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UMS Concert Program, Thursday Apr. 01 To 15: University Musical Society: Winter 2004 - Thursday Apr. 01 To 15 --

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

University Music Society of the University of Michigan
Winter 2004 Season
125th ums 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
UMSservices 15 General Information
16 Tickets
17 Gift Certificates
UMSannals 21 UMS History
22 UMS Choral Union
23 Venues Burton Memorial Tower
UMSexperience 27 The 125th Winter UMS Season
30 Education & Audience Development
33 UMS Preferred Restaurant & Business Progra
UMSsupport 35 Advisory Committee
35 Sponsorship & Advertising
37 Internships & College Work-Study Ushers
39 Support
48 UMS Advertisers
Front Coven Simon Shaheen, Guthrie Theater's Othello, Cecilia Bartoli, Lyon Opera Ballet dancers Back Coven Dee Oee Bridgewater, Maestro Leopold Stokowski bows to the Hill Auditorium Audience at the 1936 May Festival
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.
Mary Sue Coleman
President, University of Michigan
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 problems. The best place to begin is with our Ticket Office at 734.764.2538. You should also feel free to get in touch with me about anything related to UMS. If you don't see me in the lobby at this performance, please send me an e-mail message at or call me at 734.647.1174.
Very best wishes,
Kenneth C. Fischer UMS President
whe UMS 125th season continues with I the opening of a newly renovated Hill I Auditorium. What a pleasure it is to have our unique hall back with comfortable seats, air conditioning, and more restrooms!
Our fall season culminated with the Globe Theatre's production of Shakespeare's Twelfth Night, the Boston Pops, and the
125th annual UMS pro?duction of Handel's Messiah -very different and equally engaging pro?ductions. The UMS staff deserves a standing ova?tion for their enormous hard work. This past
summer we had to reduce our staff by 20, further increasingly everyone's work?load. This is a truly dedicated staff that continuously does a superb job providing the best productions and educational events for the University and our community.
In December, UMS celebrated, if from afar, President Ken Fischer who received the Patrick Hayes Award in London. Named after the man who was founding president of the International Society for the Performing Arts (ISPA) in 1949 and served as Ken's mentor, the Patrick Hayes Award recognizes an ISPA member of long standing whose achievements in arts man?agement are deserving of the highest praise and recognition.
This winter season brings us the Children of Uganda, the Israel Philhar?monic, and virtuosic pianist Lang Lang, to name just a few events from the splendid artistic menu UMS has planned for us.
The season finale will be the Ford Honors Program on May 15 featuring Sweet Honey in the Rock (founder Bernice Johnson Reagon received an honorary degree from U-M in 2000). The perform?ance will coincide with the opening of the University Capital Campaign. UMS will be a prominent part of the campaign, and we look to our audience and friends to help us ensure the future of the organization. For those of us who have been able to sup?port UMS in the past, it is an honor to participate in providing such a rich cultur?al environment for the University, the community and southeastern Michigan. I invite all of you to join us in ensuring the growth and success of the University Musical Society.
Prue Rosenthal
Chair, UMS Board of Directors
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 Josefowicz
President and CEO, Borders Group, Inc. "As a supporter of the University Musical Society, Borders Group is pleased to help strengthen our com?munity's commitment to and appreciation for artistic expression in its many forms."
John L. Herrygers
Vice PresidentOperating Unit Principal, Southeast Michigan, The Christman Company "Christman is proud to support the community in which we earn our living. We feel privileged to have taken part in the Hill Auditorium renovation as construction managers, and wish the University Musical Society many successful seasons in its 'new' facility."
Len Niehoff Shareholder, Butzel Long
"UMS has achieved an international reputation for excel?lence in presentation, education, and most recently cre?ation and commissioning. Butzel Long is honored to support UMS, its distinctive and diverse mission, and its important work."
Clayton Wilhite
Managing Partner, CFI Group, Inc. "We're pleased to be in the group of community businesses that supports UMS Arts and Education. We encourage those who have yet to participate to join us. Doing so feels good."
Rhonda Davenport
Group Manager & First Vice President of
Ann Arbor Region, Comerica Incorporated
"Our communities are enriched when we work together.
That's why we at Comerica are proud to support the
University Musical Society and its tradition of bringing
the finest in performing arts to our area."
Erin R. Boeve
Sales Manager, Crowne Plaza "The Crowne Plaza is a proud supporter and spon?sor of the University Musical Society. The dedica?tion to education through the arts is a priceless gift that continually enriches our community."
Fred Shell
Vice President, Corporate and Government Affairs, DTE Energy
"Plato said, 'Music and rhythm find their way into the secret places of the soul.' So do UMS programs. The DTE Energy Foundation salutes your efforts to enrich the quality of our lives through music."
Edward Surovell
President, Edward Surovell Realtors
"Edward Surovell Realtors and its 300 employees and sales associates are proud of our 20-year relationship with the University Musical Society. We honor its tradition of bringing the world's leading performers to the people of Michigan and setting a standard of artistic leadership recognized internationally."
Leo Legatski
President, Elastizell Corporation of America "UMS has survived the cancellations of September 2001, the renovation of Hill Auditorium, and budget cutbacks this past year. They need your support--more than ever-to continue their outstanding programming and educa?tional workshops."
Brian Campbell
President & CEO, Kaydon Corporation "For over a century, the University Musical Society has been a national leader in arts presentation. Kaydon Corporation is honored to be counted among the supporters of this proud tradition of musical and artistic excellence."
Rick M. Robertson
Michigan District President, KeyBank "KeyBank is a proud supporter of the performing arts and we commend the University Musical Society on its contributions to the cultural excellence it brings to the community."
Albert M. Berriz
President and CEO, McKinley Associates, Inc. "The success of UMS is based on a commitment to present a diverse mix of quality cultural performances. McKinley is proud to support this tradition of excellence which enhances and strengthens our community."
Erik H. Serr
Principal, Miller, Canfield, Paddock & Stone, P.L.C. "Miller Canfield is a proud supporter of the University Musical Society and its contribution to the culture of our community through its presentation of wonderful and diverse cultural events which contribute substan?tially to inspiration and enrichment of our community."
Robert J. Malek
Community President, National City Bank "A commitment to quality is the main reason we are a proud supporter of the University Musical Society's efforts to bring the finest artists and special events to our community."
Michael Quinn, FAIA
President, Quinn EvansArchitects "Each UMS season of world-class performers deserves the best, and it's been a pleasure to design to that end. Now it's a pleasure to return Hill to the arts-loving public -renewed for the 21st century."
Joe Sesi
President, Sesi Lincoln Mercury Volvo Mazda "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury Volvo Mazda team is delighted to sponsor such a fine organization."
Don Hawkins
Senior Vice President, Director of Community Affairs, TCF Bank 'TCF Bank is pleased to join the University Musical Society to make the arts accessible to students of diverse back?grounds. How thrilling to see children's faces, experiencing their first performance as only UMS can present."
Sharon L. Beardman
Regional Vice President, TIAA-CREF Individual and Institutional Services, Inc.
"TIAA-CREF is proud to be associated with one of the best uni?versities in the country and the great tradition of the University Musical Society. We celebrate your efforts and appreciate your commitment to the performing arts community."
Thomas B. McMullen President, Thomas B. McMullen Co., Inc. "I used to feel that a UM-Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational and artistic entertainment."
FOUNDATION AND GOVERNMENT SUPPORT UMS gratefully acknowledges the support of the following foundations and government agencies.
