Press enter after choosing selection

UMS Concert Program, Friday Mar. 19 To 27: University Musical Society: Winter 2004 - Friday Mar. 19 To 27 --

Download PDF
Rights Held By
University Musical Society
OCR Text

Season: Winter 2004 University Of Michigan, Ann Arbor ums University Music Society of the University of Michigan Winter 2004 season university musical society winter 04 University of Michigan Ann Arbor 2 Letters from the Presidents 5 Letter from the Chair UMSleadership 6 Corporate Leaders Foundations 12 UMS Board of Directors Senate Advisory Committee 13 UMS Staff Teacher Advisory Committee UMS services 15 General Information 16 Tickets 17 Gift Certificates 19 UMSannals 21 UMS History 22 UMS Choral Union 23 Venues Burton Memorial Tower UMSexperience 27 The 125th Winter UMS Season 30 Education & Audience Development 33 UMS Preferred Restaurant & Business Progra UMSsupport 35 Advisory Committee 35 Sponsorship & Advertising 37 Internships 8c College Work-Study Ushers 37 BRAVO! 39 Support 48 UMS Advertisers Front Coven Simon Shaheen. Guthrie ThejWi MMb, Cectta bof, tw Optra Ballet dancers Back Cover Dm Dee Bridrjwam. Maestw htufxai Smtomli bar, to the Hill Auditorium Audience at the 1936 Mjy ftaral FROM THE U-M PRESIDENT The University of Michigan joins the University Musical Society (UMS) in welcoming you to its 125th Anniversary Season. We are proud of the wonderful partnership between our two organizations and of the role of the University as co-sponsor of several events on this season's calendar. In addition to reflecting the artistic beauty and passion that are integral to the human experience, these jointly sponsored events are also wonderful opportunities for University of Michigan students and faculty to learn about the creative process and the sources of inspiration that motivate artists and scholars. We are delighted to welcome UMS back to Hill Auditorium in time to celebrate UMS's 125th Anniversary with several concerts and revelry on January 17,18, and 19. Some of the highlights of the weekend will include a festive gala dinner and concert on January 17 and a rare appearance of the marvelous Orchestre Revolutionnaire et Romantique and The Monteverdi Choir on January 18. The weekend will conclude with the Jazz Divas Summit on January 19, as the University and UMS jointly commemorate Martin Luther King, Jr. Day. I thoroughly enjoyed the results of our collaboration with UMS in Autumn 2003, which included some extraordinary per?formances. In 2004, a number of superb productions will result from the partner?ship between the University and UMS. Some of these include appearances by the Israel Philharmonic, the great pianist Alfred Brendel, and the celebrated saxo- phonist Ornette Coleman, who will also provide a two-day residency to our stu?dents. The University is also working with UMS to provide exceptional educational programs to the campus: the legendary Merce Cunningham Dance Company will collaborate with our Department of Dance, and members of the Guthrie Theater will participate in over 20 events when they are in town to present their magnificent production of Othello. The remarkable Arab-American artist Simon Shaheen has been providing a splendid residency in Ann Arbor and Dearborn in conjunction with the Arab Community Center for Economic and Social Services, culminating in a concert in the Michigan Theater on January 31. And on April 8, UMS and the School of Music collaborate to produce Professor William Bolcom's epic Songs of Innocence and of Experience. I want to thank the faculty and staff of the University of Michigan and UMS for their hard work and dedication in making our partnership a success. The University of Michigan is pleased to support the University Musical Society during this exhilarating 0304 season, and we share the goal of making our co-presentations aca?demic and cultural events that benefit the university community and the broadest possible constituency. Sincerely, Mary Sue Coleman President, University of Michigan FROM THE UMS PRESIDENT Thank you for joining us for this perfor?mance during UMS's historic 125th season. We appreciate your support of the performing arts and of UMS, and we hope that we'll see you at more of our pro?grams during this milestone season. Check the complete listing of UMS's Winter 2004 events beginning on p. 27 and on our web- site at The big news during this winter term is, of course, the re-opening of Hill Auditorium after its 20-month renovation and restoration. If you're read?ing this program book while you are in Hill Audi?torium, welcome back to this glorious 90-year-old venue. If you're at another venue, I hope you have been or will soon get to Hill. What the University of Michigan has done in this phase of Hill's renovation is absolutely marvelous. As a patron, you'll find a much more welcoming and comfortable build?ing...and one whose infrastructure has been vastly updated and improved to see it through the 21st century. Take the elevator to the balcony, have a coffee in the Elizabeth E. Kennedy Lower Lobby, sit in one of the new and wider seats on the main floor, and look at the stunning new colors surrounding the stage and the ring of lights on the ceiling. These are totally new experiences for a patron attending a UMS concert. What remains to be done in the next phase of renovation is the con?struction of a backstage addition to Hill Auditorium so that this world-renowned concert hall will be as welcoming and comfortable for our visiting artists as it is now for our patrons. We are pleased that International Arts Manager, the major business magazine for the performing arts published in London, featured UMS as the cover story in its DecemberJanuary issue (see photo). The article recognizes the prominent role UMS now plays on the international performing arts scene, the outstanding team of UMS department heads, and UMS's being the oldest university-related pre?senting organization in the US. Visit our website to read the article. It's wonderful to have you with us for this perfor?mance. Feel free to get in touch with us if you have any questions or proDiems. ine oest place to begin is with our Ticket Office at 734.764.2538. You should also feel free to get in touch with me about anything related to UMS. If you don't see me in the lobby at this performance, please send me an e-mail message at or call me at 734.647.1174. Very best wishes, Kenneth C. Fischer UMS President LETTER FROM THE CHAIR The UMS 125th season continues with the opening of a newly renovated Hill Auditorium. What a pleasure it is to have our unique hall back with comfortable seats, air conditioning, and more restrooms! Our fall season culminated with the Globe Theatre's production of Shakespeare's Twelfth Night, the Boston Pops, and the 125th annual UMS pro?duction of Handel's Messiah -very different and equally engaging pro?ductions. The UMS staff deserves a standing ova?tion for their enormous hard work. This past summer we had to reduce our staff by 20, further increasingly everyone's work?load. This is a truly dedicated staff that continuously does a superb job providing the best productions and educational events for the University and our community. In December, UMS celebrated, if from afar, President Ken Fischer who received the Patrick Hayes Award in London. Named after the man who was founding president of the International Society for the Performing Arts (ISPA) in 1949 and served as Ken's mentor, the Patrick Hayes Award recognizes an ISPA member of long standing whose achievements in arts man?agement are deserving of the highest praise and recognition. This winter season brings us the Children of Uganda, the Israel Philhar?monic, and virtuosic pianist Lang Lang, to name just a few events from the splendid artistic menu UMS has planned for us. The season finale will be the Ford Honors Program on May 15 featuring Sweet Honey in the Rock (founder Bernice Johnson Reagon received an honorary degree from U-M in 2000). The perform?ance will coincide with the opening of the University Capital Campaign. UMS will be a prominent part of the campaign, and we look to our audience and friends to help us ensure the future of the organization. For those of us who have been able to sup?port UMS in the past, it is an honor to participate in providing such a rich cultur?al environment for the University, the community and southeastern Michigan. I invite all of you to join us in ensuring the growth and success of the University Musical Society. Sincerely, Prue Rosenthal Chair, UMS Board of Directors leadership CORPORATE LEADERS FOUNDATIONS Sandra Ulsh Vice President and Executive Director, , Ford Motor Company Fund "Through music and the arts we are inspired to broaden our horizons, bridge differences among cultures and set our spirits free. We are proud to support the University Musical Society and acknowl?edge the important role it plays in our community." David Canter Senior Vice President, Pfizer, Inc. 'The science of discovering new medicines is a lot like the art of music: To make it all come together, you need a diverse collection of very brilliant people. What you really want are people with world-class talent--and to get those people, you have to offer them a special place to live and work. UMS is one of the things that makes Ann Arbor quite special. In fact, if one were making a list of the things that define the quality of life here, UMS would be at or near the very top. Pfizer is honored to be among UMS's patrons." Eric 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 Josefovvicz President and CEO, Borders Group, Inc. "As a supporter of the University Musical Society, Borders Group is pleased to help strengthen our com?munity's commitment to and appreciation for artistic expression in its many forms." John L. Herrygers Vice PresidentOperating Unit Principal, Southeast Michigan, The Christman Company "Christman is proud to support the community in which we earn our living. We feel privileged to have taken part in the Hill Auditorium renovation as construction managers, and wish the University Musical Society many successful seasons in its 'new' facility." Len Niehoff Shareholder, Butzel Long "UMS has achieved an international reputation for excel lence in presentation, education, and most recently cre?ation and commissioning. Butzel Long is honored to support UMS, its distinctive and diverse mission, and i important work." Clayton Wilhite Managing Partner, CFI Group, Inc. "We're pleased to be in the group of community businesses that supports UMS Arts and Education. We encourage those who have yet to participate to join us. Doing so feels good." Rhonda Davenport Group Manager & First Vice President of Ann Arbor Region, Comerica Incorporated "Our communities are enriched when we work together. That's why we at Comerica are proud to support the University Musical Society and its tradition of bringing the finest in performing arts to our area." Erin R. Boeve Sales Manager, Crowne Plaza "The Crowne Plaza is a proud supporter and spon?sor of the University Musical Society. The dedica?tion to education through the arts is a priceless gift that continually enriches our community." Fred Shell Vice President, Corporate and Government Affairs, DTE Energy 'Plato said, 'Music and rhythm find their way into the secret places of the soul.' So do UMS programs. The DTE Energy Foundation salutes your efforts to enrich the quality of our lives through music." Edward Surovell President, Edward Surovell Realtors 'Edward Surovell Realtors and its 300 employees and sales associates are proud of our 20-year relationship with the University Musical Society. We honor its tradition of bringing the world's leading performers to the people of Michigan and setting a standard of artistic leadership recognized internationally." Leo Legatski President, Elastizell Corporation of America UMS has survived the cancellations of September 2001, the renovation of Hill Auditorium, and budget cutbacks this past year. They need your support--more than ever-to continue their outstanding programming and educa?tional workshops." Brian Campbell President & CEO, Kaydon Corporation 'For over a century, the University Musical Society has been , a national leader in arts presentation. Kaydon Corporation is honored to be counted among the supporters of this proud tradition of musical and artistic excellence." Rick M. Robertson Michigan District President, KeyBank 'KeyBank is a proud supporter of the performing arts and we commend the University Musical Society on its contributions to the cultural excellence it brings to the community." Albert M. Berriz President and CEO, McKinley Associates, Inc. "The success of UMS is based on a commitment to present a diverse mix of quality cultural performances. McKinley is proud to support this tradition of excellence which enhances and strengthens our community." Erik H. Serr Principal, Miller, Canfield, Paddock & Stone, P.L.C. "Miller Canfield is a proud supporter of the University Musical Society and its contribution to the culture of our community through its presentation of wonderful and diverse cultural events which contribute substan?tially to inspiration and enrichment of our community." Robert J. Malek Community President, National City Bank "A commitment to quality is the main reason we are a proud supporter of the University Musical Society's efforts to bring the finest artists and special events to our community." Michael Quinn, FAIA President, Quinn EvansArchitects "Each UMS season of world-class performers deserves the best, and it's been a pleasure to design to that end. Now it's a pleasure to return Hill to the arts-loving public -renewed for the 21st century." Joe Sesi President, Sesi Lincoln Mercury Volvo Mazda "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury Volvo Mazda team is delighted to sponsor such a fine organization." Don Hawkins Senior Vice President, Director of Community Affairs, TCF Bank TCF Bank is pleased to join the University Musical Society to make the arts accessible to students of diverse back?grounds. How thrilling to see children's faces, experiencing their first performance as only UMS can present." Sharon L. Beardman Regional Vice President, TIAA-CREF Individual and Institutional Services, Inc. 'TIAA-CREF is proud to be associated with one of the best uni?versities in the country and the great tradition of the University Musical Society. We celebrate your efforts and appreciate your commitment to the performing arts community." Thomas B. McMullen President, Thomas B. McMullen Co., Inc. "I used to feel that a UM-Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational and artistic entertainment." FOUNDATION AND GOVERNMENT SUPPORT ??????????????????Hh ?????HH 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 lazzNtt Michigan Council for Arts and Cultural Affairs The Power Foundation The Wallace Foundation The Whitney Fund $50,000 99,999 Anonymous National Endowment for the Arts $10,000 49.999 Continental Harmony $1,000 9,999 Akers Foundation Altria Group, Inc. Arts Midwest Cairn Foundation Heartland Arts Fund The Lebensfeld Foundation Martin Family Foundation Maxine and Stuart Frankel Foundation Mid-America Arts Alliance The Molloy Foundation Montague Foundation THE MOSAIC FOUNDATION (of R. and P. Heydon) Sams Ann Arbor Fund Vibrant Ann Arbor Fund UNIVERSITY MUSICAL SOCIETY of the University of Michigan UMS BOARD OF DIRECTORS Prudence L. Rosenthal, Chair Clayton Wilhite, Vice-Chair Sally Stegeman DiCarlo, Secretary Michael C. Allemang, Treasurer Kathleen Benton Charles W. Borgsdorf Kathleen G. Charla Mary Sue Coleman Hal Davis Aaron P. Dworkin George V. Fornero Maxine J. Frankel Patricia M. Garcia Debbie Herbert Carl Herstein Toni Hoover Gloria James Kerry Marvin Krislov Barbara Meadows Lester P. Monts Alberto Nacif Jan Barney Newman Gilbert S. Omenn Randall Pittman Philip H. Power Doug Rothwell Judy Dow Rumelhart Maya Savarino John J.H. Schwarz Erik H. Serr Cheryl L. Soper James C. Stanley Karen Wolff UMS SENATE (former members of the UMS Board of Directors) Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Lee C. Bollinger Janice Stevens Botsford Paul C. Boylan Carl A. Brauer Allen P. Britton William M. Broucek Barbara Everitt Bryant Letitia J. Byrd Leon S. Cohan Jill A. Corr Peter B. Corr Jon Cosovich Douglas Crary Ronald M. Cresswell Robert F. DiRomualdo James J. Duderstadt David Featherman Robben W. Fleming David ). Flowers Beverley B. Geltner William S. Hann Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Kay Hunt Alice Davis Irani Stuart A. Isaac Thomas E. Kauper David B. Kennedy Richard L. Kennedy Thomas C. Kinnear F. Bruce Kulp Leo A. Legatski Earl Lewis Patrick B. Long Helen B. Love Judythe H. Maugh Paul W. McCracken Rebecca McGowan Shirley C. Neuman Len Niehoff Joe E. O'Neal John D. Paul John Psarouthakis Rossi Ray-Taylor Gail W. Rector John W. Reed Richard H. Rogel Ann Schriber Daniel H. Schurz Harold T. Shapiro George I. Shirley John O. