bockcnstcdt and
David A. Fox
Howard and Margaret Fox Betsy Foxman and
Michael Boehnke Lynn A. Freeland Richard and Joann Freethy Dr. Leon and Marcia Friedr Lela J. Fuester Mr. and Mrs. William Fulton
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 ). Gousseff Michael L. Gowing t
Maryanna and 5
Dr. William H. Graves III Hob 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 lean 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 Neal and Anne Laurance Beth and George LaVoie John and Theresa Lee Jim and Cathy Leonard Sue Leong
Myron and Bobbie Lcvine Ken and Jane Lieberthal Rod and Robin Little Vi-Chcng and Hsi-Yen Liu Dr. Lennart H. Lofstrom
Naomi E. Lohr Ronald Longhofer and
Norma McKcnna Florence LoPatin Jenifer and Robert Lowry Edward and Barbara Lynn
Mclvin and Jean Manis James E. and Barbara Martin Margaret E. McCarthy Margaret and Harris McClamroch James M. Beck and
Robert J. McGranaghan Michael G. McGuire Nancy A. and Robert E. Mead 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. MoUer, Jr. Thomas and Hedi Mulford Gavin Eadie and Barbara Murphy Frederick C. Neidhardt and
Germaine Chipault Richard and Susan Nisbctt Laura Nitzbcrg and Thomas Carli Arthur and Lynn Nusbaum Drs. Sujit and Uma Pandit William and Hcdda 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 Elizabeth Quackenbush im and leva Rasmussen Anthony L. Reffells and
Elaine A. Bennett Constance O. Rinehart Kathleen Roelofs Roberts " y and George Roscnwald Mr. Haskell Rothstcin Ina and Terry Sandalow Michael and Kimm Sarosi Mike Savitski
Dr. Stephen J. and Kim R. Saxe Frank J. Schauertc Mary A. Schieve
Jean and Thomas Shope
Hollis and Martha A. Showalter
Alida and Gene Silverman
Scott and loan Singer
Susan and Leonard Skcrker
John and Anne Griffin Sloan
Tim and Marie Slottow
Alcne Smith , .
Carl and Jari Smith .4
Mrs. Robert W. Smith liHH
Dr. Elaine R. Soller "? ?'
Hugh and Anne Solomon
Yoram and Eliana Sorokin
Tom Sparks
Jeffrey D. Spindler
Allen and Mary Spivcy
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 fane Thompson
Claire and Jerry Turcotte
Mr. lames 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 I. Willis Lloyd 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
$20,000-S49,999 Bank of Ann Arbor Borders Group, Inc. DaimlerChrysler Foundation Kaydon Corporation KeyBank TIAA-CREF
Bank One
Brauer Investment Company CFI Group
Comerica Incorporated DTE Energy Foundation Edward Surovell Realtors McKinley Associates Sesi Lincoln Mercury Volvo Mazda
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. McMulIen
Company Total Travel Management
Arts at Michigan
Blue Nile
Bosart Financial Group
Charles Reinhart Company,
Chase Manhattan Mortgage Conlin Travel Joseph Curtin Studios Lewis Jewelers ProQuest Republic Bancorp United Bank & Trust
ABN AMRO Mortgage Group,
Adult Learning Institute Ayse's Courtyard Cafe Ann Arbor Builders Ann Arbor Commerce Bank Bed & Breakfast on Campus Bennett Optometry Bivouac
Burns Park Consulting Clark Professional Pharmacy Coffee Express x
Comcast 4
Edward Brothers, Inc. Garris, Garris, Garris &
Garris, P.C. Malloy Incorporated Michigan Critical Care
Consultants Rosebud Solutions Seaway Financial Agency
Wayne Milcwski SeloShevel Gallery Swedish Women's Educational
Foundation & Government Support
UMS gratefully acknowl?edges the support of the following foundations and government agencies:
$100,000 and above Association of Performing
Arts Presenters Arts
Partners Program Community Foundation for
Southeastern Michigan Doris Duke Charitable
Foundation The Ford Foundation JazzNet Michigan Council for Arts
and Cultural Affairs The Power Foundation V-
Foundation & Government Support, cont.