$100,000 and above Association of Performing Arts
Presenters Arts Partners Program Community Foundation for
Southeastern Michigan Doris Duke Charitable Foundation The Ford Foundation JazzNtt Michigan Council for Arts and
Cultural Affairs The Power Foundation The Wallace Foundation The Whitney Fund
S50.000 99,999
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
Sams Ann Arbor Fund
Vibrant Ann Arbor Fund
UNIVERSITY MUSICAL SOCIETY of the University of Michigan
Prudence L. Rosenthal,
Chair Clayton Wilhite,
Vice-Chair Sally Stegeman DiCarlo,
Secretary Michael C. Allemang,
Kathleen Benton Charles W. Borgsdorf Kathleen G. Charla Mary Sue Coleman Hal Davis Aaron P. Dworkin George V. Fornero Maxine J. Frankel Patricia M. Garcia Debbie Herbert
Carl Herstein Toni Hoover Gloria James Kerry Marvin Krislov Barbara Meadows Lester P. Monts Alberto Nacif Jan Barney Newman Gilbert S. Omenn Randall Pittman
Philip H. Power Doug Rothwell Judy Dow Rumelhart Maya Savarino John J.H. Schwarz Erik H. Serr Cheryl L. Soper James C. Stanley Karen Wolff
(former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Lee C. Bollinger Janice Stevens Botsford Paul C. Boylan Carl A. Brauer Allen P. Britton William M. Broucek Barbara Everitt Bryant Letitia J. Byrd Leon S. Cohan Jill A. Corr Peter B. Corr Jon Cosovich Douglas Crary Ronald M. Cresswell
Robert F. DiRomualdo James J. Duderstadt David Featherman Robben W. Fleming David J. Flowers Beverley B. Geltner William S. Hann Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Kay Hunt Alice Davis Irani Stuart A. Isaac Thomas E. Kauper David B. Kennedy Richard L. Kennedy Thomas C. Kinnear F. Bruce Kulp
Leo A. Legatski Earl Lewis Patrick B. Long Helen B. Love Judythe H. Maugh Paul W. McCracken Rebecca McGowan Shirley C. Neuman Len Niehoff Joe E. O'Neal John D. Paul John Psarouthakis Rossi Ray-Taylor Gail W. Rector John W. Reed Richard H. Rogel Ann Schriber Daniel H. Schurz Harold T. Shapiro
George I. Shirley John O. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A. Solis Peter Sparling Lois U. Stegeman Edward D. Surovell lames L. Telfer Susan B. Ullrich Eileen Lappin Weiser Gilbert Whitaker B. Joseph White Marina v.N. Whitman Iva M. Wilson
Louise Townley, Chair Raquel Agranoff, Vice Chair Morrine Maltzman, Secretary Jeri Sawall, Treasurer
Barbara Bach Tracey Baetzel Paulctt M. Banks Milli Baranowski Lois Baru Kathleen Benton Mimi Bogdasarian Jennifer Boycc Mary Breakey cannine Buchanan
Victoria Buckler Heather Byrne Laura Caplan Cheryl Cassidy Nita Cox Norma Davis Lori Director H. Michael Endres Nancy Ferrario Sara B. Frank Anne Glendon Alvia Golden Ingrid Gregg Kathy Hentschel Phyllis Herzig
Meg Kennedy Shaw Anne Kloack lean Klugc Kathy LaDronka 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 Saltiel Penny Schreiber Sue Schrocdcr Aliza Shevrin Alida Silvcrman Loretta Skcwcs Maryanne Telese Dody Viola Wendy Woods Mary Kate Zelenock
AdministrationFinance Kenneth C. Fischer, President Elizabeth E. Jahn, Assistant to the
President John B. Kennard, Jr., Director of
Chandrika Patel, Senior Accountant John Peckham, Information Systems
Manager Alicia Schuster, Gift Processor
Choral Union
Jerry Blackstone, Interim Conductor
and Music Director Jason Harris, Associate Conductor Steven Lorenz, Assistant Conductor Kathleen Operhall, Chorus Manager Jean Schneider, Accompanist Donald Bryant, Conductor Emeritus
Susan McClanahan, Director
Mary Dwyer, Manager of Corporate
Support (ulaine LeDuc, Advisory Committee
and Events Coordinator Lisa Michiko Murray, Manager of
Foundation and Government Grants M. Joanne Navarre, Manager of
Annual Fund and Membership Marnie 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
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
Noelle Butzlaff Jia Lim Claire Rice
President Emeritus Gail W. Rector
Fran Ampey Lori Atwood Robin Bailey Joe Batts Kathleen Baxter Elaine Bennett Lynda Berg Gail Bohner Ann Marie Borders David Borgsdorf
Sigrid Bower Susan Buchan Diana Clarke Hayes Dabney Wendy Day Susan Filipiak lennifer 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
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.
Please allow plenty of time for parking as the campus area may be congested. Parking is avail?able in the Liberty Square (formerly Tally Hall), Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. UMS members at the Principal level and above receive 10 com?plimentary parking passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for Hill Auditorium performances in the 0304 Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before
each performance. There is a $10 fee for this service. UMS members at the Producer level and above are invited to use this service at no charge.
For up-to-date parking information, please visit the UMS website at
Refreshments are served in the lobby during intermissions of events in the Power Center and 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 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 Halls Mentho LyptusO cough suppressant tablets to patrons attending UMS performances through?out the 0304 season.
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the Ticket Office. Refunds are not available; however, you will be given a receipt for an income tax deduction. Please note that ticket returns do not count toward UMS membership.
Subscription Ticket Exchanges
Subscribers may exchange tickets free of charge. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance. You may fax a photo?copy of your torn tickets to 734.647.1171.
Single Ticket Exchanges
Non-subscribers may exchange tickets for a $5 per ticket exchange fee. Exchanged tickets must be received by the Ticket Office (by mail or in per?son) at least 48 hours prior to the performance. You may fax a photocopy of your torn tickets to 734.647.1171. Lost or misplaced tickets cannot be exchanged.
Group Tickets
When you bring your group to a UMS event, you will enjoy the best the performing arts has to offer. You can treat 10 or more friends, co-workers, and family members to an unforgettable performance of live music, dance, or theater. Whether you have a group of students, a business gathering, a college reunion, or just you and a group of friends, the UMS Group Sales Office can help you plan the perfect outing. You can make it formal or casual, a special celebration, or just friends enjoying each other's company. The many advantages to booking as a group include:
reserving tickets before they go on sale to the general public
discounts of 15-25 for most performances
accessibility accommodations
no-risk reservations that are fully refundable up to 14 days before the performance
1-3 complimentary tickets for the group organizer (depending on size of group). Comp tickets are not offered for performances with no group discount.
For information, contact the UMS Group Sales Hotline at 734.763.3100 or
Discounted Student Tickets
Did you know Since 1990, students have pur?chased over 144,000 tickets and have saved more than 52 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.
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.
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.
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.
A of the University of Michigan, Ann Arbor
Winter 2004
125th Annual Season
Event Program Book Thursday, April 1 through Thursday, April 15, 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.
Lang Lang 3
Thursday, April 1, 8:00 pm Hill Auditorium
Lyon Opera Ballet 13
Friday, April 2, 8:00 pm Saturday, April 3, 1:00 pm
(one-hour family performance) Saturday, April 3, 8:00 pm Power Center
Alfred Brendel 19
Thursday, April 15, 8:00 pm Hill Auditorium
UMS Educational Events through Thursday, April 15,2004
All UMS educational activities are free and open to the public unless otherwise noted ($). Please visit for complete details and updates. All events in Ann Arbor unless specified.
William Bolcom's Songs of Innocence and of Experience
Brown Bag Lunch
Bolcom and Blake: Innocence and Experience A discussion with Pulitzer Prize-winning com?poser William Bolcom and conductor Leonard Slatkin. Part of the U-M Institute for the Humanities Artists-At-Work Brown Bag Series.