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A. Solis Peter Sparling Lois U. Stegeman Edward D. Surovell James L. Telfer Susan B. Ullrich Eileen Lappin Weiser Gilbert Whitaker B. Joseph White Marina v.N. Whitman Iva M. Wilson ADVISORY COMMITTEE Louise Townlcy, Chair Raquel Agranoff, Vice Chair Morrine Maltzman, Secretary Jeri Sawall, Treasurer Barbara Bach Tracey Baetzel Paulett M. Banks Milli Baranowski Lois Baru Kathleen Benton Mimi Bogdasarian Jennifer Boyce Mary Breakey Jeannine Buchanan Victoria Buckler Heather Byrne Laura Caplan Cheryl Cassidy Nita Cox Norma Davis Lori Director H. Michael Endres Nancy Ferrario Sara B. Frank Anne Glendon Alvia Golden Ingrid Gregg Kathy Hentschcl Phyllis Herzig Meg Kennedy Shaw Anne Kloack Jean Kluge Kathy UDronka Beth Lavoie Jill Lippman Stephanie Lord Judy Mac Esther Martin Mary Matthews Joann McNamara Jeanne Mcrlanti Candice Mitchell Bob Morris Bonnie Paxtion Danica Peterson Lisa Psarouthakis Wendy Moy Ransom Theresa Ann Reid Swanna Salticl Penny Schreiber Sue Schrocdcr Aliza Shevrin Alida Silverman Loretta Skewes Maryanne Telese Dody Viola Wendy Woods Mary Kate Zelenock U MS STAFF AdministrationFinance Kenneth C. Fischer, President Elizabeth E. Jahn, Assistant to the President John B. Kennard, Jr., Director of Administration Chandrika Patel, Senior Accountant John Peckham, Information Systems Manager Alicia Schuster, Gift Processor Choral Union Jerry Blackstone, Interim Conductor and Music Director Jason Harris, Associate Conductor Steven Lorenz, Assistant Conductor Kathleen Operhall, Chorus Manager Jean Schneider, Accompanist Donald Bryant, Conductor Emeritus Development Susan McClanahan, Director Mary Dwyer, Manager of Corporate Support Julaine LeDuc, Advisory Committee and Events Coordinator Lisa Michiko Murray, Manager of Foundation and Government Grants M. Joanne Navarre, Manager of Annual Fund and Membership Mamie Reid, Manager of Individual Support Lisa Rozek, Assistant to the Director of Development EducationAudience Development Ben Johnson, Director Amy Jo Rowyn Baker, Youth Education Manager William P. Maddix, Manager Warren Williams, Manager MarketingPublic Relations Sara Billmann, Director Susan Bozell, Marketing Manager Nicole Manvel, Promotion Coordinator ProgrammingProduction Michael J. Kondziolka, Director Emily Avers, Production Administrative Director Jeffrey Beyersdorf, Technical Coordinator Jasper Gilbert, Technical Director Susan A. Hamilton, Artist Services Coordinator Mark Jacobson, Programming Manager Bruce Oshaben, Head Usher Ticket Services Nicole Paoletti, Manager Sally A. Cushing, Associate Jennifer Graf, Assistant Manager Alexis Pelletier, Assistant John M. Steele, Assistant Work-Study Pearl Alexander Kara Alfano Nicole Blair Stephan Bobalik Bridget Briley Patrick Chu Katie Conrad Elizabeth Crabtree Bethany Heinrich Rachel Hooey Cortney Kellogg Lena Kim Leslie Leung Aubrey Lopatin Ryan Lundin Paul Bruce Ly Natalie Malotke Melissa McGivern Erika Nelson Nadia Pessoa Fred Peterbark Omari Rush Jennie Salmon Christy Thomas Sean Walls Amy Weatherford Christine Won Chun Interns Noelle Butzlaff Jia I im Claire Rice President Emeritus Gail W. Rector UMS TEACHER ADVISORY COMMITTEE Fran Ampey Lori Atwood Robin Bailey Joe Batts Kathleen Baxter Elaine Bennett Lynda Berg Gail Bohner Ann Marie Borders David Borgsdorf Sigrid Bower Susan Buchan Diana Clarke Hayes Dabney Wendy Day Susan Filipiak Jennifer Ginther Brenda Gluth Barb Grabbe Pamela Graff Nan Griffith Joan Grissing Lynn Gulick Carroll Hart Barb Harte Bill Hayes Sandy Hooker Susan Hoover Silka Joseph JeffKass Rosalie Koenig Sue Kohfeldt Laura Machida Ken McGraw Patty Meador Don Packard Susan Pollans Katie Ryan Julie Taylor UMSservices Barrier-Free Entrances For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance. Listening Systems For hearing-impaired persons, Power Center, Hill Auditorium, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance. Lost and Found For items lost at Hill Auditorium, Rackham Auditorium, and Power Center please call University Productions at 734.763.5213. For items lost at St. Francis of Assisi Catholic Church, Michigan Theater, or EMU Convocation Center, please call the UMS Production Office at 734.615.1444. Parking Please allow plenty of time for parking as the campus area may be congested. Parking is avail?able in the Liberty Square (formerly Tally Hall), Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. UMS members at the Principal level and above receive 10 com?plimentary parking passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor. UMS offers valet parking service for Hill Auditorium performances in the 0304 Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before each performance. There is a $10 fee for this service. UMS members at the Producer level and above are invited to use this service at no charge. For up-to-date parking information, please visit the UMS website at Refreshments Refreshments are served in the lobby during intermissions of events in the Power Center and in the lower lobby of Hill Auditorium, and are available in the Michigan Theater. Refresh?ments are not allowed in the seating areas. Smoking Areas University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms. Latecomers Latecomers will be asked to wait in the lobby until a predetermined time in the program, when they will be seated by ushers. UMS staff works with the artists to determine when late seating will be the least disruptive to the artists and other concertgoers. In an effort to help reduce distracting noises and enhance the theater?going experience, Pfizer Inc is providing complimentary HallsO Mentho LyptusO cough suppressant tablets to patrons attending UMS performances through?out the 0304 season. Returns If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the Ticket Office. Refunds are not available; however, you will be given a receipt for an income tax deduction. Please note that ticket returns do not count toward UMS membership. Subscription Ticket Exchanges Subscribers may exchange tickets free of charge. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance. You may fax a photo?copy of your torn tickets to 734.647.1171. Single Ticket Exchanges Non-subscribers may exchange tickets for a $5 per ticket exchange fee. Exchanged tickets must be received by the Ticket Office (by mail or in per?son) at least 48 hours prior to the performance. You may fax a photocopy of your torn tickets to 734.647.1171. Lost or misplaced tickets cannot be exchanged. Group Tickets When you bring your group to a UMS event, you will enjoy the best the performing arts has to offer. You can treat 10 or more friends, co-workers, and family members to an unforgettable performance of live music, dance, or theater. Whether you have a group of students, a business gathering, a college reunion, or just you and a group of friends, the UMS Group Sales Office can help you plan the perfect outing. You can make it formal or casual, a special celebration, or just friends enjoying each other's company. The many advantages to booking as a group include: reserving tickets before they go on sale to the general public discounts of 15-25 for most performances accessibility accommodations no-risk reservations that are fully refundable up to 14 days before the performance 1-3 complimentary tickets for the group organizer (depending on size of group). Comp tickets are not offered for performances with no group discount. For information, contact the UMS Group Sales Hotline at 734.763.3100 or 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 I 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. WWW.UMS.ORG Join the thousands of savvy people who log onto each month! Why should you log onto In September, UMS launched a new web site, with more information that you can use: Tickets. Forget about waiting in long ticket lines. Order your tickets to UMS performances online! You can find your specific seat location before you buy. UMS E-Mail Club. You can join UMS's E-Mail Club, with information delivered directly to your inbox. Best of all, you can customize your account so that you only receive information you desire -including weekly e-mails, genre-specific event notices, encore information, 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. UMSannals Through an uncompromising commit?ment to Presentation, Education, and the Creation of new work, the University Musical Society (UMS) serves Michigan audiences by bring?ing to our community an ongoing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 125 years, strong leadership coupled with a devoted com?munity has placed UMS in a league of interna?tionally-recognized performing arts presenters. Indeed, Musical America selected UMS as one of the five most influential arts presenters in the United States in 1999. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, balanced by a commitment to dynamic and creative visions of where the performing arts will take us in this millennium. Every day UMS seeks to cultivate, nurture, and stimulate public interest and partic?ipation in every facet of the live arts. UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Simmons Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first perform?ance of Handel's Messiah was in December of 1879, and this glorious oratorio has since been performed by the UMS Choral Union annually. As a great number of Choral Union members also belonged to the University, the University Musical Society was established in December 1880. UMS included the Choral Union and University Orchestra, and throughout the year presented a series of concerts featuring local and visiting artists and ensembles. Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts--internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts. theater. Through educational endeavors, com?missioning of new works, youth programs, artist residencies and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction, and innovation. UMS now hosts approximately 90 performances and more than 150 educational events each season. UMS has flourished with the support of a generous community that this year gathers in 11 diverse venues in Ann Arbor and Ypsilanti. While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organi?zation that supports itself from ticket sales, corporate and individual contributions, foun?dation and government grants, special project support from U-M, and endowment income. UMS CHORAL UNION Throughout its 125-year history, the UMS Choral Union has performed with many of the world's distin?guished orchestras and conductors. Based in Ann Arbor under the aegis of the University Musical Society, the 150-voice Choral Union is known for its definitive per?formances of large-scale works for chorus and orchestra. Eleven years ago, the Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra (DSO). Among other works, the cho?rus has joined the DSO in Orchestra Hall and at Meadow Brook for subscription performanc?es of Stravinsky's Symphony of Psalms, John Adams' Harmonium, Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe and Brahms' Ein deutsches Requiem, Participation in the Choral Union remains open to all by audition. Members share one common passion--a love of the choral art. and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd. Led by interim conductor Jerry Blackstone, the Choral Union opened its current season with performances of Verdi's Requiem with the DSO in September. In December the chorus presented its 125th series of annual perform?ances of Handel's Messiah. The Choral Union's season will conclude with a performance of William Bolcom's Song of Innocence and of Experience in the newly renovated Hill Auditorium in April 2004. The Choral Union's 0203 season included performances of Mahler's Symphony No. 3 with the DSO, followed by a performance of Beethoven's Symphony No. 9 with the Ann Arbor Symphony Orchestra. Choral Union's season concluded in March with a pair of mag?nificent French choral works: Honegger's King David, accompanied by members of the Greater Lansing Symphony Orchestra, and Durufl6'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. VENUES Hill Auditorium After an 18-month $38.6-million dollar reno?vation, which began on May 13, 2002, over?seen by Albert Kahn Associates, Inc. and historic preservation architects Quinn EvansArchitects, Hill Auditorium has re-opened. Originally built in 1913, renovations have updated Hill's infra?structure and restored much of the interior to its original splendor. Exterior renovations include the reworking of brick paving and stone retaining wall areas, restoration of the south entrance plaza, the reworking of the west barri?er-free ramp and loading dock, and improve?ments to landscaping. Interior renovations included the demolition of lower-level spaces to ready the area for future improvements, the creation of additional rest-rooms, the improvement of barrier-free circula?tion by providing elevators and an addition with ramps, the replacement of seating to increase patron comfort, introduction of barrier-free seating and stage access, the replacement of the?atrical performance and audio-visual systems, and the complete replacement of mechanical and electrical infrastructure systems for heating, ventilation, and air conditioning. Re-opened in January 2004, Hill Auditorium seats 3,538. Power Center The Power Center for the Performing Arts was bred from a realization that the University of Michigan had no adequate proscenium-stage theater for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was built to supply this missing link in design and seating capacity. In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities was mentioned "a new the?ater." The Powers were immediately interested, realizing that state and federal government were unlikely to provide financial support for the construction of a new theater. Opening in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieves the seemingly contradictory combination of providing a soaring interior space with a unique level of intimacy. Architectural features include two large spiral staircases leading from the orchestra level to the balcony and the well-known mirrored glass panels on the exterior. The lobby of the Power Center features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso. The Power Center seats approximately 1,400 people. Rackham Auditorium Fifty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, Newberry Hall and the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of human history and human thought, died in 1933, his will established the Horace H. Rackham and Mary A. Rackham Fund, which subsequently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School which houses Rackham Auditorium, but also to establish a $4 million endowment to further the development of graduate studies. Even more remarkable than the size of the gift, which is still considered one of the most ambi?tious ever given to higher-level education, is the fact that neither of the Rackhams ever attended the University of Michigan. Designed by architect William Kapp and architectural sculptor Corrado Parducci, Rackham Auditorium was quickly recognized as the ideal venue for chamber music. In 1941, UMS presented its first chamber music festival with the Musical Art Quartet of New York per?forming three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years. Michigan Theater The historic Michigan Theater opened January 5, 1928 at the peak of the vaudeville movie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ. At its opening the theater was acclaimed as the best of its kind in the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation. With broad community support, the Foundation has raised over $8 million to restore and improve the Michigan Theater. The beautiful interior of the theater was restored in 1986. In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addition, which also included expanded restroom facili?ties for the historic theater. The gracious facade and entry vestibule was restored in 2000. St. Francis of Assisi Catholic Church In June 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and on March 19,1969 John Cardinal Dearden dedi?cated the new St. Francis of Assisi Church. Father James McDougal was appointed pastor in 1997. St. Francis of Assisi Catholic Church has grown from 248 families when it first started to more than 2,800 today. The present church seats 900 people and has ample free parking. In 1994 St. Francis purchased a splendid three manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and contemplation of sacred a cap-pella choral music and early music ensembles. EMU Convocation Center An exciting new era in EMU athletics was set in motion in the fall of 1998 with the opening of the $29.6-million Convocation Center. The Barton-Malow Company along with the architectural firm Rossetti Associates of BirminghamThe Argos Group began construction on the campus facility in 1996. The Convocation Center opened its doors on December 9, 1998 with a seating capacity of 9,510 for center-stage entertainment events. UMS has presented special dance parties at the EMU Convocation Center nearly every April since 1998, and this year's popular concert fea?tures Orchestra Baobab on Saturday, April 17. Burton Memorial Tower Seen from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor land?marks. Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet. UMS administrative offices returned to their familiar home at Burton Memorial Tower in August 2001, following a year of significant renovations to the University landmark. This current season marks the third year of the merger of the UMS Ticket Office and the University Productions Ticket Office. Due to this new partnership, the UMS walk-up ticket window is now conveniently located at the Michigan League Ticket Office, on the north end of the Michigan League building at 911 North University Avenue. The UMS Ticket Office phone number and mailing address remains the same. I urns I .. vJv of the University of Michigan, Ann Arbor Winter 2004 125th Annual Season Event Program Book Friday, March 19 through Saturday, March 27, 2004 General Information Children of all ages are welcome at UMS Family and Youth Performances. Parents are encour?aged not to bring children under the age of 3 to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child. Remember, everyone must have a ticket, regardless of age. While in the Auditorium Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a prede?termined time in the program. Cameras and recording equipment are prohibited in the auditorium. If you have a question, ask your usher. They are here to help. Please take this opportunity to exit the "infor?mation superhighway" while you are enjoying a UMS event: electronic-beeping or chiming dig?ital watches, ringing cellular phones, beeping pagers and clicking portable computers should be turned off during performances. In case of emergency, advise your paging service of audi?torium and seat location in Ann Arbor venues, and ask them to call University Security at 734.763.1131. In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS performances included in this edition or return it to your usher when leaving the venue. Thank you for your help. An Evening with Ornette Coleman Friday, March 19, 8:00 pm Hill Auditorium Israel Philharmonic 7 Saturday, March 20, 8:00 pm Hill Auditorium Takacs Quartet 15 Sunday, March 21, 6:00 pm Rackham Auditorium The Tallis Scholars 21 Thursday, March 25, 8:00 pm St. Francis of Assisi Catholic Church Afro-Latin Jazz Orchestra 25 Saturday, March 27, 8:00 pm Hill Auditorium An Evening with Ornette Coleman Ornette Coleman, Alto Saxophone, Violin, Trumpet Greg Cohen, Bass Tony Falanga, Bass Denardo Coleman, Drums Friday Evening, March 19, 2004 at 8:00 Hill Auditorium Ann Arbor Tonight's program consists primarily of material composed specifically for this evenings performance. All compositions written by Ornette Coleman. 