The Wallace Foundation The Whitney Fund
J50,000-J99,999 Anonymous
National Endowment for the Arts
SW,000-S49,999 Continental Harmony
SL0O0-S9.999 Akers Foundation Altria Group, Inc. Arts Midwest Cairn Foundation Heartland Arts Fund The Lebensfeld Foundation Martin Family Foundation Maxine and Stuart Frankel
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. Bevcrley B. Geltner
Michael Gowing
Lila Green
Werner Grilk &
Elizabeth E. Kennedy (BE
Ted Kennedy, r. "" "J
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 Roscnthal
Margaret E. Rothstcin
Eric H. Rothstein
Nona R. Schneider
Ruth E. Schopmeycr
Prof. Wolfgang Stolp
Diana Stone Peters Peter C. Tainsh Dr. Isaac Thomas III Clare Venables Francis V.Viola III Horace Warren Donald Whiting Peter Holderness Woods Barbara ?. Young Elizabeth Yhouse
The Burton Tower Society recognizes and honors those very special friends who have included UMS in their estate plans. UMS is grateful for this important support, which will continue the great traditions of artistic excellence, educational opportunities and community partnerships in future years.
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 Isabellc Braucr
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 i
Thomas C. and
Constance M. Kinnear ?! Charlotte McGeoch --
Michael G. McGuire Dr. Eva Mueller Len and Nancy NiehofT Dr. and Mrs. Frederick C O'Dell Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Mr. and Mrs. Jack W. Ricketts Mr. and Mrs. Willard L Rodgers Prudence and Amnon Rosendial Mr. Haskell Rothslein 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 University Musical Society is secured in part by income
from UMS's endowment. UMS extends its deepest appreciation to the many donors who have established andor contributed to the following funds. H. Gardner Acklcy
Endowment Fund Herbert S. and Carol Amster
Fund Catherine S. Arcure
Endowment Fund Carl and Isabellc 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.
Raqucl and Bernard Agranoff
Alexandra's in Kerrytown
Amadeus Cafe"
Ann Arbor Automotive
Ann Arbor Art Center
Ann Arbor Women's City Club
Arbor Brewing Co.
Ashley Mews --
Avanti Hair Designers
The Back Alley Gourmet
Barnes Ace Hardware
Lois and David Baru i
Baxter's Wine Shop ;
Kathleen Beck
Bella Ciao Trattoria
Kathy Benton and Bob Brown
Mimi and Ron Bogdasarian Borders Book and Music
Tana Breiner Barbara Everitt Bryant By the Pound
Margot Campos Cappellos Hair Salon
M.C. Conroy
Hugh and Elly Cooper
Cousins Heritage Inn
David Smith Photography Peter and Norma Davis
Robert Derkacz
The Display Group ;
Dough Boys Bakery
The Earle
Eastover Natural Nail Care
{Catherine and Damian FarreJI
Ken and Penny Fischer
Food Art
Sara Frank ;
The Gandy Dancer
Beverley and Gerson Geltner
Great Harvest Bread Company
1 in mri RJrharH Crnm
Nina Hauser ;
John's Pack & Ship Steve and Mercy Kasle
Kerrytown Bist
Kilwin's Chocolate Shoppe
King's Keyboard House
Kinko's Copii
Laky's Salon
Ray Lance
George and Beth Lavoie
Leopold Bros. Of Ann Arbor
Richard LeSueur
Carl Lutkehaus
Doni Lystra i
Mainstreet Ventures
Ernest and Jeanne Merlanti i
John Metzger j
Michigan Car Services, Inc. and
Airport Sedan, LTD Moe Sport Shops Inc.
Joanne Navarre
Nicola's Books, Little Professor Book Co.
Pfizer Global R Development: Ann Arbor Laboratories ,---
Produce Station "i
Randy Parrish Fine Framing
Red Hawk Bar & Grill
Regrets Only
Rightside Cellar
Ritz Camera One Hour Photo
Don and Judy Dow Rumelhart
Salon Vertigo
Rosalyn Sarvar
Maya Savarino
Penny and Paul Schreibcr
Shaman Drum Bookshop
Loretta Skewes
Dr. Elaine R. Sollcr
Maureen Stoeffler
Two Sisters Gourmet
Van Bovens
Washington Street Gallery
Whole Foods
Weber's Restaurant

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