A UMS collaboration with the U-M Institute for the Humanities.
Tuesday, April 6, 12:00-1:30 pm, Educational Conference Center, School of Social Work, 1080 South University Avenue
Lyon Opera Ballet
Ann Arbor Family Days Eleven area cultural organizations are collabo?rating to present the first annual Ann Arbor Family Days (AAFD) on Saturday and Sunday, April 3-4, 2004 in several venues throughout Ann Arbor. Ann Arbor Family Days will offer free and low-cost family-friendly cultural events to members of the Ann Arbor area community. For more information on events and tickets, please visit www.annarbor.orgfamilydays.
A UMS collaboration with Ann Arbor Art Center, Ann Arbor District Library, Ann Arbor Hands-On Museum, Ann Arbor Youth Chorale, Dance Gallery StudioPeter Sparling Dance Company, Swing City Dance Studio, U-M Exhibit Museum of Natural History, and the U-M Museum of Art. Saturday, April 3, 10:00 am-4:00 pm and Sunday, April 4, 1:00-5:00 pm, multiple sites around Ann Arbor
For further information on AAFD, contact 734.615.0122 or
Lang Lang
Thursday Evening, April 1, 2004 at 8:00 Hill Auditorium Ann Arbor
Robert Schumann
Variations on the name "Abegg" for Piano in F Major, Op. 1
Thema Variation I Variation II Variation III Cantabile Finale Alia Fantasia
Franz Joseph Haydn
Piano Sonata in C Major, Hob. XVI:50
Allegro Adagio Allegro molto
Franz Schubert
Fantasy in C Major, D. 760
Allegro con fuoco ma non troppo
All movements played attacca, without pause.
Tan Dun
Eight Memories in Watercolor, Op. 1
Missing Moon: Adagio con dolore Staccato Beans: Allegro scherzando Herdboy's Song: Larghetto pastorale Blue Nun: Andante Red Wilderness: Lento Ancient Burial: Adagio funebre Floating Clouds: Andante simplice Sunrain: Allegro vivace
Frederic Chopin
Nocturne in D-flat Major, Op. 27, No. 2
WolfgangAmadeusMozart Reminiscences of Don Juan (Don Giovanni), S. 418
Franz Liszt
59th Performance of the 125th Annual Season
125th Annual Choral Union Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Special thanks to Randall and Mary Pittman for their continued and generous support of the University Musical Society, both personally and through Forest Health Services.
Additional support provided by media sponsors WGTE 91.3 FM and Observer & Eccentric Newspapers.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for tonight's concert.
The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
Special thanks to Lan Chang, a second-year University of Michigan Medical School student, for her performance of the pre-concert music on the Charles Baird Carillon.
Lang Lang appears by arrangement with IMG Artists, New York, NY.
Lang Lang records exclusively for Deutsche Grammophon. Earlier recordings are available on Telarc Records.
Large print programs are available upon request.
Forest Health Services presents the 125th Annual Choral Union Series.
Variations on the name "Abegg" for Piano in F Major, Op. 1
Robert Schumann
Born June 8, 1810 in Zwickau, Germany
Died July 29, 1856 in Endenich, near Bonn
The first piece on tonight's program is the work of a 20-year-old, close in age to the pianist per?forming it tonight. At 20, Robert Schumann was a student in the famous university town of Heidelberg (though he would quit before the year was out), seriously preparing for a career as virtuoso pianist and composer in the mold of such musical luminaries of the day as Johann Nepomuk Hummel and Ignaz Moscheles. Later -as is well known -he had to abandon his dreams to be a concert pianist due to the weak?ness of one of his fingers, a condition made worse by misguided treatment. His very first works, however (and for many years Schumann composed nothing but solo piano music), were certainly intended as vehicles for his own use, and when he proudly published the present variations as Op. 1 in 1831, he had every reason to believe that he was well on his way.
Schumann's excellent biographer, the trag?ically deceased John Daverio, was certainly right when he wrote that the variations exuded "the rarified air of the musical salon." Schumann was intent on conquering those elegant private venues of music-making in which his exact contemporary, Frederic Chopin, was soon to excel. To achieve that end, he wrote a set of variations on a graceful waltz theme, embellish?ing it with the kind of virtuoso ornamentation that was "in" at the time. Yet it was no ordinary waltz theme, and the variations also show more than a little individuality. First, the theme: its notes (A B-flat E G G) come from the letters of the name Abegg, which belonged to a young countess Schumann was acquainted with. The most famous "musical name," BACH, was normally used -by Bach himself as well as others -as a subject for a learned fugue; Daverio saw "more than a little subversive play?fulness" in the way Schumann applied this tech?nique to something as mundane as a waltz. The "subversive playfulness" continues in
the course of the variations. The work contains fewer of them than one might expect. Normally, there would be anywhere between six and 12 variations in a set. Schumann has only five, including the customary slow piece in a penul?timate position and the more extended, free finale. More importantly, Schumann treated his theme with a great deal of freedom, all but ignoring the second half of the theme ("EGG") and working mostly with the first half ("AB"). That rising half-step (transposed to F-sharp -G) occurs in what is undoubtedly the most innovative moment in the piece, when -shortly before the end -the notes of a chord are released one at a time. The note G is left alone for a long moment, like a musical ques?tion, to which the final measures of the piece give an equally unusual answer. Instead of the loud and powerful ending one might expect in a virtuoso piece, the fast filigree work gets softer and softer until it fades out in triple pianissimo.
Piano Sonata in C Major, Hob. XVI:50
Franz Joseph Haydn
Born March 31, 1732 in Rohrau, Lower Austria
Died May 31, 1809 in Vienna
After the work of a promising beginner, we shall hear a mature masterpiece by a composer whose spirit in his 60s was more youthful than that of any artist half his age. Stimulated by the city of London that was then, as it is now, one of the great musical centers of the world, Haydn reached the summit of a lifetime of cre?ative work. His most significant achievements from this period include, next to a magnificent set of 12 symphonies, three piano sonatas writ?ten for Therese Jansen, a young German-born pianist who had studied with the famous Muzio Clementi and later enjoyed a successful career in England. Both the symphonies and the sonatas remained Haydn's last contributions to those genres.
The first of the three "London" sonatas, the C-Major work brims with innovative ideas, both in terms of musical construction and
pianistic technique. Its opening "Allegro" begins with a simple theme with only the sparsest of accompaniments, yet Haydn built an extraordi?narily varied movement with this unassuming raw material. He introduced the melody in many different guises, transposing it to different keys and registers. The most unusual of these is a moment when the theme appears in a distant tonality, in the bass region of the keyboard, with the mysterious instruction "open pedal" added. This is the only pedal instruction in all of Haydn's music, and its precise meaning has long been debated by scholars. According to H.C. Robbins Landon, the left pedal, the so-called una corda (which shifts the keyboard in such a way that the hammer strikes only one string per note instead of the usual three) was intended. Another great Haydn scholar, Laszlo Somfai, thinks that both pedals -the una corda and the damper -should be used simul?taneously. On pianos of Haydn's time, holding down the damper pedal did not blur the sound as strongly as is the case on modern instruments.
The second movement is a lavishly orna?mented, songful "Adagio," while the finale is one of the wittiest creations of this composer who had always been a master of musical humor. It is a scherzo whose melody is con?stantly "derailed" into unexpected new keys from where it can come back only after long moments of hesitation. Haydn took advantage of the fact that modern English keyboards had a range of a full six octaves, and near the end of this movement used a climactic high "A" that would have been impossible back home in Vienna.