54th 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. This performance is sponsored by TIAA-CREF. Presented with support from the Wallace Foundation and JazzNet. JazzNet is a program of the Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation and the National Endowment for the Arts. Additional support provided by media sponsors WEMU 89.1 FM, WDET 101.9 FM, Michigan Chronicle, and Michigan Front Page. Special thanks to Mark Stryker, Stephen Rush, Ellen Rowe, Travis Jackson, Andrew Bishop, Tim Flood, U-M Department of Dance, U-M Jazz and Improvisational Studies, and the Ann Arbor District Library for their assistance in this residency. Mr. Coleman appears by arrangement with Original Artists, New York, NY. Large print programs are available upon request. Rarely does one person change the way we listen to music, but such a man is Ornette Coleman. Since the late 1950s, when he burst on the New York jazz scene with his legendary engagement at the Five Spot, Mr. Coleman has been teaching the world new ways of listening to music. His revolutionary musical ideas have been controversial, but today his enormous contribution to modern music is recognized throughout the world. Ornette Coleman was born in Fort Worth, Texas in 1930 and taught himself to play the saxophone and read music by the age of 14. One year later he formed his own band. Finding a troublesome existence in Fort Worth surrounded by racial segregation and poverty, he took to the road at age 19. During the 1950s while in Los Angeles, Ornette's musical ideas were too controversial to find frequent public performance possibilities. He did, however, find a core of musicians who took to his musical concepts: trumpeters Don Cherry and Bobby Bradford, drummers Ed Blackwell and Billy Higgins, and bassist Charlie Haden. In 1958, with the release of his debut album Something Else, it was immediately clear that Mr. Coleman had ushered in a new era in jazz history. This music, freed from the prevail?ing conventions of harmony, rhythm, and melody, often called "free jazz," transformed the art form. Mr. Coleman called this concept Harmolodics. From 1959 through the rest of the '60s, Mr. Coleman released more than 15 critically acclaimed albums on the Atlantic and Blue Note labels, most of which are now recog- nized as jazz classics. He also began writing string quartets, woodwind quintets, and sym?phonies based on Harmolodic theory. In the early 1970s, Ornette traveled throughout Morocco and Nigeria playing with local musicians and interpreting the melodic and rhythmic complexities of their music into this Harmolodic approach. In 1975, seeking the fuller sound of an orchestra for his writing, Mr. Coleman constructed a new ensemble entitled Prime Time, which included the doubling of guitars, drums, and bass. Combining elements of ethnic and danceable sounds, this approach is now identified with a full genre of music and musicians. In the next decade, more surprises included trend-setting albums such as SongX with guitarist Pat Metheny and Virgin Beauty featuring Grateful Dead leader Jerry Garcia. The 1990s included other large works such as the premiere of Architecture in Motion, Ornette's first Harmolodic ballet, as well as work on the soundtracks for the films Naked Lunch and Philadelphia. With the dawning of the Harmolodic record label under Polygram, Ornette became heavily involved in new record?ings including Tone Dialing, Sound Museum, and Colors. In 1997, New York City's Lincoln Center Festival featured the music and the vari?ous guises of Ornette over four days, including performances with the New York Philharmonic and Kurt Masur of his symphonic work, Skies of America. There has been a tremendous outpouring of recognition bestowed upon Ornette Coleman for his work, including honorary degrees from the University of Pennsylvania, California Institute of the Arts, and Boston Conservatory, and an honorary doctorate from the New School for Social Research. In 1994, he was a recipient of the distinguished MacArthur Fellowship award, and in 1997, was inducted into the American Academy of Arts and Letters. In 2001, Ornette received the prestigious award from the Japanese government, the Praemium Imperiale. Tonight's performance marks Ornette Coleman's UMS debut. Otnette Coleman A native of Los Angeles, bassist Greg Cohen has been playing in various acclaimed music groups since the 1960s. A solid player without equal, Mr. Cohen has played in countless jazz ensembles with top musicians including Bill Frisell, John Zorn, and Dave Douglas. Mr. Cohen's experience reaches far beyond any one style or genre; he has also played with the Rolling Stones, Lou Reed, and Laurie Anderson, and he's been a mainstay on Tom Waits' albums since 1980's Heartattack and Vine. Greg Cohen has also composed for the Lincoln Center Theater, among others, and collaborated on film score arrangements for such movies as Ed Wood and Fried Green Tomatoes. Tonight's performance marks Greg Cohen's UMS debut. Well respected in the world of avant-garde jazz, drummer Denardo Coleman is the son of alto saxophonist Ornette Coleman -a revolution?ary, daring, amazingly innovative musician composer who was among the creators of free jazz. Denardo Coleman was among the people who was able to understand his father's innova?tions, and thanks to Ornette, the drummer received a first-class education in avant-garde jazz at an early age. Denardo Coleman, who was born in 1956, ended up following in his father's footsteps. The drummer was only ten years old in 1966 when he played on an Ornette Coleman album titled The Empty Foxhole (which featured Charlie Haden on acoustic bass). That Blue Note release turned out to be the first of many Ornette Coleman albums that Denardo would appear on, and in the 1970s, Denardo began playing with his father's band, Prime Time. Denardo Coleman (whose influences have ranged from Ed Blackwell to Rashied Ali to Elvin Jones) wasn't Prime Time's only drum?mer (the band became famous for using two drummers at once), but by playing on various Prime Time albums, Denardo made valuable contributions to electric free jazz. In addition to his work as a drummer, Denardo Coleman is also a producer; the Ornette Coleman albums that have made use of Denardo's production skills include In All Languages and Virgin Beauty in the 1980s and Hidden Man and Three Women in the 1990s. Denardo Coleman was critically acclaimed for his work on SongX, a 1985 session that Ornette co-led with guitarist Pat Metheny. In addition to his long history of playing with Ornette, Denardo Coleman has collaborated on albums with Ulmer, Tacuma, and free jazzspoken word artist Jayne Cortez. Tonight's performance marks Denardo Coleman s UMS debut. A native of Brooklyn, New York, Tony Falanga received his musical education at the Manhattan and Juilliard Schools of Music, where his prin?cipal mentor was the world-renowned David Walter, and at Boston's Berklee College of Music, where he received a degree in Jazz Performance. While at the Juilliard School he was awarded the prestigious Lewine Foundation Scholarship. His extensive professional activities as a solo, chamber and jazz bassist have earned him criti?cal acclaim as a player of "extraordinary excel?lence." In the classical repertoire he has appeared as soloist with the New York Concertino, the Tchaikovsky Chamber Orchestra, the Spoleto Music Festival, the Newport Music Festival and the International Society of Double Bassists, while as a jazz musician he has played with leading artists such as Wynton Marsalis, Andre Previn, Jim Hall, Junior Mance, Joe Lavano, Randy Brecker, and Bob Mintzer. He is also in frequent demand by New York orchestras and ballet companies. Recent years have seen exten?sive collaboration with Klezmer phenomenon Giora Feidman, with whose ensemble he has concertized throughout Europe, and with virtu?oso bassist John Feeney, as half of the FeeneyFalanga Duo, setting new standards for double bass performance and providing ample display of Mr. Falanga's natural talents as a cre?ative, innovative, and spiritual musician. Tonight's performance marks Tony Falanga's UMS debut. UMS and Forest Health Services present Israel Philharmonic Orchestra Yo E L L E v I, Principal Guest Conductor Pinchas Zukerman, Violin Program Sergei Prokofiev Saturday Evening, March 20, 2004 at 8:00 Hill Auditorium Ann Arbor Symphony No. 1 in D Major, "Classical," Op. 25 Allegro con brio Larghetto Gavotte: Non troppo allegro Finale: Molto vivace Max Bruch Violin Concerto No. 1 in g minor, Op. 26 Prelude: Allegro moderato Adagio Finale: Allegro energico Mr. Zukerman INTERMISSION Jean Sibelius Symphony No. 2 in D Major, Op. 43 Allegretto Andante, ma rubato Vivacissimo Finale: Allegro moderato 55th Performance of the 125th Annual Season 125th Annual Choral Union Series The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited. This performance is sponsored by Forest Health Services. Special thanks to Randall and Mary Pittman for their continued and gener?ous support of the University Musical Society, both personally and through Forest Health Services. Additional support provided by the William R. Kinney Endowment Fund. Additional support provided by media sponsors WGTE 91.3 FM, Observer & Eccentric Newspapers, and Detroit Jewish News. Israel Philharmonic Orchestra gratefully acknowledges the Marcus Foundation for their generous underwriting of this US Tour and American Friends of the Israel Philharmonic Orchestra for their ongoing support of the Orchestra's international touring programs. Legal counsel provided by Paul Rachlin, Proskauer Rose, LLP. Mr. Zukerman appears by arrangement with Kirshbaum Dernier & Associates. Large print programs are available upon request. Forest Health Services presents the 125th Annual Choral Union Series. Symphony No. 1 in D Major, "Classical," Op. 25 Sergei Prokofiev Born April 27, 1891 in Sontsovka, Ukraine, Russia Died March 5, 1953 in Moscow With his first two piano concertos and the Scythian Suite, the young Prokofiev established a reputation, in the 1910s, as the enfant terrible of Russian music, shocking critics and audiences with his highly unconventional harmonies and wild rhythms. His early works seemed to be all about defying authority. He rebelled against his teachers at the St. Petersburg Conservatory (Glazunov and Liadov), but his music also reflected the more general intellectual unrest of the war years that led to the 1917 revolutions (the overthrow of the Czar in February and the Bolshevik coup in October). Yet in one of his first works written after the revolution broke out, Prokofiev went out of his way to appear non-revolutionary: he spent much of the sum?mer of 1917 working on a "Classical Symphony," ostensibly conceived within the harmonic and structural world of Haydn's symphonies. In ret?rospect, though, it is clear that this return to Classicism was just another contrary move on the part of a young man always intent on doing the unexpected. Nor is that return complete: we are frequently jolted out of our classical dreams by some change of key Haydn had never dreamt of, or some metric irregularity that would have astounded 18th-century musicians. In his autobiography, Prokofiev wrote: It seemed to me that had Haydn lived to our day he would have retained his own style while accepting something of the new at the same time. That was the kind of sym?phony I wanted to write: a symphony in the classical style. And when I saw that my idea was beginning to work, I called it the Classical Symphony, in the first place because that was simpler, and secondly, for the fun of it, to "tease the geese," and in the secret hope that I would prove to be right if the symphony really did turn out to be a piece of classical music. The first ideas for the symphony date from 1916 -the third-movement "Gavotte" was written that year. Thus the decision to replace the minuet, a dance in 34 time, by a dance in duple meter, was made early on. The Gavotte was clearly Prokofiev's favorite among old dance forms: he had included it earlier in his Ten Pieces for Piano, Op. 12, and again later in the ballet Romeo and Juliet, where he re-used, in a somewhat expanded form, the music from the third movement of the symphony. The first and second movements were also sketched in 1916, but the bulk of the work was completed during the summer of 1917, in a country house where Prokofiev was sheltered from the turmoil of that difficult summer. The composer had left his piano in the city, having decided for the first time to write without one. "I believed that the orchestra would sound more natural," he wrote later; and in fact, he had achieved a bright and delicate orchestral sound that his earlier works didn't have. At 15 minutes' duration, the "Classical" is the shortest of Prokofiev's seven symphonies, and shorter than many by Haydn. The themes are all kept brief and developments are sparse, with an emphasis on shorter, well-rounded, and separated units. The very simplicity of the writ?ing sometimes becomes the source of musical humor. For instance, the first movement's sec?ond theme consists of only two different notes, each of which is repeated two octaves lower -an unusually large melodic leap that saves the melody from becoming banal. The orchestra?tion also adds more than a few comic touches, as in the third movement where, after the mid?dle section, the Gavotte theme returns in sharply reduced scoring, causing the theme to vanish into thin air, as it were. A more serious tone is introduced in the second-movement "Larghetto," which anticipates the lyricism of Prokofiev's Soviet-period works from the 1930s. But the work ends on a cheerful note, with a sparkling finale that is hard to listen to without at least a smile. Violin Concerto No. 1 in g minor, Op. 26 Max Bruch Born January 6, 1838 in Cologne, Germany Died October 2, 1920 in Friedenau, near Berlin Bruch's Violin Concerto No. 1 in g minor is the work of a young man of 28 who already had several successful compositions to his credit, including an opera, Die Lorelei, performed in several German theaters. With his violin con?certo, Bruch -who had recently been appoint?ed as music director in the city of Coblenz -intended to confirm his position as a promi?nent composer of the Schumann-Mendelssohn school. While he was working on the concerto, he confided to his former teacher Ferdinand Hiller in a letter, "My Violin Concerto is pro?gressing slowly -I do not feel sure of my feet in this terrain. Do you not think that it is in fact very audacious to write a violin concerto" Bruch finally sought the advice of Joseph Joachim, one of the greatest violinists of the day, who also helped Brahms and Dvorak with their concertos. The correspondence between Bruch and Joachim, which contains extensive musical notation, reveals how many details had to be changed before the concerto assumed its final form. Bruch may have been a traditional compos?er, but he was not one to follow the conventions slavishly. The form of his first movement, which bears the title "Vorspiel" (Prelude), is much looser and more fantasy-like than the first movements of most concertos. It begins with a violin cadenza, followed by the main theme that also has a certain cadenza-like free?dom to it, despite its strict rhythm marked by the timpani and the double bass. The lyrical second theme evolves into a section filled with scintillating passagework, followed by a dra?matic section for orchestra alone. After this, the initial cadenza returns, and a short orchestral transition leads directly into the second-move?ment "Adagio," warmly lyrical and exceptionally rich in melodic invention. The theme of the third-movement "Finale" begins after an introduction of a few bars. It is a brilliant melody full of virtuosic double-stops and arpeggios, followed by a dramatic second theme. The movement follows the rules of sonata form, although the development is extremely brief. There is a substantial coda, however, bringing some harmonic surprises and previously unheard variations on the two themes. The concerto ends in a faster tempo. Bruch lived for more than 50 years after completing his g-minor concerto. He wrote about a hundred compositions, including the popular Scottish Fantasy (for violin and orches?tra), the Kol Nidrei (for cello and orchestra) and two more violin concertos. Yet it is the present work that has kept his name firmly in the repertoire since the day of the premiere. The composer, who sold the rights to his work to the publisher for a one-time lump payment, no doubt regretted his naivete in later years. Symphony No. 2 in D Major, Op. 43 Jean Sibelius Born December 8, 1865 in Ha'meenlinna, Finland (then under Russian domination) Died September 20, 1957 in Jdrvenpad, Finland Jean Sibelius was much more than Finland's greatest composer of international reputation. For the Finns, he was -and still is -a nation?al hero, who expressed what was widely regard?ed as the essence of the Finnish character in music. In his symphonic poems, Sibelius drew on the rich tradition of the ancient Finnish epic, the Kalevala. And in his seven symphonies he developed a style that has come to be seen as profoundly Finnish and Nordic. It was a logical continuation of the late Romantic tradition inherited from Brahms, Grieg, and Tchaikovsky, and at the same time a highly per?sonal idiom to which he held steadfastly in the midst of a musical world filled with an increas?ing multiplicity of new styles. Each of Sibelius's symphonies has its own personality. Symphony No. 2 is distinguished by a predilection for melodies that sound like folk?songs -although Sibelius insisted that he had not used any original folk melodies in the sym?phony. We know, however, that he was interest?ed in the folk music of his country, and in 1892 visited Karelia, the Eastern province of Finland known for the archaic style of its songs. It was perhaps this avowed interest in folksong that prompted commentators to suggest a patriotic, political program for the symphony. None other than the conductor Georg Schneevoigt, a close friend of Sibelius and one of the most prominent early performers of his music, claimed that the first movement depicted the quiet pastoral life of the Finnish people and in subsequent movements, in turn, the Russian oppressors, the awakening of national resist?ance, and finally the triumph over the foreign rule. These ideas were certainly timely at the turn of the century, when Finland was in fact ruled by the Czar, though Sibelius himself never made any statements on the program. In the first movement Sibelius "teases" the listener by introducing his musical material by bits and pieces and taking an unusually long time to establish connections among the vari?ous short motifs introduced. The gaps are filled in only gradually. Eventually the outlines of a symphonic form become evident and by the end of the movement everything falls into place. In his 1935 book on Sibelius's sym?phonies, Cecil Gray observed: Whereas in the symphony of Sibelius's pred?ecessors the thematic material is generally introduced in an exposition, taken to pieces, dissected, and analyzed in a development section, and put together again in a recapit?ulation, Sibelius in the first movement of the Second Symphony inverts the process, introducing thematic fragments in the exposition, building them up into an organ?ic whole in the development section, then dispersing and dissolving the material back into its primary constituents in a brief reca?pitulation. The second movement ("Andante, ma rubato") opens in a quite exceptional way: a timpani roll followed by an extended, unac- companied pizzicato (plucked) passage played in turn by the double basses and the cellos. This gives rise to the first melody, marked lugubre (mournful) and played by the bassoons (note the exclusive use of low-pitched instruments). Slowly and hesitatingly, the higher woodwinds and strings enter. Little by little, both the pitch and the volume rise, and the tempo increases to Poco Allegro, with a climactic point marked by fortissimo chords in the brass. As a total con?trast, a gentle violin melody, played in triple pianissimo and in a new key, starts a new sec?tion. The lugubre theme, its impassioned off?shoots, and the new violin melody, dominate the rest of the movement. The movement ends with a closing motif derived from this last melody, made more resolute by a fuller orches?tration. The third movement ("Vivacissimo") is a dashing scherzo with a short and languid trio section. The singularity of the trio theme, played by the first oboe, is that it begins with a single note repeated no less than nine times, yet it is immediately perceived as a melody. The rest of the theme is eminently melodic, with a graceful tag added by the two clarinets. After a recapitulation of the scherzo proper, the trio is heard another time, followed by a masterly transition that leads directly into the triumphant "Finale." The first theme of the "Finale" is simple and pithy; it is played by the strings, with forte (loud) dynamics, to a weighty accompaniment by low brass and timpani. The haunting second theme has a four-line structure found in many folksongs, and is played by the woodwinds much softer than the first theme, though even?tually rising in volume. After a short develop?ment section, the triumphant first and the folk?song-like second themes both return. Repeated several times with the participation of ever-greater orchestral forces, the second theme builds up to a powerful climax. The first theme is then restated by the full orchestra as a con?cluding gesture. Program notes by Peter Laki. Maestro Yoel Levi is the Principal Guest Conductor of the Israel Philharmonic Orchestra. He is the first Israeli to hold this distin?guished position. The 2004 US tour is his first with the Israel Philharmonic. The Orchestra is performing in 11 cities with noted soloists Andre Watts, Emanuel Ax, Joseph Kalichstein, and Pinchas Zuckerman In addi?tion, he is Music Director Emeritus of the Atlanta Symphony Orchestra (ASO) and Music Adviser to the Flemish Radio Orchestra. In September 2005, he will become the Principal Conductor of the Orchestre National d'lle de France. In June 2001, he was named Chevalier de l'Ordre des Arts et des Lettres, one of the most prestigious awards given by the French Government. While he was Music Director of the ASO from 1988 to 2000, Mr. Levi's impact on the orchestra was summed up by Gramophone Magazine, which said, "Yoel Levi has built a reputation for himself and for his orchestra that is increasingly the envy of the big five American counterparts in New York, Philadelphia, Cleveland, Boston, and Chicago." Among his many ASO milestones are a featured role at the Opening Ceremony of the Centennial Olympic Games in July 1996, an extensive and critically acclaimed European tour by the ASO in 1991, and the nomination of the ASO as "Best Orchestra of the Year" for 1991-92 by the First Annual International Classical Music Awards. He made his Opera House debut in 1997 at the Teatro Communale in Florence, Italy, lead?ing eight performances of Puccini's opera La Fanciulla del West in nine days. He has also con?ducted Carmen at the Lyric Opera of Chicago and Puccini's Edgar with the Orchestra National de France, which was released as a live performance on CD by Radio France. With the ASO, he conducted Mozart's Magic Flute, The Abduction from the Seraglio, and Bartdk's Bluebeard's Castle. Mr. Levi has made 40 recordings on differ?ent labels with various orchestras, including the Cleveland Orchestra, the London Philharmonic, and the Philharmonia Orchestra. Thirty of these are with the Atlanta Symphony Orchestra for Telarc. In 1997 Mr. Levi was awarded the honorary Doctor of Fine Arts Degree by Oglethorpe University in Atlanta. Though born in Voel Levi Romania, Mr. Levi grew up in Israel. He studied at the Tel Aviv Academy of Music, where he received a Master of Arts degree with distinction, and the Jerusalem Academy of Music under Mendi Rodan. He also studied with Franco Ferrara in Sienna and Rome, with Kiril Kondrashin in Holland, and at the Guildhall School of Music and Drama in London. He received First Prize in the Conductor's International Competition in Besancon, France, and became assistant to Lorin Maazel at the Cleveland Orchestra for six years, serving as Resident Conductor from 1980 to 1984. Tonight's performance marks Yoel Levi's second appearance under VMS auspices. Maestro Levi made his UMS debut in October 1989 conducting the Atlanta Symphony Orchestra. Pinchas Zukerman has been recog?nized as a phenomenon for nearly four decades. His musical genius, prodigious technique and exceptional artistic standards have long been a marvel to critics and audiences alike. His devo?tion to younger generations of musicians who are inspired by his magnetism has been applauded worldwide. Equally respected as a violinist, violist, conductor, pedagogue, and chamber musician, Pinchas Zukerman is a mas?ter of our time. Currently in his fifth season as Music Director of Canada's National Arts Centre Orchestra, Mr. Zukerman led the ensemble on a highly acclaimed North American tour in November. The tour included the Mexican cities of Monterrey, Guanajuato, and Mexico City, and Miami, Chicago, New York, Washington DC, Philadelphia, Greenville, SC, and Ithaca, NY in the US. Also during the cur?rent season, Mr. Zukerman conducts the Chicago, Pittsburgh and Toronto Symphonies and makes concerto appearances with the New York Philharmonic, Atlanta Symphony, and Israel Philharmonic. Recitals with pianist Marc Neikrug take Pinchas Zukerman place throughout the US, Canada, Spain, and Finland. Mr. Zukerman's summer 2003 festival appearances included London's BBC Proms, the Santa Fe Chamber Music Festival, Japan's Miyazaki Festival, and the Pittsburgh Symphony at the Mountain Laurel Center. He also led a group of young colleagues from Canada's National Arts Centre Orchestra on a chamber music tour that included appearances at the Ravinia, Verbier, and Schleswig-Holstein Music Festivals. Born in Tel Aviv in 1948, Pinchas Zukerman began studying at age eight with Ilona Feher. With the guidance of Isaac Stern and Pablo Casals, and with the support of the America-Israel and Helena Rubenstein Foundations, he came to America in 1962 to study with Ivan Galamian on scholarship at The Juilliard School. In 1967 he won First Prize in the 25th Leventritt Competition, setting the stage for his solo career. He has held numerous artistic positions, including Music Director of the Saint Paul Chamber Orchestra for seven years and Principal Guest Conductor of the Dallas Symphony Orchestra for two years. In October 2002, he became the first recipient of the Isaac Stern Award for Artistic Excellence at the National Arts Awards Gala in New York City. Pinchas Zukerman's extensive discography contains over 100 titles and has earned 21 Grammy nominations and two awards: "Best Chamber Music Performance" in 1980 and "Best Classical Performance, Instrumental Soloist Without Orchestra" in 1981. Tonight's performance marks Pinchas Zukerman's seventh appearance under UMS auspices. He made his UMS debut in recital with pianist Marc Neikrug in January 1981. The Israel Philharmonic Orchestra is one of Israel's oldest and most influen?tial cultural institutions. Since its founding in 1936, the Israel Philharmonic Orchestra (originally named the Palestine Orchestra) has dedicated itself to presenting the world's greatest music to audiences in Israel and around the world. Founded by Polish violinist Bronislaw Huberman, the Israel Philharmonic Orchestra represents the fulfillment of his dream "to unite the desire of the country for an orchestra with the desire of the Jewish musicians for a coun- try." Huberman spent countless hours persuad?ing first-chair musicians of Eastern Europe and German orchestras, who had lost their jobs as a result of Nazism, to immigrate to Palestine. In doing so, Huberman created an "orchestra of soloists" which, under the esteemed leadership of Zubin Mehta, continues to absorb new immigrants and serve as a gathering point for musicians from all over the world. Major soloists and conductors have always performed with the Israel Philharmonic Orchestra. Its inaugural concert was conducted by Arturo Toscanini, who felt his participation was a means to demonstrate his opposition to Fascism. In 1948, with the formal establishment of the state, the Palestine Orchestra became the Israel Philharmonic Orchestra. Its members traveled in armored cars to play in a besieged Jerusalem during the War of Independence, and, among Israelis, the memory of Leonard Bernstein conducting the Orchestra in front of 5,000 soldiers on the Negev dunes after the bat?tle for Beersheba is still fresh in their minds. Through it all, the Orchestra has enjoyed asso?ciations with such renowned artists as Daniel Barenboim, Yefim Bronfman, Yo-Yo Ma, Itzhak Perlman, Jean-Pierre Rampal, Arthur Rubinstein, Gil Shaham, Isaac Stern, Pinchas Zukerman, and Kurt Masur, Honorary Guest Conductor since 1992. Their time and talent have enriched the cultural life of Israel and have helped the Orchestra maintain its high artistic standards. The Israel Philharmonic Orchestra is Israel's premier cultural ambassador and travels extensively throughout the world, particularly to countries where there is little or no Israeli representation. The good will created by these world tours is of enormous value to the State of Israel. Additionally, the Orchestra gives more than 150 performances each year in Israel, where 14 different concert series are presented in Tel Aviv, Jerusalem, Haifa, and other cities. The Orchestra also appears in rural areas and gives free concerts for members of the armed forces. Zubin Mehta and members of the Israel Philharmonic Orchestra are also involved with several musical education and outreach activi?ties. Among those activities is KeyNote, the Orchestra's education and outreach program, designed to bring the principles of orchestral music to schools and communities throughout the country, reaching children, new immi?grants, religious and secular communities, as well as Arab communities. Zubin Mehta and the Israel Philharmonic Orchestra regularly record for Deutsche Grammophon, BMG Classics, Sony Classical and Teldec. Their 60th anniversary concert in December 1996 was not only televised national?ly on PBS, but was also recorded live for BMG Classics and released as a home video. Ongoing projects include the recording of the complete Mahler Symphonies for Teldec. The Israel Philharmonic Orchestra has always been integral to the fabric of Israel. In 1947, the Orchestra played in celebration of the U.N. res?olution for the partition of Palestine with an independent Jewish sector and in 1948 played the Hatikva at the Proclamation Ceremony of the State of Israel. The Orchestra played in 1967 on Mount Scopus in liberated Jerusalem after the Six-Day War and at the 40th anniversary celebration of the State of Israel with a special concert at Masada. The Israel Philharmonic Orchestra played a prominent part in the cele?brations marking the 50th Anniversary of the State of Israel in April and May of 1998 and remains an eloquent voice for peace. Tonight's performance marks the Israel Philharmonic Orchestra's seventh appearance under UMS auspices. The Orchestra made its UMS debut in October 1972 under the baton of Maestro Zubin Mehta. Israel Philharmonic Orchestra Zubin Mehta, Music Director and Conductor The Music Director's position is endowed by the William Petschek Family Leonard Bernstein, Laureate Conductor (1947-1990) Kurt Masur, Honorary Guest Conductor Yoel Levi, Principal Guest Conductor First Violin Ilia Konovalov, Concertmaster ? Lazar Shusler, Concertmaster ? Yigal Tuneh, Concertmaster Alexander Stark, Assistant Concertmaster Saida Bar-Lev Marina Dorman Adelina Grodsky Genadi Gurevich Rodica Iosub Rimma Kaminkovsky Zinovi Kaplan Robert Mozes Ron Porath Anna Rosnovsky Alon Weber Drorit Valk Paya Yussim Second Violin Elyakum Salzman Yitzhak Geras Amnon Valk Shimeon Abalovitch Emanuel Aronovich Alexander Dobrinsky Eliezer Gantman Shmuel Glaser Elizabeth Krupnik Kalman Levin Yoram Livne t Alexander Povolotzky Marianna Povolotzky Avital Steiner Olga Stern Viola Miriam Hartman Roman Spitzer Claire and Albert Schussler Endowed Chair Klara Nussovitzky Vladislav Krasnov Michael Appelman Rachel K.mi Yuval Kaminkovsky Shimon Koplansky Avraham Levental Eugenia Oren Malkovsky Abraham Rosenblit Aharon Yaron Cello Michael Haran Marcel Bergman f Shulamit Lorrain ? Alia Yampolsky Yoram Alperin t Ruth Zicgler Endowed Chair Naomi Enoch Dmitri Golderman Baruch Gross t Enrique Maltz Kirill Mihanovsky Felix Nemirovsky Dmitri Tsirin Doublebass Teddy Kling $ Peter Marck t Yevgeny Shatzky Ruth Amir Brad Annis Nimrod Kling Eli Magen Talia Mense-Kling Gabriel Vole Flute Yossi Arnheim Eyal Ein-Habar Leor Eitan Boaz Meirovitch Piccolo Leor Eitan Oboe Bruce Weinstein t Dudu Carmel Merrill Greenberg Tamar Narkiss-Melzer Hermann Openstcin English Horn Merrill Greenberg Clarinet Yaakov Barnea ? Rashelly Davis Israel Zohar Ron Selka Yevgeny Yehudin E-FIat Clarinet Yaakov Barnea Rashelly Davis t Bass Clarinet Israel Zohar Bassoon Zeev Dorman t Uzi Shalev t Gad Lederman Carol Patterson Contrabassoon Carol Patterson Horn James Madison Cox Dalit Segal Michael Slatkin Anatol Krupnik Sally Ben-Moshe Yossef Rabin Shelomo Shohat Yoel Abadi Trumpet Yigal Meltzer t Ram Oren Ilan Eshed Raphael Glaser Trombone Stewart Taylor t Emma Julielle Boyd Yehoshua Pasternak Micha Davis Bass Trombone Micha Davis Tuba Shemuel Hershko Timpani Gideon Steiner A leu Bor Percussion Alon Bor Natalie and Murray S. Katz Endowed Chair Gabi Hershkovich Ayal Rafiah Eitan Shapiro Piano Israel Kastoriano Judith and Burton Resnick Endowed Chair Milka Laks Harp Julia Sverdlov ? Canada Concertmastcr Chair Principal Associate Principal Assislant Principal ? On leave or Sabbatical Guest player t Musicians' Council member t Review Committee member Israel Philharmonic Orchestra Management Zeev Dorman, Chairman Baruch Gross Peter Marck Avi Shoshani, Secretary General Stewart Taylor, Personnel Manager Merrill Greenberg, Assembly Chairman Itzhack Yaniv, Finance Manager Haim Bar-Yosef, Marketing Manager Shosh Elad, Chief Accountant Rachel Mizrachi, Treasurer Liat Becker, Manager of Subscription Department Judy Devir, Assistant to Secretary General Rachel Levy, Assistant to Marketing Manager Orly Tal, Program Editor Tsilli Kudik. Assistant to Program Editor Dalia Meroz, Public Relations Uzi Shalev, Musicians' Council (Chairman) Rachel Daliot, Principal Librarian Tal Rockman, Assistant Librarian Uzi Seltzer, Operational and Stage Manager Yaakov Kaufman, Technical Assistant ICM Artists, Ltd Byron Gustafson, Executive V.P., Manager, Artists and Attractions Leonard Stein, V.P. and Director, Tour Administration Ira Pedlikin, Associate Manager, Attractions Kay McCavic, Company Manager Richmond Davis, Stage Manager Israel Philharmonic Orchestra appears by arrangement with ICM Artists, Ltd. UMS presents Takacs Quartet Program Ludwig van Beethoven Edward Dusinberre, Violin Karoly Schranz, Violin Roger Tapping, Viola Andras Fejer, Cello Sunday Evening, March 21, 2004 at 6:00 Rackham Auditorium Ann Arbor String Quartet in B-flat Major, Op. 18, No. 6 Allegro con brio Adagio ma non troppo Scherzo: Allegro La malinconia: Adagio -Allegretto quasi Allegro Beethoven String Quartet in F Major, Op. 135 Allegretto Vivace Lento assai e cantante tranquillo Grave -Allegro -Grave, ma non troppo tratto Allegro INTERMISSION Beethoven String Quartet in C Major, Op. 59, No. 3 Introduzione: Andante con moto -Allegro vivace Andante con moto quasi Allegretto Menuetto: Grazioso Allegro molto Movements 3 and 4 are played attacca, without pause. 