Fantasy in C Major, D. 760
Franz Schubert
Born January 31, 1797 in
Himmelpfortgrund [Vienna] Died November 19, 1828 in Vienna
In many of his works, including the sonata we just heard, Haydn had already used the "monothematic" principle: he built the entire first movement -as mentioned above -from a single theme. Schubert took this principle much further in his epoch-making "Wanderer" fantasy: all four of the movements in this work (which are played without pause) are based on the same theme, Schubert's favorite dactylic pattern (long-short-short). The theme under?goes profound transformations, its character changing from resolute to dreamy; it turns into an energetic dance melody in the scherzo sec?tion, before erupting in a virtuosic fugato at the end. This revolutionary idea had a decisive influence on the evolution of music throughout the 19th century and beyond.
The theme itself comes from one of Schubert's songs, "Der Wanderer" written in 1816 to a text by the minor poet Georg Philipp Schmidt (known after his birthplace as Schmidt von Lubeck). Schmidt had managed to express one of the central feelings of Romanticism, the eternal longing for a distant place ("happiness is wherever you are not") -and Schubert's setting soon became one of his most popular works. A fragment from the song appears in the second section of the fantasy ("Adagio"), followed by a set of extremely virtuosic varia?tions. The variations are preceded by a section marked "Allegro con fuoco ma non troppo" (confuoco, "with fire," is the operative word). Both the energetic opening and the lyrical sec?ond idea are fashioned out of the fundamental rhythmic pattern underlying the entire work, though one tiny part of that pattern eventually splits off and takes on a life of its own. The transition to the variation movement is extremely suspenseful. Even more dramatic, however, is the next major shift: after the pianissimo ending of the variations, the Scherzo
bursts in without the slightest warning. The powerful "Presto" includes a gentler middle sec?tion, but eventually culminates in a frenzied passage filled with fiendish arpeggios (broken chords) that lead directly into the thunderous octaves of the final fugato.
Schubert did not have the disposition to write elaborate fugues in a learned style. It was a shortcoming he himself was aware of, and in the last weeks of his short life, he sought instruction in counterpoint from a teacher named Simon Sechter (who later became Bruckner's teacher). In the last section of the "Wanderer" Fantasy, Schubert quickly abandons counterpoint and crowns the work with a dis?play of virtuosity that surpasses everything heard before. This is by far the most technically demanding of all of Schubert's piano music; the composer, who was a competent piano player but no concert artist, never played this work. It was published the year after it was composed, but it took a Franz Liszt to establish it firmly in the repertoire. (In 1851, Liszt made a highly successful arrangement of the "Wanderer" Fantasy for piano and orchestra.)
Eight Memories in Watercolor, Op. 1
Tan Dun
Born August 18, 1957 in Simao, China
Tan Dun is one of the most successful com?posers working in the US today. In 1998, he won the prestigious Grawemeyer Award for his opera Marco Polo, and an Oscar for his film score Crouching Tiger, Hidden Dragon.
It has been an exceptionally long road for Tan to get to where he is now. The journey began in the village of Simao in the Chinese province of Hunan. Immersed in Chinese music from an early age, Tan was 19 before he heard any Western music. Like other members of his generation, he has made it his life's work to create music that would in some sense bridge the gap between two formerly distant worlds.
Tan has recently revisited the first steps he had taken toward this ambitious goal. As a young conservatory student in the late 1970s, Tan wrote a series of eight short piano pieces to which he gave the opus number 1 -always an event of extraordinary importance in the life of a composer. The "Chineseness" of these pieces is unmistakable; stylistically they range from simple arrangements to more complex attempts to combine a Chinese melodic idiom with 20th-century Western harmonies.
The score, published by G. Schirmer in January 2004, contains the following introduc?tory words from the composer:
Memory on Eight Memories
It was on a New Year's Eve that we met. New Year bells had just finished ringing when friends asked Lang Lang to play. It would be everyone's good fortune to hear together the first music of the New Year. Lang Lang humbly agreed, and played. Everyone was mesmerized by his perform?ance. I was actually speechless for a long while, but nobody knew why. I was very touched, and couldn't really believe my ears. Lang Lang had played "Floating Clouds," one of my first piano pieces written more
than 20 years ago (four years before his birth). Lang Lang's interpretation was as pure as water. It almost felt as though I had written this work for him, although he hadn't been born then. I heard the voice inside of me in his playing; I could smell the earth of my homeland. It is a real gift when a musi?cian can play a piece that inspires me to think about where I come from, where I am going. Lang Lang is a poet and has magical powers: he could tell an unending story. In his storytelling, I hear the voice of the human soul and the silence of nature. 1 do believe Lang Lang is one of the outstanding pianists of our time.
Eight Memories in Watercolor was written when I left Hunan to study at the Central Conservatory of Music in Beijing. It was my Opus One. The Cultural Revolution had just ended, China just opened its doors, I was immersed in studying Western classical and modern music, but I was also homesick. I longed for the folksongs and savored the memories of my childhood. Therefore, I wrote my first piano work as a diary of longing.
In 2001 Lang Lang told me he wanted to present the complete Eight Memories in Watercolor in his concert at Carnegie Hall, for which I am very grateful. I made slight revisions to the work, renaming titles, reordering the pieces, and modifying the overall structure, according to Lang Lang's suggestions.
Nocturne in D-flat Major, Op. 27, No. 2
Frederic Chopin
Born March 1, 1810 in Zelazowa Wola,
near Warsaw, Poland Died October 17, 1849 in Paris
Chopin's two nocturnes of Op. 27, among the most haunting of all, were dedicated to the Countess Apponyi, wife of the Austrian ambas?sador in Paris, in whose house the composer was a frequent guest. The second of the two ("Lento sostenuto") is one big, uninterrupted melody, consisting of two alternating musical phrases. The first of these phrases is in major and has only one melodic voice, while the sec?ond is in minor and has two voices, moving in parallel thirds. It is like an operatic aria alter?nating with a duet. The "aria," which appears three times, is played softly first and even softer the second time; at the last repeat, however, it appears in a triple fortissimo. Chopin introduces a new melodic idea just before the end; those sensuous chromatic shifts add a further element of magic to this magnificent piece.
Reminiscences of Don Juan (Don Giovanni), S. 418
Franz Liszt (themes by Wolfgang Amadeus
Mozart) Born October 22, 1811 in Doborjdn, Hungary
[now Raiding, Austria] Died July 31, 1886 in Bayreuth, Bavaria
Liszt, the quintessential Romantic virtuoso and later one of the founders of the so-called "New German" school of composition, had the great?est respect for the masters of the past. He often performed their works and expressed his own thoughts about them in countless transcrip?tions that range from relatively faithful arrange?ments to the most subjective paraphrases.
The fantasy after themes from Mozart's Don Giovanni is certainly one of Liszt's least faithful transcriptions, but the word "respect," used above, is still justified. Behind the breath?taking pyrotechnics lies a compelling picture of what a leading Romantic artist saw and heard in Mozart's opera. It is surely no accident that Liszt began with the somber words of the Statue in the cemetery: "You will stop laughing before dawn," and continues with the amazingly modern melodic line from the final scene: "Those who are nourished by heavenly food don't eat mortal food." The frightening image of the Stone Guest appearing at Don Giovanni's house was one that had grabbed the Romantic imagination in decisive ways. Seen in this light, even the famous duet where the Don seduces Zerlina (or almost does) takes on a more men?acing character -after all, this is the moment when we see Don Giovanni committing one of those sins for which he will be punished. Liszt's friend Chopin had earlier written a celebrated set of variations on this same duet, but Liszt's treatment is much more diabolical. Liszt care?fully preserved the dialog character of the duet by alternating between the "baritone" and "soprano" registers, but the dazzling cadenzas
he added emphasize the "superhuman" dimen?sion, if only by their sheer technical difficulty. Eventually, the variations are filled with dra?matic chromaticism, as if the Statue himself came to disrupt the tryst between Don Giovanni and Zerlina. This passage leads into the Don's great aria where he, rejoicing at the imminent festivities, sums up his own irre?sistible character better than anywhere in the opera. Liszt used this effervescent melody to take the piece to its climax, but, significantly, ended the work with another allusion to the Statue's stern words of doom.