56th 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 photo?graphing or sound record?ing is prohibited. Support provided by media sponsor WGTE 91.3 FM. The Takacs Quartet appears by arrangement with CramerMarder Artists and records exclusively for DeccaLondon Records. The Takacs Quartet is Quartet-in-Residence at the University of Colorado in Boulder and Fellow of The Guildhall School of Music and Drama in London. Please visit for further information. Large print programs are available upon request. String Quartet in B-flat Major, Op. 18, No. 6 Ludwig van Beethoven Born on December 15 or 16, 1770 in Bonn, Germany Died on March 26, 1827 in Vienna The six string quartets that comprise Beethoven's Op. 18 were composed between 1798 and 1800, precisely at the same time (and in the same city, Vienna) as Haydn was writing his last and greatest works in that genre. Perhaps Beethoven's quartets represent a sym?bolic passing of the torch: as Haydn concludes the Classical period, Beethoven makes his first steps towards infusing the string quartet with the musical language of emergent Romanticism. By the time he began composing Op. 18, Beethoven already had considerable experience writing for solo strings in chamber ensembles: he had already completed several string trios and serenades. But the string quar?tet was a special genre that, by the turn of the century, had assumed a substantial cultural magnitude. It was expected to be genteel and refined, one of the highest expressions of the composer's art. In embarking on such a chal?lenge, Beethoven signaled his readiness to assert his personal voice onto the inherited legacy of quartet composition. As with his Piano Sonata, Op. 22, also in the key of B-flat, Beethoven's String Quartet Op. 18, No. 6 straddles two worlds. Beginning with a salute to the courtly and aristocratic world of pre-Revolutionary Europe, it concludes with a prophecy and a foretaste of 19th-century Romanticism. Both works, while hardly revolu?tionary, still demonstrate a level of independ?ence and imagination rarely found in Beethoven's earlier, and sometimes more openly ambitious compositions. The stylistic connec?tions between the early quartets and piano sonatas were made even more clear when Beethoven himself arranged his Piano Sonata in E Major (Op. 14, No. 1) for string quartet in 1802, the year after the Op. 18 quartets were published. The first movement of the String Quartet in B-flat Major (Op. 18, No. 6) is a Haydnesque "Allegro con brio": pleasantly vivacious and dance-like. The thematic material in this sonata-form movement is lightweight (similar to that which opens Symphony No. 2), and the harmonic procedures are largely unspectacular. But there are odd poetic touches such as the modulation to a momentary D-flat harmony in the second subject, and an unexpected passage near the end of the development section that has no thematic connection with anything else in the movement. Beethoven's boldest achieve?ment in this movement is that he is able to make the prosaic and conventional sound com?pelling. The second movement, "Adagio ma non troppo," in E-flat major has a theme that is again rather naive, although rhythmic and con?trapuntal decorations redefine its character with each repetition. A somber central section in b-flat minor, much barer in texture, makes an impressive contrast and is alluded to in the movement's coda. The third movement is the most humorous and aggressive Scherzo Beethoven had yet devised. Along with its accompanying capri?cious Trio, it makes much use of cross-rhythms that seem to alternate freely between 34 and 68. The composer throws in frequent sforzandi accents on the last eighth-note of the measure, which are just as frequently tied over the bar-line, adding to the eccentricity of the rhythmic character. Toward the end of the Scherzo an exhilarating climax leads into an abrupt col?lapse. The Trio is hardly more than a series of flitting leaps in the first violin, and is connected to the repeat of the Scherzo with a blustering mock-tragic passage in b-flat minor. This is comedy of a far rougher and more willful vari?ety than audiences had ever experienced in a string quartet; a far cry from the refined and decorous minuets that had come to be expected at this point in the composition. The Adagio introduction to the Finale is one of the most remarkable passages in Beethoven's chamber music. Entitled "La Malincolia," the extensive and elaborate written directions in the score suggest Beethoven was conscious of writing in an unusually emotional style -the composer directs that this interlude be "played with the greatest delicacy." The opening theme is not developed in Beethoven's usual manner. Instead, an unexpected early modulation leads to a passage of keyless diminished-seventh chords, ornamented with grace notes. The har?monic adventures of this introduction are unprecedented, and look forward to the sound-world of Wagner's music 70 years into the future. After this extraordinary and prophetic introduction, he recalls a much more conven?tional, charming world for the Allegretto quasi Allegro finale. It is an unusual kind of rondo in which the second episode is a recapitulation of the first. The melancholy of the preceding Adagio reappears twice in the finale, but with each appearance shorter than the previous one: a musical parable of introspection being over?come by innocent joy. The movement ends with a dazzling prestissimo coda. String Quartet in F Major, Op. 135 Beethoven Beethoven's late string quartets have attracted a reputation as archetypes of all that is deep, dif?ficult, and esoteric in the classical repertoire. For many aficionados, a listener's ability to comprehend that Late Quartets acts a kind of litmus test for devotion to "serious" music. Yet the very last quartet Beethoven ever composed, the Op. 135 in F Major (completed in 1826), is so different in scope and character from its immediate predecessors that it neither warrants nor deserves this reputation as a "Late Quartet." It occupies a similar position in Beethoven's chamber works as his Symphony No. 8 (also in F Major) does in the symphonic repertoire; a conscious harking back to earlier styles, and a more mature reconsideration of the Classical legacy the composer inherited at the turn of the century. The almost total disarray in Beethoven's per?sonal life during the latter months of 1826 is not borne out in the quartet's musical materials at all. Composed during a period of extreme ill?ness, financial hardship, and the ongoing trou?bles with his nephew, Karl, the Op. 135 quartet is nevertheless full of charm, grace, and relaxed humor, with a touch of'"Biedemeier" familiarity (a clear departure from the intense spirituality and profundity of the Op. 131 quartet and the Grosse Fuge). Beethoven dedicated this F-Major quartet to Johann Wolfmeier -a cloth mer?chant, not an aristocrat -lending credence to the perception that the work's brevity, accessi?bility, and more traditional compositional tech?niques were designed to appeal specifically to a bourgeois sensibility, instead of a high-cultured aristocracy. The first movement's warm, conversational tone derives in part from the five separate motifs, each with its own inflection and charac?ter that are tossed from instrument to instru?ment. The second subject returns to the world of Beethoven's "Pastoral" Symphony, with its staccato arpeggios and light-hearted passage-work. The vaguely fugal development section centers on another homage to Haydn: a false recapitulation that, as Kerman notes, is a con?siderable rarity in Beethoven's work. When the real recapitulation finally arrives, "it is quite smug about the tease." The coda begins in the same manner as the development section, and even incorporates a reference to this false reca?pitulation. The Scherzo, marked simply "Vivace" and still in the tonic key of F, is also humorous, but with a dark, sardonic undertone. Primarily rhythmic in interest, it is propelled forward by pointed syncopations and cross accents. The scintillating opening is periodically disturbed by a reiterated unison E-flat that serves no musical purpose other than to intrude a note of insistent mystery into the passage. A rising scale in the viola and cello and a repeated-note accompaniment introduce a furious Trio sec?tion, in which the first violin engages in a wild, acrobatic dance, set off by a doggedly repeated motif in the other instruments that lasts a full 50 measures. The tonic note of the Scherzo becomes the mediant of the following movement, a tranquil "Lento assai" in D-flat Major. This movement was added as an afterthought; the original con?ception was for a three-movement quartet without a slow movement. Over sketches for the simple melody, Beethoven wrote: Susser Ruhegesang, Friedengesang (sweet restful, peace?ful song). This melody then proceeds through four variations, played without pause and never rising above a piano dynamic level. Variation technique is one of the crucial aspects of Beethoven's late style, yet this set is remarkable for its unity rather than its variety -a unity achieved through constant dynamic levels and a pervasive, gentle lyricism (Beethoven marks it cantante, or "singing," rather than the more usual cantabile, meaning "song-like"). The result is one of the most sublime examples of the composer's "interior music." The final movement has given rise to much philosophical speculation, as commentators attempt to assign to this work some of the pro?fundity of its predecessors. Beethoven append?ed a text to the opening melodic motives in the score: under the first three notes (marked Grave) he poses the question, "Muss es sein" (Must it be), which is later answered by an allegro motif, "Es muss sein! Es muss sein!" (It must be! It must be!). Originally this text arose from an exchange between one of Beethoven's usual subscribers, Ignaz Dembscher, and the composer's friend Karl Holz. Dembscher had failed to subscribe to the premiere performance of Beethoven's Op. 130 string quartet, and when he later asked for a loan of the parts, Beethoven refused. Holz suggested that he solve this predicament by paying the subscription fee retroactively. Dembscher asked, "Must it be so" to which Holz replied, "It must be." When Beethoven heard a report of this conversation he burst into laughter, and immediately com?posed a canon based on the dialogue; this canon theme was then reworked into the finale of Op. 135. In this final movement the two con?trasting themes are presented respectively as a slow introduction and as the exposition first theme of a sonata-allegro form. The rest of the movement then proceeds according to the con?ventional classical model. The motifs reappear periodically, but by then "question" has been asked, and the gesture is more musical than rhetorical. Though the origins of the text appended to this movement may have been comical, there is no doubt that Beethoven interpreted it with some seriousness. But whatever deeper conno?tations can be assigned to the universal ques?tion -a question of "being" similar to Hamlet's famous soliloquy -the finale itself is full of laughter, spontaneity, and verve. Whatever Beethoven felt he was triumphing over in this movement, he did it exultantly. String Quartet in C Major, Op. 59, No. 3 Beethoven When the three "Rasumovsky" quartets were first performed in early 1807, they were not well received. The performers themselves thought the quartets comically eccentric and wondered if they should even be considered music. But this didn't seem to concern the composer -he had written the quartets on a commission from Count Rasumovsky, Russian ambassador to Vienna and a talented amateur violinist, but his compositional career was secure enough that he didn't feel the need to please anyone in particular. He wrote them for himself and, as he explained to a friend, "for a later age." Of the three quartets in Op. 59, the third, in C Major, was considered the least incompre?hensible at the premiere. This may be because the formal scheme is fairly conventional, with neither the structural irregularities of the first quartet nor the intimate intensity of the sec?ond. The composer also retained the traditional minuet for a third movement, instead of the more energetic scherzo he had favored in other works. As he began work on this quartet, Beethoven noted in his sketchbook: "Even as you are now being drawn into the stream of society, so it is possible, despite your social dif?ficulties, to continue in your work. Let your deafness no longer be a secret -not even in your art." But there appears to be little direct correlation between these sentiments and the mood of the C-Major quartet. This is no Symphony No. 5, with its symbolic triumph over fate, though the key of C Major is, in that work, also heroic. Perhaps the composer merely wanted to show in this quartet that despite his deafness and social awkwardness, composition was, for him, "business as usual." This is Beethoven's first quartet to begin with a slow introduction, explicitly recalling the 18th-century genre of Haydn and Mozart. After the opening diminished chord, the harmonies slowly wander through ambiguous tonal areas and don't reach tonic until after the Allegro proper has started. This particular effect was not new to Beethoven, as Mozart and Haydn had both used similar procedures to denote mystery and suspense (most clearly in Mozart's "Dissonance" Quartet, K. 465). A short upbeat followed by a long held-note introduces the first theme, and this motif recurs periodically in the development section as well. The first theme itself is noticeably absent in the recapitu?lation, which emphasizes only the exuberant second theme. When Beethoven accepted the commission for these quartets, he promised to "weave a Russian melody" into each one, and while Russian tunes have been identified in the first and second quartets, there is no direct evidence of any in the third. Marion Scott has suggested, however, that the main melody of the second movement -a gently romantic mood-picture in a minor -may also be a Russian folk tune. Lamenting and melancholic, it has an eastern exoticism, heightened by liberal use of the aug-mented-second interval and a hypnotic pizzica?to (plucked) accompaniment in the cello. It is an unusual variant of sonata form, recapitulat?ing the second theme before the first. Beethoven returned to a classical minuet rather than his favored scherzo for the third movement. Though it maintains the triple meter and tempo of the previous Andante, the mood is quite different. Back in the tonic of C Major, it is a relaxing interlude between the darker second movement and the sprightly finale that follows. The rustic trio section in F Major is more overtly dance-like, and a brief coda wanders through some minor-key fields before launching attaca (without pause) into the finale. The fourth movement is a structural tour deforce: a double-exposition fugue in moto per-petuo that is also in sonata form. It culminates not only this work, but the three quartets as a whole, and is the justification behind the quar?tet's sub-title, "Hero." Harry Halbreich writes regarding this movement: "[Beethoven] uses fugal writing, not as a dialectician like Bach, but as a titanic fresco-painter of inexhaustible breadth." But it is the rhythmic drive rather than contrapuntal intricacy that gives this music such irresistible energy. The momentum builds through the coda, so that even the dra?matic pauses near the end are unable to restrain the relentless forward motion. Program notes by Luke Howard. The Takacs Quartet is recognized as one of the world's greatest string quar?tets. Since its formation in 1975, the ensemble has appeared regularly in every major music capital and presti?gious festival. The quartet is based in Boulder, Colorado, where it has held a Residency at the University of Colorado since 1983. Beginning in the 0506 season, the Takacs will be named Associate Artists of London's South Bank Centre. It is also a Resident Quartet at the Aspen Festival, and its members are Visiting Fellows at the Guildhall School of Music and Drama in London. The first volume of the Takacs Quartet's Beethoven Cycle (middle quartets) was released in May 2002 and received the 2002 Grammy Award for "Best Chamber Music Album," the 2002 Gramophone "Chamber Music Recording of the Year" award, a Grammy nomination for "Best Classical Album," the Chamber Music AmericaWQXR Record Award, and the Japan Record Academy Award for Chamber Music in 2002. Its recording of the Bartok cycle received the 1998 Gramophone award, and in 1999 it was nominated for a Grammy. The ensemble's subsequent recording release for DeccaLondon, with which it signed an exclusive recording contract in 1988, includes the Schubert "Trout" Quintet with pianist Andreas Haefliger and Dvorak's String Quartet, Op. 51 and Piano Quintet Op. 81, also with Mr. Haefliger. Volume two (early quartets) of the Beethoven Cycle will be released in this spring, and the final volume of the late quartets is to appear in early 2005. During the current season, the Takacs Quartet performs over 40 concerts in the US and tours extensively in Europe and Asia. Special projects include Beethoven cycles pre?sented by the Cleveland Orchestra and UCLA, and a tour with the famed Hungarian gypsy ensemble Muzsikas culminating in a Carnegie Hall concert. The ensemble will continue its annual residency at the Aspen Festival. Recent Takacs seasons have included Bartok cycles in Cleveland, Berkeley, New York, London, Madrid, and Seville; Schubert cycles in London, Lisbon, Utrecht, and Spain; and a Brahms cycle in London. The ensemble has performed Beethoven cycles in Paris, London, Zurich, Sydney, New York, at Middlebury College, and numerous concerts surrounding the Mozart anniversary year in 1991. During the summer of 1993, the Takacs gave a cycle of three concerts at the Salzburg Festival featuring the quartets of Bartok and Brahms. The Quartet made its Lincoln Center debut on the Great Performers Series in 1989, and performed a six-concert Haydn Festival in 1991 with pianist Andras Schiff at the Metropolitan Museum of Art (repeated in London's Wigmore Hall). The quartet made its Carnegie Hall debut in 1992. The Takacs Quartet was formed by Gabor Takacs-Nagy, Karoly Schranz, Gabor Ormai, and Andras Fejer in 1975, while all four were students at Budapest's Liszt Academy. It first received international attention in 1977, win- ning First