Program notes by Peter Laki.
As the first Chinese pianist to be engaged by the Berlin Philharmonic and all the "Big Five" American orchestras, Lang Lang has estab?lished himself as one of the most exciting artists of our time. Born in 1982 in Shenyang, he began piano lessons at the age of three. At the age of five, he won the Shenyang Piano Competition and played his first public recital; four years later, he entered Beijing's Central Music Conservatory. In 1995, at only 13, he played the complete Chopin 24 Etudes at Beijing Concert Hall and won first prize at the Tchaikovsky International Young Musicians' Competition held in Japan, where he per?formed the Chopin Piano Concerto No. 2 with the Moscow Philharmonic. At 15, he enrolled at the Curtis Institute in Philadelphia as a student of Gary Graffman.
An extraordinary breakthrough came in 1999, when at the age of 17, Lang Lang stepped in as a last-minute substitute for an indisposed Andre Watts at the Ravinia Festival, playing the Tchaikovsky Piano Concerto. Since then he has presented a sold-out Carnegie Hall debut, trav?elled to Beijing with the Philadelphia Orchestra on its 100th anniversary commemorative tour, and made a wildly acclaimed BBC Proms debut, prompting The Times' critic to write: "Lang Lang took a sold-out Albert Hall by storm.... This could well be history in the mak?ing." In 2002, in recognition of his distin?guished musical talent, he became the first recipient of the Leonard Bernstein Award at the Schleswig-Holstein Festival.
The subject of a best-selling biography in China, Lang Lang takes a strong interest in the music of his homeland, and his recitals often feature Chinese traditional music, performed with his father, Guo-ren Lang. His Carnegie Hall recital in 2003 included Tan Dun's Eight Memories in Watercolor, which he premiered at the Kennedy Center earlier in the year.
Lang Lang records exclusively for Deutsche Grammophon; his first album, featuring the Tchaikovsky and Mendelssohn First Piano Concertos with the Chicago Symphony and Daniel Barenboim, was released in July 2003.
Lang Lang
Lang Lang's talent is matched by his ebullient personality, making him an ideal ambassador for classical music and a role model for young people. He has been the subject of profiles and interviews on CNN, the Tonight Show with Jay Leno, Good Morning America, and People Magazine's "Best of 2003." Lang Lang is a Steinway artist and recently received the first-ever Gold Medallion on the occasion of the company's 150th anniversary.
Tonight's recital marks Lang Lang's UMS debut.
UMS with Lyon Opera Ballet
TIAA-CREF Yorgos Loukos, Director
and Thierry Leonardi, General Manager
Thomas B. McMullen
Ballet Masters
Company Jocelyne Mocogni, Gerald Joubert
Pierre Advokatoff Amandine Francois Yu Otagaki
Iratxe Ansa Santesteban Cristina Gallofre Vargas Jeremie Perroud
Andrew Boddington Julie Guibert Marketa Plzakova
Emmanuelle Broncin Ksenia Kastalskaia Ana Presta
Davy Brun Caelyn Jean Knight Mikael Pulcini
Fernando Misha Kostrzewski Nicolas Robillard
Carrion Caballero Andras Lukacs Martin Roehrich Peraki:
Benoit Causs? Corba Mathieu Annabelle Salmon
Malt? Cebrian Abad Julien Monty Julie Tardy
Ashley Chen Olivier Nobis-Peron Pavel Trush
Marie-Gaelle Communal Jere Nurminen Thierry Vezies
Friday Evening, April 2, 2004 at 8:00
Saturday Afternoon, April 3, 2004 at 1:00 (1-hour family performance)
Saturday Evening, April 3, 2004 at 8:00
Power Center Ann Arbor
Philippe Decoufle's
60th, 61st, and 62nd Performances of the 125th Annual Season
13th Annual Dance Series
Fourth Annual Theater Series
The photographing or sound recording of this concert or possession of any device for such photo?graphing or sound record?ing is prohibited.
Friday evening's performance is sponsored by TIAA-CREF.
Saturday evening's performance is sponsored by Thomas B. McMullen Company.
Additional support provided by the National Endowment for the Arts.
Additional support provided by media sponsors Michigan Radio, Michigan Television, and Metro Times.
Special thanks to all of the Ann Arbor organizations involved in the formation of Ann Arbor Family Days.
Lyon Opera Ballet appears by arrangement with IMG Artists, New York, NY.
The 2004 North American tour of Lyon Opera Ballet is supported by the A.F.A.A. (Association Francaise d'Action Artistique, Ministry of Cultural Affairs).
Additional support provided by The Cultural Services of the French Embassy in the United States.
Large print programs are available upon request.
Flying and Object Design
Philippe Decoufle
Sebastien Libolt and Hugues de Courson
Jean Rabasse
Pierre-Jean Verbraecken
Philippe Guillotel
Patrice Besombes
Dominique Willoughby
Lyon Opera Ballet, under the artistic direction of Yorgos Loukos, is pleased to present Tricodex, a multimedia dance choreographed by the imagina?tive Philippe Decoufle. Tricodex com?pletes a series of three works by Decoufle which he set on his own company, Compagnie DCA. Along with Codex (1987) and Decodex (1995), Tricodex was inspired by Codex Serafinius -the fanciful encyclopedia (nearly 400 pages) created by Italian artist and naturalist Luigi Serafini. First published in 1981 and subtitled "A Visual Encyclopedia of an Imaginary Universe," Serafani invented a codified world of mythical animals, imaginary plants, insects, mathematical equations, hairstyles, playing cards, flying machines, and labyrinths. Decoufle brings all this to life, blending the worlds of cir?cus, visual arts, and dance in a kind of graphics that he calls "ensemble mathematics."
The evening-length work features more than 25 dancers, 150 costumes, and spectacular video projections. Decoufle notes:
By chance while wandering in an ancient, dusty laboratory, I fell upon a strange scien?tific treatise. Leafing through the imposing work I stopped at the images, huge engrav?ings in old-fashioned colors, various type of microbes, crawling ferns, I followed a lesson in anatomy. I looked into a telescope, into a microscope, and through my glasses. I could not believe my eyes.
With Codex, Decoufle set out to create a "codex" from his own world. In the "drifting universe" he ultimately produced, writes critic and historian Valentina Sloop, "worlds lose their significance, bodies their scale...human beings are web-footed birds. Suspended between heaven and earth, they sing incompre?hensible and delicious ballads."
Artistic Director Yorgos Loukos was an architecture student at the Ecole des Beaux-Arts in Paris when he decided to take his first dance class. His teachers were Boris Kniasef and Raymond Franchetti. Only a year later, Roland Petit offered him his first dance position in Paris' Casino de Paris, where he stayed for two years. Mr. Loukos then joined Theatre du Silence in Paris and subsequently the Zurich Opera Ballet where he danced for one year. Returning to France, Mr. Loukos rejoined Petit's National Ballet of Marseilles as a dancer, and then as ballet master and assistant to Mr. Petit. In 1984, he joined the Lyon Opera Ballet as associate director and was later appointed co-director with Francoise Adret in 1988. Mr. Loukos became artistic director of the company in 1990 upon Mme. Adret's retirement.
In addition to his work with the Lyon Opera Ballet, Mr. Loukos has been Artistic Director of the International Dance Festival in Cannes since 1992. Mr. Loukos was Artistic Director of the 2001 France Moves festival in New York City and was named Chevalier in the National Order of Arts and Letters by the French Ministry of Culture in 1994.
ersatile French choreographer Philippe Decoufle is the artistic director of Compagnie DCA. The inventive Decoufle (who initially wanted to be a clown) merges dance, live video, film, music, and cartoons in his whimsical creations, which blur the boundaries between the virtual and the corporeal. The world witnessed his singular style during the opening ceremonies of the 1992 Winter Olympics in Albertville, when his dancers, dressed as human snow-globes, performed a memorable, synchro?nized bungee-jumping routine. Decoufle's Shazam performed by Compagnie DCA was part of the France Moves festival in New York City in the Spring 2001 season. The New York Times has said of the choreographer, [Decoufle is] "a mixed media wizard."
Founded in 1969, Lyon Opera Ballet is known for its experimental and adventurous repertoire. Under the leadership of Yorgos Loukos, the com?pany has commissioned works from young choreographers and performed produc?tions of great classics, among them new ver?sions of Cinderella and Coppelia by Maguy Marin and a new interpretation of Romeo and Juliet by Angelin Preljocaj. The classically trained dance company also presents works by highly regarded American choreographers such as Trisha Brown, Lucinda Childs, John Jasperse, Bill T. Jones, Stephen Petronio, Ralph Lemon, and Susan Marshall. The company has contin?ued to tour worldwide since 1987 with ongoing success.
These performances mark the Lyon Opera Ballet's sixth, seventh, and eighth appearances under UMS auspices. The company made their UMS debut in October 1999.
Lyon Opera
Gerard Collomb, President Serge Dorny, Director
Lyon Opera Ballet
Edward Boagni, Pianist
Eleni Loukou, Tour Manager
Caroline Villedieu, Secretary
Cyril Benhaim, Stage Manager
Eric Chatelon, Christophe Mangilli, Christian Armenta, Lights
France Breil, Jerome Lapeyre, SoundVideo
Christophe Reboul, Frederic Torres, Frederic Savariau, Stagemen
Valerie Spery, Bertrand Pinot, Wardrobe
For further information, please visit
Lyon Opera is funded by the City of Lyon, the Department of the Rhone, the Region of Rhdne-Alpes and the French Ministry of Culture.
Public Relations and Press Representation Ellen Jacobs Associates
CFI Group
Alfred Brendel
Wolfgang Amadeus Mozart (completed by Abbi Maximilian Stadler)
Franz Schubert
Ludwig van Beethoven
Thursday Evening, April 15, 2004 at 8:00 Hill Auditorium Ann Arbor
Fantasia in c minor, K. 396
Sonata in B-flat Major, K. 281
Andante amoroso
Sonata in E-flat Major, K. 282
Menuetto I -Menuetto II
Drei Klavierstiicke D. 946
No. 1 in e-flat minor No. 2 in E-flat Major No. 3 in C Major
Sonata No. 30 in E Major, Op. 109
Vivace, ma non troppo -Prestissimo Andante molto cantabile ed espressivo
53rd Performance of the 125th Annual Season
125th Annual Dhoral Union Series
The photographing or wind recording of this :oncert or possession of my device for such photo?graphing or sound record-ng is prohibited.
This performance is sponsored by CFI Group.
Special thanks to Randall and Mary Pittman for their continued and generous support of the University Musical Society, both personally and through Forest Health Services.
Additional support provided by media sponsors WGTE 91.3 FM and Observer & Eccentric Newspapers.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for tonight's concert.
The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
Mr. Brendel appears by arrangement with Colbert Artists Management, Inc. and records exclusively for Philips Classics.
Large print programs are available upon request.
Forest Health Services presents the 125th Annual Choral Union Series.
Fantasia in c minor, K. 396 Sonata in B-flat Major, K. 281 Sonata in E-flat Major, K. 282
Wolfgang Amadeus Mozart
Born January 27, 1756 in Salzburg, Austria
Died December 5, 1791 in Vienna
The "little" c-minor fantasy (so called to distin?guish it from a much longer work in the same key, K. 475) serves as a prelude in free style to the two sonatas that will follow it. It is only partly by Mozart -it was completed by the composer's friend Abbe Maximilian Stadler, composer, pianist, and priest, who was a color?ful personality on the Austrian music scene.
Mozart had left a fragment for what was intended to be a sonata for piano and violin in an improvisatory style reminiscent of C.P.E. Bach; the fragment included very little violin music as it broke off shortly after the piano introduction. For this reason, Stadler omitted the violin altogether and turned the work into a piano piece, giving it the title "Fantasy." He added a development section and a recapitula?tion (with a final modulation to C Major), in the vein of Mozart's fragment. It is in this form that the work was published in 1802 with a dedication to Mozart's widow Constanze.
The two sonatas show Mozart at an earlier stage in his career -in fact, they are from his first surviving set of sonatas for solo keyboard. Six such works were written at Munich in early 1775 when the 19-year-old Mozart was in the Bavarian capital to produce his opera Lafinta giardiniera (The Pretended Gardener). In the Sonata in B-flat Major (No. 3 in the set), com?mentators have detected Franz Joseph Haydn's influence, which is hardly surprising. More noteworthy is the way Mozart turns figuration into melody and fashions a thoroughly "mod?ern" (in 1775) development section complete with motivic transformation, brief visits to the minor mode, and even an (admittedly
Haydnesque) "false recapitulation." In the latter, the main melody returns at an unexpected time and in the "wrong" key.
The second movement, marked "Andante amoroso," is like an aria without words, but not without some dramatic deceptive cadences and effective forte-piano alternations. The last movement is a rondo of the advanced kind we would expect to find in Mozart's later sonatas and concertos. The type is fully formed here, with great melodic richness. There are cadenza-like passages and a central episode in the minor mode -hallmarks of Mozart's mature style. Abrupt yet completely natural, the ending of the sonata is particularly striking.
The Sonata in E-flat Major (No. 4) is unusual in that it opens with a slow movement. (Only one other sonata, the famous A-Major work with the Turkish march [K. 331 from 1783], does something similar.) The "Adagio" is eminently melodic and contains one of those irresistible closing ideas that no one but Mozart could write. Next comes a minuet, another unusual guest in a keyboard sonata (except, once more, K. 331); the trio (actually called "Menuetto II") is especially memorable with its dynamic melody. A fast and rather short finale with a dance-like, leaping theme closes the sonata.
Drei Klavierstiicke (Three Piano Pieces), D. 946
Franz Schubert
Born January 31, 1797 in
Himmelpfortgrund [Vienna] Died November 19, 1828 in Vienna
Schubert seems to have planned a third set of four pieces for piano after the two sets of impromptus completed in 1827. Only three new pieces were written, however, and these remained in manuscript until Johannes Brahms published them in 1868 -a full 40 years after the composer's death.
The eight impromptus display considerable formal variety: we find a sonata movement, a set of variations, and rondo-like designs among them, but they are all unified in tempo and meter. All three of the pieces of D. 946, on the other hand, contain episodes with new time signatures, and -at least in the first piece -a tempo change is also involved. This is an important difference that significantly increases the level of contrast among the various sections of these works. In the first piece, for instance, a hectic and passionate Allegro assai is followed by a lyrical and serene Andante. The original manuscript contains, after the return of the Allegro assai, a second episode, a gentle piece that, again, introduces a new tempo (Andantino). Schubert wrote out this last episode fully, only to cross it out afterwards. But Brahms included it in his edition, and it is always included in performances as well. The second piece moves the opposite way: from a gentle, barcarola-like Allegretto in 68 to two stormier interludes, the second of which changes the meter to duple. The third one jux?taposes two equally dissimilar characters: a syn?copated fast dance, in which musicologist-pianist William Kinderman detected a certain Bohemian flavor -and a static melody based on repeated chords, of "almost hypnotic immo?bility," according to Kinderman.