Prize and the Critics' Prize at the International String Quartet Competition in Evian, France. Thereafter, the Takacs won the Gold Medal at the 1978 Portsmouth and Bordeaux Competitions and First Prizes at the Budapest International String Quartet Competition (1978) and the Bratislava Competition (1981). The quartet made its North American debut tour in 1982. This evening's performance marks the Takdcs Quartet's seventh appearance under UMS auspices. The Quartet made its UMS debut in February 1984 and has annually appeared on the UMS Chamber Arts Series since the 0102 season. Takacs Quartet UMS presents The Tallis Scholars Peter Phillips, Conductor and Director Tessa Bonner, Soprano Janet Coxwell, Soprano Patrick Craig, Alto Caroline Trevor, Alto Nicholas Todd, Tenor Julian Stocker, Tenor Donald Greig, Bass Francis Steele, Bass Stephen Charlesworth, Bass Robert Macdonald, Bass Program Thursday Evening, March 25, 2004 at 8:00 St. Francis of Assisi Catholic Church Ann Arbor Giovanni Pierluigi da Palestrina Missa Papae Marcelli INTERMISSION William Byrd losquin des Pres losquin des Pres John Sheppard Robert Fayrfax Tribulationes civitatum Ave Maria Tu solus qui facis mirabilia In manus tuas Missa Tecum principium 57th Performance of the 125th Annual Season Special thanks to Father Jim McDougall, Dave Barera, Janelle O'Malley and the entire staff of St. Francis of Assisi Catholic Church for their participation in the Ninth Annual Divine Expressions Series. Ninth Annual Divine Expressions Series The Tallis Scholars appear by arrangement with Frank Salomon Associates. The photographing or sound recording of this concert or possession of any device for such photo?graphing or sound record?ing is prohibited. Large print programs are available upon request. Giovanni Pierluigi da Palestrina is rightly considered one of the giants of polyphonic composition. He has now served for generations of stu?dents as a model to which to aspire. Educated at Santa Maria Maggiore in Rome, after spending time in his birthplace of Palestrina, he worked in Rome at the Sistine Chapel, St. Peter's, St. John Lateran, and Santa Maria Maggiore -where he served as Maestro di Cappella. He was a prolific composer writing over 100 masses and hundreds of motets as well as both sacred and secular madrigals. The Missa Papae Marcelli is often referred to as having saved polyphony from eternal ban?ishment. The zealous Cardinals at the Council of Trent decreed that a simplification of musi?cal and liturgical matters was necessary. The obscuring of the text was a particular worry in lavish polyphonic musical settings. Additionally, using paraphrase Mass techniques using secular melodies did not sit well with the high ideals of the Cardinals. Palestrina honors the short-termed reign (only three weeks) of Pope Marcellus by naming this Mass for him, and demonstrated that the text could be clear even in polyphony. The composition probably dates from 1556 and was first published in 1557. Palestrina sets the traditional "Ordinary" of the Mass: Kyrie, Gloria, Credo, Sanctus, and Benedictus, and the Agnus Dei, where com?posers often gave two or three settings to be performed; here Palestrina composes an Agnus Dei I and Agnus Dei II. The style is elegant and the word accentuation well set. Set for six voic?es, Palestrina splashes in variety with the intro?duction of musical passages for fewer voices, such as the serene four-voiced Benedictus. At the Agnus Dei II he enriches the texture by adding a seventh voice. The second half of tonight's program pro?vides musical examples of other prolific 16th-century composers. William Byrd was England's most noted (Roman) Catholic composer. Having studied under Thomas Tallis, he was organist of Lincoln Cathedral and a Gentleman of the Chapel Royal, and wrote for both the Anglican and Catholic traditions. His motet Tribulationes civitatum is composed in three sections and comes from the collection for five voices printed in 1589 as Cantiones Sacrae. The text pleads for help from God for those suffering great tribulations, and is set with great sensitivity, like a personal expression for those persecuted in England for their Catholicism. In Josquin des Pres we consider a composer from the earlier Franco-Flemish school who enjoyed international acclaim. Like Palestrina, he sang in the Papal choir in Rome. After the highly decorated and complicated vocal lines of his predecessors, his style was considered musi-ca reservata. We hear his Ave Maria, a four-voiced gem of restrained simplicity, and one of the most popular Marian devotional pieces sung today. Tu solus quifacis mirabilia follows, a four-voiced motet in two parts printed by Petrucci in Moteti De Passione (1503). It shows something of the diversity of Josquin, from the opening and closing block chords to the chan?son-like treatment opening the second part. John Sheppard was Informator Choristarum at Magdalen College Oxford in 1543, and subsequently a Gentleman of the Chapel Royal. In manus tuas is a respond used at the Office of Compline set from Passion Sunday to Maundy Thursday. Plainchant alter?nates with three-voiced polyphony, where the writing is typical of the period, full of vitality and cross-rhythms. Robert Fayrfax was also a Gentleman of the Chapel Royal. Skilled at vocal imitation and cantus firmus techniques, he was awarded the first doctorate in music conferred by Oxford University. The plainchant cantus firmus of the Missa Tecum principium is taken from the antiphon for the second Vespers for Christmas. The Agnus Dei typifies his vibrant composi?tional style, and completes tonight's historical retrospective of Renaissance polyphony. Program note by Andrew King, O 2004 Peter Phillips has made an impressive if unusual reputation for himself in dedicating his life's work to the research and performance of Renaissance sacred music. Having won a scholarship to Oxford in 1972, Peter Phillips studied Renaissance music with David Wulstan and Denis Arnold and gained experience in con?ducting small vocal ensembles, already beginning his experi?mentation with the less familiar parts of the repertoire. In addition to The Tallis Scholars, Mr. Phillips contin- Peter Phillips ues tQ WQrk wjth groups around the world and gives numerous master classes and choral workshops. Recent engagements have taken him to the US, Spain, Siberia, and Taiwan. Mr. Phillips has made numerous television and radio broadcasts throughout Europe and North America. Peter Phillips is also the Director of the Oakham International Summer School, a choral course dedicated to exploring our great heritage of renaissance choral music and to developing a performance style appropriate to it, as pioneered by The Tallis Scholars. Tonight's performance marks Peter Phillips' fourth appearance under VMS auspices. Mr. Phillips made his UMS debut in April 1996. The Tallis Scholars were founded in 1973 by their director, Peter Phillips. Through their recordings and concert performances, the ensemble has estab?lished themselves as leading exponents of Renaissance sacred music. Their exploration of the depth and variety of this repertoire has reached a worldwide audience. Peter Phillips has worked with the ensemble to create, through excellent tuning and blend, the purity and clarity of a sound that he feels best serves the Renaissance repertoire, allowing every detail of the musical lines to be heard. It is the result?ing beauty of sound for which The Tallis Scholars have become renowned. This glorious sound has been captured by their extensive discography, which can be heard on Gimell Records. Current season highlights include appear?ances at the Salzburg Festival, Bath Festival, Milan Cathedral Festival, at the Bolshoi Theatre in Moscow, and at the BBC Proms in London. The 0304 season also features two world pre?mieres of works written for 40 voices, four US tours, and the ensemble's 10th tour of Japan. Tonight's performance marks The Tallis Scholars' fourth appearance under UMS auspices. The ensemble made their UMS debut in April 1996. Afro-Latin Jazz Orchestra Arturo O'Farrill, Music Director, Piano Michael Philip Mossman, Trumpet John Walsh, Trumpet Jim Seeley, Trumpet Michael Rodriguez, Trumpet Reynaldo Jorge, Trombone Luis Bonilla, Trombone Noah Bless, Trombone Douglas Purviance, Trombone and Bass Trombone Bobby Porcelli, Alto Saxophone Erica vonKleist, Alto Saxophone Ivan Renta, Tenor Saxophone Mario Rivera, Tenor Saxophone Pablo Calogero, Baritone Saxophone Ruben Rodriguez, Bass Phoenix Rivera, Drums Joe Gonzalez, Percussion Milton Cardona, Percussion Saturday Evening, March 27, 2004 at 8:00 Hill Auditorium Ann Arbor Tonight's program will be announced from the stage and will contain one intermission. 58th Performance of the 125th Annual Season 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 Comerica. Additional support provided by JazzNet, a program of the Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation and the National Endowment for the Arts. Additional support provided by media sponsors WEMU 89.1 FM, WDET 101.9 FM, and Metro Times. The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan. The Afro-Latin Jazz Orchestra Spring 2004 tour is supported by Altria Group, Inc. and the National Endowment for the Arts. Brooks Brothers is the official clothier of the Afro-Latin Jazz Orchestra. The Afro-Latin Jazz Orchestra appears by arrangement with ICM Artists, Ltd. Large print programs are available upon request. The Afro-Latin Jazz Orchestra is led by pianist Arturo O'Farrill, the son of the pioneering composer and bandleader Chico O'Farrill. Arturo O'Farrill was born in Mexico and grew up in New York City. Educated at the Manhattan School of Music and the Brooklyn College Conservatory, Mr. O'Farrill played piano with the Carla Bley Big Band from 1979 through 1983. He then went on to develop as a solo performer with a wide spectrum of artists including Wynton Marsalis, Dizzy Gillespie, Steve Turre, Papo Vazquez, The Fort Apache Band, Lester Bowie, and Harry Belafonte. In 1995, Mr. O'Farrill agreed to direct the band that preserved much of his father's music, Chico O'Farrill's Afro Cuban Jazz Orchestra, which has been in resi?dence at New York City's Birdland for the past few years as well as performing throughout the world. Besides recording three albums as a leader for Milestone Records, 32 Jazz, and M & I (Bloodlines, A Night in Tunisia, and Cumana Bop), Mr. O'Farrill has appeared on numerous records including Habanera with Alberto Shiroma, and the soundtrack to the critically-acclaimed movie Calk 54. Arturo O'Farrill was a special guest soloist at three landmark Jazz at Lincoln Center concerts --Afro-Cuban Jazz: Chico O'Farrill's Afro-Cuban Jazz Orchestra, November 1995; Con Alma: The Latin Tinge in Big Band Jazz, September 1998; and the 2001 Jazz at Lincoln Center Gala: The Spirit of Tito Puente, November 2001. In March 2002, he was also the featured artist in Jazz at Lincoln Center's Jazz in the Schools Tour, when he led a Latin jazz quintet for 24 educational perform?ances that reached over 5,000 people through?out New York City metropolitan schools. He again participated in this educational tour in October 2002. Tonight's performance marks Arturo O'Farrill's UMS debut. Jazz at Lincoln Center inaugurated the Afro-Latin Jazz Orchestra (ALJO) in the 0203 concert season. During the inaugural season, the ensemble per?formed at venues in the Bronx, Brooklyn, and Manhattan in New York City. The ALJO debuted in a performance at Battery Park in lower Manhattan with the Juilliard Jazz Orchestra and the Lincoln Center Jazz Orchestra in a special Fourth of July concert in 2002. The new ensemble helps to continue the long tradition of artistic collaboration between jazz and Latin musicians, supporting a new generation of composers, arrangers, and instru?mentalists while still performing the classics of the Afro-Latin jazz tradition. Tonight's performance marks the Afro-Latin Jazz Orchestra's UMS debut. Photo: John Abbott Arturo O'Farrill J MS experience A iOCth January 2004 Sat 17 Hill Auditorium Celebration Sun 18 Orchestre Revolutionnaire et Romantique and The Monteverdi Choir Mon 19 Jazz Divas Summit: Dee Dee Bridgewater, Regina Carter & Dianne Reeves Please note that a complete listing of all UMS Educa?tional programs is conveniently located within the concert pro?gram section of your program book and is posted on the UMS website at Fri 30 Emerson String Quartet Sat 31 Simon Shaheen and Qantara February Sun 8 Michigan Chamber Players (free admission) Thur 12 Hilary Hahn, violin Sat 14 Canadian Brass Valentine's Day Concert Thur-Sat 19-21 Children of Uganda Fri 20 Cecilia Bartoli, mezzo-soprano, and Orchestra of the Age of Enlightenment March Thur-Sun 4-7 Guthrie Theater: Othello Fri-Sat 12-13 Merce Cunningham Dance Company Sun 14 Kronos Quartet Fri 19 An Evening with Ornette Coleman Sat 20 Israel Philharmonic and Pinchas Zukerman, violin Sun 21 Takacs Quartet Thur 25 The Tallis Scholars Sat 27 Jazz at Lincoln Center's Afro-Latin Jazz Orchestra April Thur 1 Lang Lang, piano Fri-Sat 2-3 Lyon Opera Ballet: Philippe Decoufle's Tricodex Sat 3 Lyon Opera Ballet One-Hour Family Performance Thur 8 William Bolcom's Songs of Innocence and of Experience Thur 15 Alfred Brendel, piano Fri 16 Girls Choir of Harlem Sat 17 Orchestra Baobab Dance Party Sun 18 Shoghaken Ensemble Thur 22 Karita Mattila, soprano Fri 23 ADDED EVENT! Cassandra Wilson and Peter Cincotti Sat 24 DATE CHANGE! Rossetti String Quartet with Jean-Yves Thibaudet, piano May Sat 15 Ford Honors Program: Sweet Honey in the Rock EDUCATION & AUDIENCE DEVELOPMENT Considered one of the top performing arts educational programs in the country, UMS strives to illuminate the performing arts through education and community engagement, offering audiences a multitude of opportunities to make con?nections and deepen their understanding of the arts. UMS Community Education Program The following activities enlighten and inform audiences about the artists, art forms, ideas, and cultures presented by UMS. Details about specific 0304 educational activities will be announced one month prior to the event. For more information about adult education or community events, please visit the website at, e-mail, or call 734.647.6712. Join the UMS E-Mail Club for regular reminders about educational events. Artist Interviews These in-depth interviews engage the leading art-makers of our time in conversations about their body of work, their upcoming perform?ance, and the process of creating work for the world stage. Master Classes Master classes are unique opportunities to see, hear, and feel the creation of an art form. Through participation andor observation, individuals gain insight into the process of art making and training. Study Clubs Led by local experts and educators, UMS Study Clubs offer audiences the opportunity to gain deeper understanding of a particular text, artist, or art form. The study clubs are designed to give the audience a greater appreciation of a specific subject matter within the context of the performance prior to attending the show. PREPs and Lectures Pre-performance talks (PREPs) and lectures prepare audiences for upcoming performances. Meet the Artists Immediately following many performances, UMS engages the artist and audience in conver?sation about the themes and meanings within the performance, as well as the creative process. Artists-in-Residence Many artists remain in Michigan beyond their performances for short periods to deepen the connection to communities throughout the region. Artists teach, create, and meet with community groups, university units, and schools while in residence. For the 0304 sea?son, major residencies include Simon Shaheen, Children of Uganda, Merce Cunningham, and Ornette Coleman. UMS YOUTH, TEEN, AND FAMILY EDUCATION PROGRAM UMS has a special commitment to educat?ing the next generation. A number of programs are offered for K-12 students, educators, and families to further develop understanding and exposure to the arts. For information about the Youth, Teen, and Family Education Program, visit the website at, 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 sessions: Preparing for Collaboration: Theater Games and Activities that Promote Team-Building and Foster Creative and Critical Thinking Moments in Time: Bringing Timelines to Life Through Drama Workshops focusing on UMS Youth Performances are: Arts Advocacy: You Make the Difference led by Lynda Berg Music of the Arab World: An Introduction led by Simon Shaheen Behind the Scenes: Children of Uganda led by Alexis Hefley and Frank Katoola For information or to register for a workshop, please call 734.615.0122 or e-mail 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 - 665.8767 Blue Nile Restaurant 221 East Washington - 998.4746 The Chop House 322 South Main - 888.456.DINE The Earle Restaurant 121 West Washington - 994.0211 Gratzi 326 South Main - 888.456.DINE Great Harvest Bread Company 2220 South Main 996.8890 La Dolce Vita 322 South Main 669.9977 Paesano's Restaurant 3411 Washtenaw 971.0484 Palio 347 South Main - 888.456.DINE Real Seafood Company 341 South Main - 888.456.DINE Red Hawk Bar & Grill 316 South State 994.4004 Schakolad 110 East Washington - 213.1700 Sweetwaters Cafe 123 West Washington - 769.2331 Weber's Restaurant 3050 Jackson 665.3636 Zanzibar 216 South State 994.7777 UMS Preferred Businesses Format Framing and Gallery 1123 Broadway 996.9446 King's Keyboard House 2333 East Stadium - 663.3381 Parrish Fine Framing and Art 9 Nickels Arcade-761.8253 Schlanderer & Sons 208 South Main 662.0306 UMS Delicious Experiences Back by popular demand, friends of UMS are offering a unique donation by hosting a variety of dining events to raise funds for our nationally recognized educational programs. Thanks to the generosity of the hosts, all proceeds from these delightful dinners go to support these important activities. Treat yourself, give a gift of tickets, or come alone and meet new people! For more information or to receive a brochure, call 734.936.6837 or visit UMS online at Cast Yourself in a Starring ple 'Become a Member of the University Musical Society Tne 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 below and mail to the address printed at the bottom of this page. Presenter's Circle ? $25,000 Soloist ($150) For information about this very special membership group, call the Development Office at 734.647.1175. ? $10,000-524,999 Maestro ($150) Virtuoso benefits, plus: Opportunity to be a concert or supporting sponsor for a selected performance ? $7,500-59,999 Virtuoso ($150) Concertmaster benefits, plus: Guest of I'Ms Board at a special you event ? $5,000-57499 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 ? 