Each one of the contrasting sections is a well-rounded little "piece" in its own right, with internal repeats, formal divisions, and changes in keys and thematic materials. The main melody of the first piece, first introduced in the wildly Romantic key of e-flat minor (six flats!) is repeated, in a highly effective and very Schubertian manner, in the major mode. The second stormy episode in No. 2 includes its own lyrical island in the middle, complicating the overall form even more. And in a character?istic moment of No. 3, the syncopations go away and a considerably simpler folk melody takes over.
These pieces from the last year of Schubert's life contain many interesting innovations, leav?ing one to wonder in what further directions his genius might have taken him if his life hadn't been cut short at the age of 31.
Sonata No. 30 in E Major, Op. 109
Ludwig van Beethoven
Born December 15 or 16, 1770 in Bonn, Germany
Died March 26, 1827 in Vienna
Like the late string quartets, the late Beethoven piano sonatas are surrounded by their own mystique. In them, breaking a creative silence of several years, Beethoven changed his style a second time, and moved beyond his "heroic" middle period into a more private, more tran?scendent artistic world. The five great sonatas written between 1816 and 1822 stretch the form of the sonata in entirely unprecedented ways, and make demands on the performer that far exceed anything found in the earlier works. The number of movements in these sonatas, their order and character all depart from the traditions significantly -but even more important are the changes in spirit.
The E-Major sonata has only one clear break between movements, before the theme and variations. However, the preceding music is divided into two movements without pause, and the first of those movements is in itself two movements telescoped into one. It starts with a cheerful "Vivace ma non troppo" that recalls the finale of an earlier sonata (Op. 78 in F-sharp Major) in its bouncy and carefree gait. But this time, the fun is suddenly interrupted after only eight measures by a tragic Adagio espressivo, whose melody, in its turn, dissolves in cadenza-like figurations. The first tempo returns for a fuller elaboration of its theme, but once again, the Adagio espressivo bursts in to negate the happiness of the preceding section. Ultimately, the Vivace has the last word, but it includes a short passage with a progression of chords that is reminiscent of the Adagio.
This movement is followed without a break by a "Prestissimo" in e minor, which is a unique mixture of scherzo elements with sonata-alle?gro characteristics. There is a fierce first theme and a more lyrical second, but the direction of the harmonies is completely irregular. In lieu of a development section, we hear a short chordal passage that recalls the end of the previous
movement; then the main part of the "Prestissimo" is recapitulated.
The last movement of the sonata is a slow theme with six variations. Variation form became increasingly important for Beethoven in the last decade of his life, when he turned this traditionally simple design completely inside out, making it an utterly personal and unconventional form of expression. (He worked on his greatest composition in this form, the monumental "Diabelli" Variations, in the same period of his life, beginning it before the last three sonatas, and completing it after Op. 111.)
According to Beethoven's instruction, the theme has to be played gesangvoll, that is, "with a singing quality." The first variation empha?sizes this quality by an expanded range and more elaborate ornamentation. The second combines two different characters, one light and bouncy and the other serious and tender. The third is a virtuosic study in quick 16th-notes; the fourth reverts to a slower tempo. The fifth is a fugue, while the last variation brings about an "apotheosis" of the theme. The melody assumes an almost transcendent char?acter here, by virtue of a combination of quiet serenity, lavish ornamentation, and the long trills that had been a favorite Beethovenian device since, at least, the "Waldstein" sonata (Op. 53). The last gesture of the piece, however, is a very simple one as the theme is restated in its original calm and quiet form.
Program notes by Peter Laki.
Alfred Brendel is recognized by audi?ences the world over for his leg?endary ability to communicate the emotional and intellectual depths of whatever music he performs. A supreme master of his art, his accomplishments as an interpreter of the great composers have earned him a place among the world's most revered musicians. In the current season, Mr. Brendel's annual North American tour includes
io recitals in New York, Philadelphia, Boston,
Arbor, Washington, DC, Vancouver, and the new Disney Hall in Los Angeles; Schubert's Winterreise in Los Angeles with baritone Matthias Goerne; all-Beethoven concerts with his son, cellist Adrian Brendel; and Beethoven's Piano Concerto No. 3 with the Los Angeles 'hilharmonic.
Mr. Brendel performs with virtually all lead-ng orchestras and conductors. He is an annual isitor to Carnegie Hall, where in 1983 he jecame the first pianist since the legendary rtur Schnabel to play all 32 Beethoven sonatas.
One of the most prolific recording artists of all time, Alfred Brendel has recorded exclusively for Philips Classics during the past 30 years. He is the first pianist to have recorded all of Beethoven's piano compositions and one of the few to have recorded the complete Mozart piano concertos. An extensive discography includes The Art of Alfred Brendel, a limited-edition collection of his large and varied reper?toire, and current recording projects include the complete Beethoven cello sonatas with Adrian Brendel, Schubert lieder with Matthias Goerne, and a fourth Mozart concerto disc with the
Scottish Chamber Orchestra and Charles Mackerras.
Mr. Brendel is well-versed in the fields of literature, language, architecture, and films, and augmented his 199798 North American tour with an evening of his thoughts and commen?taries on music, literature, and the visual arts at the Metropolitan Museum of Art in New York. In addition to his latest books, Alfred Brendel on Music and Ausgerechnet Ich (Me of All People), Mr. Brendel has published two collections of articles, lectures, and essays. His several vol?umes of poetry include One Finger Too Many, published in the US by Random House, and he is the subject of the BBC documentary Alfred Brendel -Man and Mask.
Born in Austria to parents of no particular musical bent, Alfred Brendel spent his child?hood traveling throughout Yugoslavia and Austria. He discontinued formal piano studies soon after his recital debut at the age of 17, preferring to attend occasional master classes including those given by the revered pianist Edwin Fischer. To this day Mr. Brendel regards his untraditional musical background as some?thing of an advantage. Although Mr. Brendel's artistic interests as a young man did not focus on music alone, his winning the prestigious Busoni Piano Competition in Italy launched his career as a performing musician.
Alfred Brendel is the recipient of honorary doctorates from Oxford, London, Sussex, and Yale universities. In 1998 he was appointed an honorary Knight Commander of the British Empire by Queen Elizabeth II for "outstanding services to music in Britain," where he has made his home since 1972.
Tonight's recital marks Alfred Brendel's third appearance under UMS auspices. Mr. Brendel made his UMS debut in July 1966.
J MS experience
125th urns
January 2004 Q lease note that a complete Sat 17 Hill Auditorium Celebration listing of all UMS Educa-
Sun 18 Orchestre Revolutionnaire tional Pr?grams is conveniently
. n .. , located within the concert pro-
et Romantique and . . v
gram section or your program
The Monteverdi Choir book and is posted on the
Mon 19 Jazz Divas Summit: Dee Dee Bridgewater, Regina Carter & Dianne Reeves
Fri 30 Emerson String Quartet
Sat 31 Simon Shaheen and Qantara
Sun 8 Michigan Chamber Players (free admission)
Thur 12 Hilary Hahn, violin
Sat 14 Canadian Brass Valentine's Day Concert
Thur-Sat 19-21 Children of Uganda
Fri 20 Cecilia Bartoli, mezzo-soprano, and
Orchestra of the Age of Enlightenment
Thur-Sun i-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

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
Sat 15 Ford Honors Program: Sweet Honey in the Rock
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.