52,500-53,499 Leader ($85) Principal benefits, plus: Opportunity to purchase prime scats up to 48 hours before performance (subject to availability) Complimentary parking passes for all UMS concerts at UM venues ? 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 events Friends G 5500-5999 Benefactor Associate benefits, plus: Invitation to one working rehearsal (subject to artist approval) Half-price tickets to selected performances G $250-5499 Associate Advocate benefits, plus: Listing in UMS Program G 5100-5249 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 ofgift- Please check your desired giving level above and complete the form below or become a member online at Name(s) (Print names exactly as you wish them to appear in UMS listings) Address City___________________________________________State____________________________________________Zip_____________________________ Day Phone_____________________________________Eve. Phone________________________________________E-mail___________________________ Comments or Questions__________________________________________________________________________________________________________ Please make checks payable to University Musical Society Gifts of $50 or more may be charged to: ? VISA ? MasterCard ? Discover Q American Express Account _________________________________________________________________________________________________Expiration Pate________ Signature______________________________________________________________________________________________________________________ Q I do not wish to receive non-deductible benefits, thereby increasing the deductibility of my contributions. ? My company will match this gift. Matching gift form enclosed. Send gifts to: University Musical Society, 881 N. University, Ann Arbor, MI 48109-1011 UMSsupport UMS volunteers are an integral part of the success of our organization. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome you to the UMS family and involve you in our exciting programming and activities. We rely on volunteers for a vast array of activi?ties, including staffing the education residency activities, assisting in artist services and mailings, escorting students for our popular youth per?formances and a host of other projects. Call 734.936.6837 to request more information. ADVISORY COMMITTEE The 58-member UMS Advisory Committee serves an important role within UMS. From ushering for our popular Youth Performances to coordinating annual fundraising events, such as the Ford Honors Program gala and "Delicious Experiences" dinners, to marketing Bravo!, UMS's award-winning cookbook, the Committee brings vital volunteer assistance and financial support to our ever-expanding educational programs. If you would like to become involved with this dynamic group, please call 734.647.8009. SPONSORSHIP & ADVERTISING Advertising When you advertise in the UMS program book you gain season-long visibility among ticket-buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to performance experience. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book. Sponsorship As a UMS corporate sponsor, your organization comes to the attention of an educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treas?ures, and also receive numerous benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for: ? Enhancing corporate image ? Cultivating clients ? Developing business-to-business relationships Targeting messages to specific demographic groups ? Making highly visible links with arts and education programs ? Recognizing employees ? Showing appreciation for loyal customers For more information, call 734.647.1176. Internships & College Work-Study Internships with UMS provide experience in performing arts administration, marketing, ticket sales, programming, production and arts education. Semesterand year-long unpaid internships are available in many of UMS's departments. For more information, please call 734.615.1444. Students working for UMS as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, ticket sales, fundraising, arts education, arts programming and production. If you are a University of Michigan student who receives work-study financial aid and who is interested in working at UMS, please call 734.615.1444. Ushers Without the dedicated service of UMS's Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing pro?gram books and providing that personal touch which sets UMS events above others. The UMS Usher Corps comprises over 300 individuals who volunteer their time to make your concert-going experience more pleasant and efficient. The all-volunteer group attends an orientation and training session each fall or winter. Ushers are responsible for working at every UMS performance in a specific venue for the entire concert season. If you would like information about becoming a UMS volunteer usher, call the UMS usher hotline at 734.913.9696 or e-mail SUPPORT FOR THE UNIVERSITY MUSICAL SOCIETY This performance--and all of UMS's nationally recognized artistic and educational programs--would not be possible without the generous support of the community. UMS gratefully acknowledges the following individ?uals, businesses, foundations and government agencies--and those who wish to remain anonymous-and extends its deepest gratitude for their support. This list includes current donors as of December 1, 2003. Every effort has been made to ensure its accuracy. Please call 734.647.1175 with any errors or omissions. SOLOISTS $25,000 or more Mrs. Gardner Ackley Carl and Isabelle Brauer Hattie McOmber Randall and Mary Pittman Philip and Kathleen Power MAESTROS $10,000-$24,999 Ronnie and Sheila Cresswell Robert and Pearson Macek Paul and Ruth McCracken Tom and Debby McMullen Mrs. Robert E. Meredith M. Haskell and Jan Barney Newman Gilbert Omenn and Martha Darling Prudence and Amnon Rosenthal Ann and Clayton Wilhite VIRTUOSI $7,500-$9,999 Maurice and Linda Binkow Barbara Everitt Bryant Thomas and Marilou Capo Dave and Pat Clyde Ken and Penny Fischer Beverley and Gerson Geltner Don and Judy Dow Rumelhart Lois and Jack Stegeman Edward and Natalie Surovell Marion T. Wirick and James N. Morgan CONCERTMASTERS $5,000-$7,499 Michael Allemang Herb and Carol Amster Emily W. Bandera, M.D. and Richard H. Shackson Albert M. and Paula Berriz Ralph G. Conger Douglas D. Crary Pauline and Jay J. De Lay Molly Dobson Jack and Alice Dobson Mr. and Mrs. Thomas C. Evans Friends of Hill Auditorium David and Phyllis Herzig Toni M. Hoover Robert and Gloria Kerry Leo and Kathy Legatski Concertmaslers, cont. Dr. and Mrs. Richard H. Lineback Charlotte McGeoch Julia S. Morris Charles H. Nave John Psarouthakis and Antigoni Kefalogiannis Mr. Gail W. Rector John and Dot Reed Maria and Rusty Restuccia Richard and Susan Rogel Loretta M. Skewes James and Nancy Stanley Susan B. Ullrich Dody Viola PRODUCERS $3,500-4,999 Kathy Benton and Robert Brown Dr. Kathleen G. Charla Katharine and Jon Cosovich Mr. and Mrs. George W. Ford Betty-Ann and Daniel Gilliland Dr. Sid Gilman and Dr. Carol Barbour Debbie and Norman Herbert Keki and Alice Irani Shirley Y. and Thomas E. Kauper Lois A. Theis Marina and Robert Whitman LEADERS $2,500-$3,499 Bob and Martha Ause Essel and Menakka Bailey Raymond and Janet Bernreuter Edward and Mary Cady Maurice and Margo Cohen Mary Sue and Kenneth Coleman Mr. Michael J. and Dr. Joan S. Crawford Al Dodds Jim and Patsy Donahey David and Jo-Anna Featherman Ilene H. Forsyth Michael and Sara Frank Sue and Carl Gingles Linda and Richard Greene Carl and Charlene Herstein Janet Woods Hoobler John and Patricia Huntington David and Sally Kennedy Connie and Tom Kinnear Marc and Jill Lippman Natalie Matovinovic Judy and Roger Maugh Susan McClanahan and Bill Zimmerman Eleanor and Peter Pollack )im 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 PRINCIPALS $1000-$2,499 Dr. and Mrs. Gerald Abrams Jim and Barbara Adams Bernard and Raquel Agranoff Michael and Suzan Alexander Dr. and Mrs. David G. Anderson Rebecca Gepner Annis and Michael Annis Jonathan W. T. Ayers Lesli and Christopher Ballard Dr. and Mrs. Robert Bartlett Astrid B. Beck and David Noel Freedman Ralph P. Beebe Patrick and Maureen Belden Harry and Betty Benford Ruth Ann and Stuart J. Bergstein Suzanne A. and Frederick J. Beutler Joan A leers Binkow John Blankley and Maureen Folcy Dr. and Mrs. Ronald Bogdasarian Elizabeth and Giles G. Bole Howard and Margaret Bond Sue and Bob Bonfield Charles and Linda Borgsdorf Laurence and Grace Boxer Dale and Nancy Briggs William and Sandra Broucek Jeannine and Robert Buchanan Robert and Victoria Buclder Sue and Noel Buckner Lawrence and Valerie Bullen Laurie Burns Mr. and Mrs. Richard J. Burstein Letitia J. Byrd Amy and Jim Byrne Betty Byrne Barbara and Albert Cain Jean W. Campbell Michael and Patricia Campbell Carolyn M. Carty and Thomas H. Haug Jean and Kenneth Casey Janet and Bill Cassebaum Anne Chase James S. Chen Janice A. Clark Mr. and Mrs. John Alden Clark Leon and Heidi Cohan Hubert and Ellen Cohen Nan and Bill Conlin Jane Wilson Coon and A. Rees Midgley, Jr. Anne and Howard Cooper Susan and Arnold Coran Paul N. Courant and Marta A. Manildi George and Connie Cress Kathleen J. Crispell and Thomas S. Porter Julie F. and Peter D. Cummings Richard J. Cunningham Roderick and Mary Ann Daane Peter and Susan Darrow Lloyd and Genie Dethloff Steve and Lori Director Andrzcj and Cynthia Dlugosz Elizabeth A. Doman John Drydcn and Diana Raimi Martin and Rosalie Edwards Charles and Julia Eiscndrath Joan and I mil Engel Bob and Chris limit Dr. and Mrs. John A. Faulkner Eric Fearon and Kathy Cho Dcdc and Oscar Fcldman Yi-tsi M. and Albert Feuerwerker Mrs. Gerald J. Fischer (Beth B.) Bob and Sally Fleming John and Esther Floyd Marilyn G. Gallatin Bernard and Enid Gallcr Marilyn Tsao and Steve Gao Thomas and Barbara Gelchrter Beverly Gershowiiz William and Ruth Gilkey Mr. and Mrs. Clement Gill Mrs. Cozette T. Grabb Elizabeth Need ham Graham Susan Smith Gray and Robert Gray Dr. John and Renee M. Greden Jeffrey B. Green John and Helen Griffith Carl and Julia Guldberg Martin D. and Connie D. Harris Julian and Diane Hoff Carolyn Houston Robert M. and Joan F. Howe Drs. Linda Samuclson 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 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. I alia and David S. Bach Laurie and Robert LaZebnik Peter Lee and Clara Hwang Donald J. and Carolyn Dana Lewis Allen and Evie Lichter Carolyn and Paul Lichter Daniel Little and Bernadette Lintz Lawrence and Rebecca Lohr Leslie and Susan Loomans Mark and Jennifer LoPatin Richard and Stephanie Lord Lawrence N. Lup, DDS John and Cheryl MacKrell Catherine and Edwin L. Marcus Nancy and Philip Margolis Sally and Bill Martin Chandler and Mary Matthews Carole Mayer Ernest and Adele McCarus Joseph McCune and Gcorgiana Sanders Rebecca McGowan and Michael B. Staebler Ted and Barbara Meadows Henry D. Messer Carl A. House Andy and Candice Mitchell Therese M. Molloy Lester and Jeanne Monts Alan and Sheila Morgan fane and Kenneth Moriarty Melinda and Bob Morris Brian and Jacqueline Morton Martin Neuliep and Patricia Pancioli Donna Parmclec and William Nolting Marylen and Harold Oberman Dr. and Mrs. Frederick C. O'Dell Robert and Elizabeth Oneal Constance and David Osier Mitchcl Osman, MD and Nancy Timmcrman William C. Parkinson Dory and John D. Paul Principals, com. Margaret and Jack Petersen Elaine and Bertram Pitt Richard and Mary Price Jeanne Raislcr and Jon Cohn Donald H. Regan and Elizabeth Axelson Ray and Ginny Reilly Bernard E. and Sandra Reisman Kenneth J. Robinson Mr. and Mrs. Irving Rose Doug and Sharon Rothwell Dr. Nathaniel H. Rowe Craig and Jan Ruff Dr. and Mrs. Frank Rugani Alan and Swanna Saltiel John and Reda Santinga Maya Savarino David and Marcia Schmidt Meeyung and Charles R. Schmitter Mrs. Richard C. Schneider Rosalie and David Schottenfeld Steve and Jill Schwartz John 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 Lloyd and Ted St. Antoine Victor and Marlene Stoeffler Dr. and Mrs. Stanley Strasius Katharine Terrell and Jan Svejnar Virginia G. Tainsh Jim Toy Joyce A. Urba and David J. Kinsella Jack and Marilyn van der Velde Elly Wagner Florence S. Wagner Willes and Kathleen Weber Elise Weisbach Robert O. and Darragh H. Weisman Dr. Steven W. Werns Marcy and Scott Westerman Roy and JoAn Wetzel Harry C. White and Esther R. Redmount Max Wicha and Sheila Crowley Dr. and Mrs. Max Wisgerhof II Robert and Betty Wurtz Paul Yhouse Edwin and Signe Young Gerald B. and Mary Kate Zelenock BENEFACTORS $500-$999 Dr. and Mrs. Robert G. Aldrich Anastasios Alexiou Christine Webb Alvey David and Katie Andrea Dr. and Mrs. Rudi Ansbacher lanet and Arnold Aronoff Emily Avers Rowyn Baker Robert L. Baird Paulett Banks M. A. Baranowski Norman E. Barnett Mason and Helen Barr L. S. Berlin Philip C. Berry Icffrey Beyersdorf Sara Bilimann and Jeffrey Kuras Jerry and Dody Blackstone Donald and Roberta Blitz Tom and Cathie Bloem Jane Bloom, MD and William L. Bloom Mr. and Mrs. Richard Boyce Dr. and Mrs. Ralph Bozell Susan Bozell Paul and Anna Bradley Joel Brcgman and Elaine Pomeranz June and Donald R. Brown Morton B. and Raya Brown Trudy and Jonathan Bulkley H. D. Cameron Bruce and Jean Carlson Edwin and Judith Carlson Jim and Priscilla Carlson Jack and Wendy Carman Cheryl Cassidy and Richard Ginsburg Tsun and Siu Ying Chang Dr. Kyung and Young Cho Alice S. Cohen Lois and Avern Cohn Malcolm and Juanita Cox Sally A. Cushing Charles and Kathleen Davenport Marnee and John DeVine Lorenzo DiCarlo and Sally Stegeman DiCarlo Mary E. Dwyer Jack and Betty Edman Judge and Mrs. S. J. Elden Patricia Enns Elly and Harvey Falit John W. Farah DDS PhD Claudine Farrand and Daniel Moerman Irene Fast Sidney and lean Fine Carol Finerman Clare M. Fingerle John and Karen Fischer Ray and Patricia Fitzgerald Jason I. Fox Dr. Ronald Freedman Harriet and Daniel Fusfeld Otto and Lourdes E. Gago Professor and Mrs. David M. Gates Drs. Steve Geiringer and Karen Bantel Jasper Gilbert Paul and Anne Glendon lack and Kathleen Glezen Ah l,i G. Golden and Carroll Smith-Rosenberg William and Sally Goshorn Jenny Graf Dr. and Mrs. Lazar J. Greenfield Seymour D. Greenstone David and Kay Gugala Ken and Margaret Guire Don P. Haefner and Cynthia ). Stewart Mr. and Mrs. Elmer F. Hamel Susan A. Hamilton Clifford and Alice Hart Sivana Heller J. Lawrence and Jacqueline Stearns Henkel Kathy and Rudi Hentschel Herb and Dee Hildebrandt Mrs. W.A. Hiltner Sun-Chien and Betty Hsiao Mrs. V. C. Hubbs Ann D. Hungerman Thomas and Kathryn Huntzickcr Eileen and Saul Hymans Jean Jacobson Mark Jacobson Elizabeth Jahn Rebecca S. lahn Wallie and Janet teffries lim 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. KHngler Philip and Kathryn Klintworth Michael J. Kondziolka and Mathias-Philippe Florent Badin Charles and Linda Koopmann Dr. and Mrs. Melvyn Korobkin Bert and Catherine La Du Ted and Wendy Lawrence Mr. John K. Lawrence Julaine E Le Due Mr. and Mrs. Fernando S. Leon Jacqueline H. Lewis E. Daniel and Kay Long Brigitte and Paul Maassen William Maddix Nicole Manvel Marilyn Mason Micheline Maynard Griff and Pat McDonald Bemice and Herman Merte Leo and Sally Miedler Myrna and Newell Miller Lisa Murray and Mike Gatti Gerry and Joanne Navarre Edward Nelson Eulalie Nohrden Kathleen I. Operhall Marysia Ostafin and George Smillie Nicole Paoletti Ms. Chandrika S. Patel John Peckham Wallace and Barbara Prince Mrs. Gardner C. Quarton Mrs. Joseph S. Radom Ms. Claudia Rast Ms. Rossi Ray-Taylor Molly Resnik and John Martin Jay and Machree Robinson Dr. Susan M. Rose Mrs. Doris E. Rowan Lisa Rozek James and Adrienne Rudolph Paul and Penny Schreiber Alicia Schuster Terry Shade Howard and Aliza Shevrin George and Gladys Shirley Pat Shure Robert and Elaine Sims Irma J. Sklenar Herbert Sloan Donald C. and Jean M. Smith Gus and Andrea Stager Curt and Gus Stager David and Ann Staiger James C. Steward Prof. Louis J. and Glennis M. Stout Ellen and Jeoffrey K. Stross Charlotte B. Sundelson Bob and Betsy Teeter Paul and Jane Thielking Elizabeth H. Thieme Dr. and Mrs. Merlin C. Townley Joan Lowenstein and Jonathan Trobe Jeff and Lisa Tulin-Silver Dr. Sheryl S. Ulin and Dr. Lynn T. Schachinger Charlotte Van Curler Raven Wallace Harvey and Robin Wax Lawrence A. Wcis 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 Joan Zald ASSOCIATES $250-$499 Jesus and Benjamin Acosta-Hughes Michael and Marilyn Agin Robert Ainsworth Helen and David Aminoff Douglas B, Anderson Harlene and Henry Appelman Jack and Jill Arnold Jeff and Deborah Ash Mr. and Mrs. Arthur J. Ashe, III Dwight T. Ashley Dan and Monica Atkins Linda Bennett and Bob Bagramian Laurence R. and Barbara K. Baker Lisa and Jim Baker Reg and Pat Baker Barbara and Daniel Balbach Gary and Cheryl Balint Ms. Ruth Bardenstein John R. Bareham David and Monika Barera Lois and David Baru Lourdes Bastos Hansen Tom and Judith Batay-Csorba Francis I. 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 fames A. Bergman and Penelope Hommel Steven J. Bernstein and Maria Herrero Dan and Irene Biber John E. Billi and Sheryl Hirsch Roger and Polly Bookwalter Victoria C. Botek and William M. Edwards Jim Botsford and Janice Stevens Botsford William R. Brashear David and Sharon Brooks Dr. Frances E. Bull Susan and Oliver Cameron Valerie and Brent Carey Jeannette and Robert Carr Dr. and Mrs. Joseph C. Cerny Kwang and Soon Cho Reginald and Beverly Ciokajlo Brian and Cheryl Clarkson Harvey Colbert Wayne and Melinda Colquitt Merle and Mary Ann Crawford Peter C. and Lindy M. Cubba Mary R. and John G. Curtis Sunil and Merial Das Art and Lyn Powric Davidge John and Jean Debbink Elena and Nicholas Delbanco Elizabeth Dexter Judy and Steve Dobson Thomas and Esther Donahue Cecilia and Allan Dreyfuss Elizabeth Duell Associates, cont. Dr. Alan S. Eiser Sol and Judith Elkin Janel Fain Phil and Phyllis Fellin Stephen and Ellyce Field Dr. James F. Filgas Susan FilipiaWSwing City Dance Studio Herschel Fink C. Peter and Bev A. Fischer Gerald B. and Catherine L Fischer Dennis Flynn Paula L. Bockenstedt and David A. Fox Howard and Margaret Fox Betsy Foxman and Michael Boehnke Lynn A. Frceland Richard and Joann Frecthy Dr. Leon and Marcia Friedman Lela J. Fuester Mr. and Mrs. William Fulton Thomas J. Garbaty Deborah and Henry Gerst Elmer G. Gilbert and Lois M. Verbrugge Maureen and David Ginsburg Irwin Goldstein and Martha Mayo Enid M. Gosling lames W. and Maria J. Gousseff Michael L. Gowing Maryanna and Dr. William H. Graves III Bob Green Ingrid and Sam Gregg Bill and Louise Gregory Raymond and Daphne M. Grew Werner H. Grilk John and Susan Halloran Tom Hammond Robert and Sonia Harris Naomi Gottlieb Harrison and Theodore Harrison DDS Paul Hysen and Jeanne Harrison (carmine 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 lane 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 Kissncr 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 Lcong Myron and Bobbie Levine Ken and Jane Lieberthal Rod and Robin Little Vi-Cheng and Hsi-Yen Liu Dr. Lennart H. Lofstrom Naomi E. Lohr Ronald Longhofer and Norma McKenna Florence LoPatin Jenifer and Robert Lowry Edward and Barbara Lynn Pamela I. MacKintosh Melvin and Jean Manis lames E. and Barbara Martin Margaret E. McCarthy Margaret and Harris McClamroch lames M. Beck and Robert J. McGranaghan Michael G. McGuire Nancy A. and Robert E. Meader George R. and Brigitte Merz Shirley and Bill Meyers Mr. and Mrs. Eugene Miller Kathryn and Bertley Moberg Mr. and Mrs. William Moeller Olga Ann Moir William G. and Edith O. Moller, Jr. Thomas and Hedi Mulford Gavin Eadie and Barbara Murphy Frederick C. Neidhardt and Germaine Chipault Richard and Susan Nisbctt Laura Nitzberg and Thomas Carli Arthur and Lynn Nusbaum Drs. Sujit and Uma Pandit William and Hedda Panzer Karen M. Park Joyce Phillips Mr. and Mrs. Frederick R. Pickard Wayne Pickvet and Bruce Barrett Donald and Evonne Plantinga Bill and Diana Pratt Larry and Ann Preuss Leland and Elizabeth Quackenbush Jim and leva Rasmusscn Anthony L Reffclls and Elaine A. Bennett Constance O. Rinehart Kathleen Roelofs Roberts Gay and George Rosenwald Mr. Haskell Rothstein Ina and Terry SandaJow Michael and Kimm Sarosi Mike Savitski Dr. Stephen J. and Kim R. Saxe Frank f. Schauerte Mary A. Schieve Mrs. Harriet Selin Jean and Thomas Shope Hollis and Martha A. Showalter Alitl.i and Gene Silverman Scott and Joan Singer Susan and Leonard Skerker John and Anne Griffin Sloan Tim and Marie Slottow Alene Smith Carl and Jari Smith Mrs. Robert W. Smith Dr. Elaine R. Soller Hugh and Anne Solomon Yoram and Eliana Sorokin Tom Sparks Jeffrey D. Spindler Allen and Mary Spivey Judy and Paul Spradlin Burnette Staebler Gary and Diane Stahle Rick and Lia Stevens James L. Stoddard Barbara and Donald Sugerman Brian and Lee Talbot Eva and Sam Taylor Edwin J. Thomas Bette M. Thompson Nigel and Jane Thompson Claire and Jerry Turcotte Mr. lames R. Van Bochovc Hugo and Karla Vandersypen Marie Vogt Harue and Tsuguyasu Wada Charles R. and Barbara H. Wallgren Robert D. and Liina M. Wallin Carol Weber John Weber Deborah Webster and George Miller Iris and Fred Whitehouse Leslie Clare Whitfield Professor Steven Whiting Cynthia and Roy Wilbanks Anne Marie and Robert . 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 Win ill Frances A. Wright Don and Charlotte Wyche MaryGrace and Tom York Corporate Fund $100,000 and above Ford Motor Company Fund Forest Health Services Corporation University of Michigan Pfizer Global Research and Development: Ann Arbor Laboratories $20,000-$49,999 Bank of Ann Arbor Borders Group, Inc. DaimlerChrysler Foundation Kaydon Corporation KeyBank TIAA-CREF $10,000-$19,999 Bank One Brauer Investment Company CFI Group Comerica Incorporated DTE Energy Foundation Edward Surovell Realtors McKinley Associates Sesi Lincoln Mercury Volvo Mazda $5,000-$9,999 Albert Kahn Associates Ann Arbor Automotive Butzel Long Attorneys Crowne Plaza Elastizell Corporation of America MASCO Charitable Trust Miller Canfield Paddock and Stone P.L.C. National City Bank Quinn EvansArchitects TCF Bank Thomas B. McMullen Company Total Travel Management $l,000-$4,999 Arts at Michigan Blue Nile lit is,ii t Financial Group Charles Reinhart Company, Realtors Chase Manhattan Mortgage Conlin Travel Joseph Curtin Studios Lewis Jewelers ProQuest Republic Bancorp United Bank & Trust $100-$999 ABN AMRO Mortgage Group, Inc. Adult Learning Institute Ayse's Courtyard Cafe Ann Arbor Builders Ann Arbor Commerce Bank Bed & Breakfast on Campus Bennett Optometry Bivouac Burns Park Consulting Clark Professional Pharmacy Coffee Express Comcast Edward Brothers, Inc. Garris, Garris, Garris & Garris, P.C. M.ilit iv Incorporated Michigan Critical Care Consultants Rosebud Solutions Seaway Financial Agency Wayne Milewski SeloShevel Gallery Swedish Women's Educational Association Foundation & Government Support UMS gratefully acknowl?edges the support of the following foundations and government agencies: $100,000 and above Association of Performing Arts Presenters Arts Partners Program Community Foundation for Southeastern Michigan Doris Duke Charitable Foundation The Ford Foundation JazzNet Michigan Council for Arts and Cultural Affairs The Power Foundation Foundation & Government Support, cont. The Wallace Foundation The Whitney Fund $50,000-$99,999 Anonymous National Endowment for the Arts $W,000-$49,999 Continental Harmony SU0OO-S9.999 Akers Foundation Altria Group, Inc. Arts Midwest Cairn Foundation Heartland Arts Fund The Lebensfeld Foundation Martin Family Foundation Maxine and Stuart Frankel Foundation Mid-America Arts Alliance The Molloy Foundation Montague Foundation THE MOSAIC FOUNDA?TION (of R. and P. Heydon) Sams Ann Arbor Fund Vibrant of Ann Arbor Tribute Gifts Contributions have been received in honor andor memory of the following individuals: H. Gardner Ackley Herb and Carol Amster Maurice Binkow Tom and Laura Binkow Mr. and Mrs. Thomas Caterino T. Earl Douglass Robert Bruce Dunlap Alice Kelsey Dunn David Eklund Kenneth C. Fischer Dr. Beverley B. Geltner Michael Cowing Lila Green Werner Grilk Elizabeth E. Kennedy Ted Kennedy, Jr. Dr. Gloria Kerry Alexandra Lofstrom Joyce 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. Rothstein Eric H. Rothstein Nona R. Schneider Ruth E. Schopmeyer Prof. Wolfgang Stolper Diana Stone Peters Peter C. Tainsh Dr. Isaac Thomas III Clare Venables Francis V.Viola HI Horace Warren Donald Whiting Peter Holderness Woods Barbara E. Young Elizabeth Yhouse Burton Tower Society The Burton Tower Society recognizes and honors those very special friends who have included 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. Anonymous Carol and Herb Amster Dr. and Mrs. David G. Anderson Mr. Neil P. Anderson Catherine S. Arcure Mr. Hilbert Beyer Elizabeth Bishop Mr. and Mrs. Pal E. Borondy Carl and Isabelle Brauer Barbara Everitt Bryant Joanne A. Cage Pat and George Chatas Mr. and Mrs. John AJden Clark Douglas D. Crary H. Michael and Judith L Endres Beverley and Gerson Geltner John and Martha Hicks Mr. and Mrs. Richard Ives Marilyn Jeffs Thomas C. and Constance M. Kinnear Charlotte McGeoch Michael G. McGuire Dr. Eva Mueller Len and Nancy NiehorT Dr. and Mrs. Frederick C. O'Dell Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Mr. and Mrs. Jack W. Ricketts Mr. and Mrs. Willard L Rodgers Prudence and Amnon Rosenthal Mr. Haskell Rothstein Irma J. Skelnar Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wetzel Mr. and Mrs. Ronald G. Zollars Endowed Funds The future success of the 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 fu nds. H. Gardner Ackley Endowment Fund Herbert S. and Carol Amster Fund Catherine S. Arcure Endowment Fund Carl and Isabelle Brauer Endowment Fund Choral Union Fund Hal and Ann Davis Endowment Fund Ottmar Eberbach Funds Epstein Endowment Fund JazzNet Endowment Fund William R. Kinncy Endowment Fund NEA Matching Fund Palmer Endowment Fund Mary R. Romig-deYoung Music Appreciation Fund Charles A. Sink Memorial Fund Catherine S. ArcureHerbert E. Sloan Endowment Fund University Musical Society Endowment Fund In-Kind Gifts A-l Rentals, Inc. Raquel and Bernard Agranoff Alexandra's in Kerrytown Amadeus Cafe Ann Arbor Automotive Ann Arbor Art Center Ann Arbor Women's City Club Arbor Brewing Co. Ashley Mews Avanti Hair Designers The Back Alley Gourmet Barnes Ace Hardware Lois and David Baru Baxter's Wine Shop Kathleen Beck Bella Ciao Trattoria Kathy Benton and Bob Brown Bivouac The Blue Nile Restaurant Body wise Therapeutic Massage Mimi and Ron Bogdasarian Borders Book and Music Janice Stevens Botsford Susan Bozell Tana Brciner Barbara Everitt Bryant By the Pound Cafe Marie Margot Campos Cappellos Hair Salon Coach Me Fit Bill and Nan 'milm M.C Conroy Hugh and Elly Cooper Cousins Heritage Inn Roderick and Mary Ann Daane D'Amato's Italian Restaurant David Smith Photography Peter and Norma Davis Robert Derkacz The Display Group Dough Boys Bakery The Earle Eastover Natural Nail Care Katherinc and Damian Farrell Ken and Penny Fischer Food Art Sara Frank The Gandy Dancer Beverlcy and Gerson Geltner Great Harvest Bread Company Linda and Richard Greene Nina Ha user John's Pack & Ship Steve and Mercy Kasle Cindy Kellerman Kerrytown Bistro Kilwin's Chocolate Shoppe King's Keyboard House Kinko's Copies Laky's Salon Ray Lance George and Beth Lavoie LeDog Leopold Bros. Of Ann Arbor Richard LcSueur Carl Lutkehaus Doni Lystra Mainstreet Ventures Ernest and leanne Merlanti John Metzger Michael Susanne Salon Michigan Car Services, Inc. and Airport Sedan, LTD Moe Sport Shops Inc. Robert and Melinda Morris Joanne Navarre Nicola's Books, Little Professor Book Co. Paesano's Restaurant Pfizer Global Research and Development: Ann Arbor Laboratories Preview Properties Produce Station Randy Parrish Fine Framing Red Hawk Bar & Grill Regrets Only Rightside Cellar Ritz Camera One Hour Photo Don and Judy Dow Rumelhart Safa Salon and Day Spa Salon Vertigo Rosalyn Sarvar Maya Savarino Penny and Paul Schreibcr Shaman Drum Bookshop Loretta Skewes Dr. Elaine R. Soller Maureen Stoeffler STUDIOsixteen Two Sisters Gourmet Van Bovens Washington Street Gallery Whole Foods Weber's Restaurant Zanzibar The Tallis Scholars Peter Phillips, Conductor and Director Missa Papae Marcelli Giovanni Pierluigi da Palestrina Kyrie Kyrie eleison. Christe eleison. Kyrie eleison. Gloria Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis. Laudamus te; benedicimus te; adoramus te; glorificamus te. Gratias aginius tibi propter magnam gloriani tuam, D omine Deus, Rex caelestis, Deus Pater omnipotens. Doniine Fili unigenite, Jesu Christe; Doniine Deus, Agnus Dei, Filius Patris, qui tollis peccata mundi, miserere nobis; qui tollis peccata mundi, suscipe deprecationem nostram; qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus Sanctus; tu solus Dominus; tu solus altissimus, Jesu Christe, cum Sancto Spiritu, in gloria Dei Patris. Amen. Lord, have mercy. Christ, have mercy. Lord, have mercy. Glory be to God on high, and in earth peace, goodwill towards men. We praise thee; we bless thee; we worship thee; we glorify thee. We give thanks to thee for thy great glory, O Lord God, heavenly king, God the Father almighty. O Lord the only-begotten Son, Jesu Christ; O Lord God, Iamb of God, Son of the Father, that takest away the sins of the world, have mercy upon us; thou that takest away the sins of the world, receive our prayer; thou that sittest at the right hand of God the Father, have mercy upon us. For thou only art Holy; thou only art the Lord; thou only, O Christ, with the Holy Ghost, art Most High in the glory of God the Father. Amen. Credo Credo in unum Deurn, Patrem omnipotentem, factorem caeli et terrae, visibilium omnium et invisibilium. Et in unum Dominum Jesum Christum, Filium Dei unigenitum, et ex Pat re natum ante omnia saecula. Deum de Deo; Lumen de Lumine; Deum verum de Deo vero; genitum, non factum; consubstantialem Patri; per quern omnia facta sunt. Qui propter nos homines, et propter nostram saluteni descendit de caelis, et incarnatus est de Spiritu Sancto, ex Maria Virgine, et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato; passus et sepultus est. Et resurrexit tertia die secundum Scripturas; et ascendit in caelum, sedet ad dexteram Patris; et iterum venturus est cum gloria judicare vivos et mortuos; cuius regni non erit finis. Et in Spiritum Sanctum, Dominum et vivificantem, qui ex Patre Filioque procedit; qui cum Patre et Filio simul adoraturet conglorificatur, qui locutus est per prophetas; Et un.iiii sanctam catholicam et apostolicam Ecclesiam. Confiteor unum baptisma in remissionem peccatorum. Et exspecto resurrectionem mortuorum, et vitam venturi saeculi. Amen. Sanctus Sanctus, Sanctus, Sanctus, Dominus Deus Sabaotli. Pleni sunt caeli et terra gloria tua. Hosamia ill excelsis. I believe in one God, the Father almighty, Maker of heaven and earth, and of all things visible and invisible. And in one Lord, Jesus Christ, the only-begotten Son of God, begotten of his Father before all worlds. God of God; Light of Light; very God of very God; begotten, not made: being of one substance with the Father; by whom all things were made. Who for us men, and for our salvation, came down from heaven, and was incarnate by the Holy Ghost of the Virgin Mary, and was made man. And was crucified also for us under Pontius Pilate; he suffered death and was buried. And the third day he rose again according to the Scriptures; and ascended into heaven, and is seated at the right hand of the Father; and he shall come again with glory to judge both the quick and the dead; whose kingdom shall have no end. And I believe in the Holy Ghost, the Lord, and giver of life, who proceeds from the Father and the Son; who with the Father and the Son is worshipped and glorified, who spoke by the prophets. And I believe in one holy, catholic and apostolic Church. I acknowledge one baptism for the remission of sins. And I look for the resurrection of the dead, and the life of the world to come. Amen. Holy, Holy, Holy, Lord God of hosts. Heaven and earth are full of thy glory. Glory be to thee, O Lord most high. Benedictus Benedictus qui venit in nomine Domini. Hosanna in excelsis. Agnus Dei Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, dona nobis pacem. Blessed is he that cometh in name of the Lord. Hosanna in the highest. O Lamb of God, that takes away the sins of the world, have mercy on us. O Lamb of God, that takes away the sins of the world, have mercy on us. O Lamb of God, that takes away the sins of the world, grant us thy peace. Tnbulationes civitatum William Byrd Tribualtiones civitatum audivimus quas passae sunt, et defecimus. Domine ad te sunt oculi nostri, ne pereamus. Timor et hebetudo mentis cecedir super nos, et super liberos nostros: ipsi montes nolunt recipere fugajn nostram. Domine, miserere. Nos enim pro peccatis nostris haec patimur. Aperi oculos tuos Domine, et vidi afflictionem nostram. We have heard of the trials which the cities have suffered, and have lost heart. Our eyes are fixed on thee O Lord, and do not wander. Fear and confusion have fallen upon us, and upon our children: even the mountains offer us no refuge. Lord, have mercy. For it is because of our sins that we are suffering these things. Open thine eyes O Lord, and behold our affliction. Ave Maria Josquin des Prts Ave Maria gratia plena: Dominus tecuni, Virgo serena. Ave cuius conceptio, solemni plena gaudio, caelestia, terrestria, nova replet laetitia. Ave cuius nativitas, nostra fuit solemnitas, ut lucifer lux oriens, verum solem praeveniens. Ave pia humilitas, sine viro fecunditas, cuius annunciatio, nostra fuit salvatio. Ave vera virginitas, immaculata castitas, cuius purificatio, nostra fuit purgatio. Ave praeclara omnibus angelicis virtutibus, cuius fuit assumptio nostra glorificatio. O mater Dei, memento mei. Amen. Hail Mary, full of grace, the Lord is with thee, fair Virgin. Hail thou whose conception, full of joy, fills us anew with heavenly and earthly joy. Hail thou whose birth was our festival, as a light bringing light, rising, anticipating the true sun. Hail, true humility, whose fertility was not given by man, whose annunciation was our sal?vation. Hail, true virginity, immaculate chastity, whose purification was our cleansing. I [ail, thou who art famous for all angelic virtues, whose assumption was our glorification. O mother of God, remember me. Amen. Tu solus qui facis mirabilia Josquin dcs Pris (Prinia pars) Tu solus qui facis mirabilia. Tu solus creator qui creasti nos. Tu solus redemptor qui redemisti nos sanguine tuo preciosissimo. Ad te solum configimus. In te solum confidimus, Nee aliuin adoramuys, Jesu Christe. Ad te prcccs efTundimus. Exaudi quod supplicajnus, Et concede quod pctimus, Rex benigne. (Secunda pars) D'Ung aultre amer, Nobis esset fallacia: D'Ung aultre amer, Magna esset stultitia et peccatum. Audi nostra suspiria, Reple nos tua gratia, O rex regum, Ut ad tua servitia Sistamus cum laetilia in aeternum. (First Part) You alone are the one who makes miracles. You alone are the creator who made us. You alone are the redeemer who redeemed us With your most precious blood. To you alone do we fly for refuge. In you alone do we place our trust, And we worship no other, O Jesus Christ. To you we pour out our prayers. Listen to what we ask, And grant what we seek, O generous King. (Second Part) By another love, We would be deceived; With another love, Our foolishness and our sin would be great. Hear our sighs, Fill us with your grace, O King of Kings, That we may keep steadfast to your service With gladness for ever. In manus tuas John Sheppard In maims tuas Domine cominendo spiritual incuin. Redemisti me Dorninc Deus vcritatis. Into thy hands, O Lord, I commend my spirit. Thou hast redeemed me, Lord God of truth. Missa Tecum principium Robert Fayrfax Agnus Dei Agnus Dei,qui tollis pcccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, dona nobis pacem. O Lamb of God, that takes away the sins of the world, have mercy on us. O Lamb of God, that takes away the sins of the world, have mercy on us. O Lamb of God, that takes away the sins of (lie world, grant us thy peace.

Download PDF