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 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:
complete listing of Education Program jpporters 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 -
Blue Nile Restaurant
221 East Washington -
The Chop House
322 South Main -
The Earle Restaurant
121 West Washington -
326 South Main -
Great Harvest Bread
2220 South Main 996.8890
La Dolce Vita
322 South Main 669.9977
Paesano's Restaurant
3411 Washtenaw 971.0484
347 South Main -
Real Seafood Company
341 South Main -
Red Hawk Bar & Grill
316 South State 994.4004
110 East Washington -
Sweetwaters Cafe
123 West Washington -
Weber's Restaurant
3050 Jackson 665.3636
216 South State 994.7777
UMS Preferred Businesses
Format Framing and Gallery
1123 Broadway 996.9446
King's Keyboard House
2333 East Stadium -
Parrish Fine Framing and Art
9 Nickels Arcade 761.8253
Schlanderer & Sons
208 South Main 662.0306
UMS Delicious Experiences
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
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'Become a Member of the University Musical Society
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
J $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-$9,999 Virtuoso ($150)
Concertmaster benefits, plus:
Guest of I 'MS Board at a special thank-you event
? $5,000-57,499 Concertmaster ($150)
Producer benefits, plus:
Opportunity to be a concert sponsor or supporting sponsor for a selected performance
Opportunity to meet artist backstage as guest of UMS president
? $3,500-54,999 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
LI $2,500-S3,499 Leader ($85)
Principal benefits, plus:
Opportunity to purchase prime seats up to 48 hours before performance (subject to availability)
Complimentary parking passes for all UMS concerts at UM venues
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Benefactor benefits, plus:
Ten complimentary one-night parking passes for UMS concerts
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Invitation to all Presenters Circle events
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Invitation to one working rehearsal (subject to artist approval)
Half-price tickets to selected performances
Q S25O-S499 Associate
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Listing in UMS Program
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UMS volunteers are an integral part of the success of our organization. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome you to the UMS family and involve you in our exciting programming and activities. We rely on volunteers for a vast array of activi?ties, including staffing the education residency activities, assisting in artist services and mailings, escorting students for our popular youth per?formances and a host of other projects. Call 734.936.6837 to request more information.
The 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.
When you advertise in the UMS program book you gain season-long visibility among ticket-buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to performance experience. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book.
As a UMS corporate sponsor, your organization comes to the attention of an educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treas?ures, and also receive numerous benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
? Enhancing corporate image
? Cultivating clients
Developing business-to-business relationships
? Targeting messages to specific demographic groups
? Making highly visible links with arts and education programs
Recognizing employees
Showing appreciation for loyal customers
For more information, call 734.647.1176.
Internships & College Work-Study
Internships with UMS provide experience in performing arts administration, marketing, ticket sales, programming, production and arts education. Semesterand year-long unpaid internships are available in many of UMS's departments. For more information, please call 734.615.1444.
Students working for UMS as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, ticket sales, fundraising, arts education, arts programming and production. If you are a University of Michigan student who receives work-study financial aid and who is interested in working at UMS, please call 734.615.1444.
Without the dedicated service of UMS's Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing pro?gram books and providing that personal touch which sets UMS events above others.
The UMS Usher Corps comprises over 300 individuals who volunteer their time to make your concert-going experience more pleasant and efficient. The all-volunteer group attends an orientation and training session each fall or winter. Ushers are responsible for working at every UMS performance in a specific venue for the entire concert season.
If you would like information about becoming a UMS volunteer usher, call the UMS usher hotline at 734.913.9696 or e-mail
This performance--and all of UMS's nationally recognized artistic and educational programs--would not be possible without the generous support of the community. UMS gratefully acknowledges the following individ?uals, businesses, foundations and government agencies -and those who wish to remain anonymous-and extends its deepest gratitude for their support. This list includes current donors as of December 1, 2003. Every effort has been made to ensure its accuracy. Please call 734.647.1175 with any errors or omissions.
$25,000 or more Mrs. Gardner Ackley Carl and Isabelle Brauer Hattie McOmber Randall and Mary Pittman Philip and Kathleen Power
Ronnie and Sheila Cresswell
Robert and Pearson Macek
Paul and Ruth McCracken
Tom and Debby McMullen
Mrs. Robert E. Meredith
M. Haskell and Jan Barney Newman
Gilbert Omenn and Martha Darling
Prudence and Amnon Rosenthal
Ann and Clayton Wilhite
Maurice and Linda Binkow
Barbara Everitt Bryant
Thomas and Marilou Capo
Dave and Pat Clyde
Ken and Penny Fischer
Beverley and Gerson Geltner
Don and Judy Dow Rumelhart
Lois and Jack Stegeman
Edward and Natalie Surovell
Marion T. Wirick and James N. Morgan
Michael Allemang
Herb and Carol Amster
Emily W. Bandera, M.D. and Richard H. Shackson
Albert M. and Paula Berriz
Ralph G. Conger
Douglas D. Crary
Pauline and Jay J. De Lay
Molly Dobson
Jack and Alice Dobson
Mr. and Mrs. Thomas C. Evans
Friends of Hill Auditorium
David and Phyllis Herzig
Toni M. Hoover
Robert and Gloria Kerry
Leo and Kathy Legatski
Concertmasters, com.
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 lames and Nancy Stanley Susan B. Ullrich Dody Viola
Kathy Benton and Robert Brown
Dr. Kathleen G. Charla
Katharine and Jon Cosovich
Mr. and Mrs. George W. Ford
Betty-Ann and Daniel Gilliland
Dr. Sid Gilman and Dr. Carol Barbour
Debbie and Norman Herbert
Keki and Alice Irani
Shirley Y. and Thomas E. Kauper
Lois A. Theis
Marina and Robert Whitman
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 Jim and Bonnie Reece Barbara A. Anderson and
John H. Romani Sue Schroeder Helen and George Siedel Steve and Cynny Spencer Don and Carol Van Curler Don and Toni Walker B. Joseph and Mary White
Dr. and Mrs. Gerald Abrams
Jim and Barbara Adams
Bernard and Raquel Agranoff
Michael and Suzan Alexander
Dr. and Mrs. David GAnderson
Rebecca Gepner Annis and Michael Annis
Jonathan W. T. Ayers
Lcsli and Christopher Ballard
Dr. and Mrs. Robert Bartlett
Astrid B. Beck and David Noel Freedman
Ralph P. Beebe
Patrick and Maureen Bclden
Harry and Betty Ben ford
Ruth Ann and Stuart J. Bergstein
Suzanne A. and Frederick J. Beutler
Joan Akers Binkow
John Blanldey and Maureen Foley
Dr. and Mrs. Ronald Bogdasarian
Elizabeth and Giles G. Bole
Howard and Margaret Bond
Sue and Bob Bonfield
Charles and Linda Borgsdorf
Laurence and Grace Boxer
Dale and Nancy Briggs
William and Sandra Broucek
Jeanninc and Robert Buchanan
Robert and Victoria Buckler
Sue and Noel Buckner
Lawrence and Valerie Bullen
Laurie Burns
Mr. and Mrs. Richard J. Burstcin
Letitia J. Byrd
Amy and Jim Byrne
Betty Byrne
Barbara and Albert Cain
Jean W. Campbell
Michael and Patricia Campbell
Carolyn M. Carry and Thomas H. Haug
Jean and Kenneth Casey
Janet and Bill Cassebaum
Anne Chase
James S. Chen
Janice A. Clark
Mr. and Mrs. John AJden 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 DethlofT
Steve and Lori Director
Andrzej and Cynthia Dlugosz
Elizabeth A. Doman
John Dryden and Diana Raimi
Martin and Rosalie Edwards
Charles and Julia Eisendrath
Joan and I mil Engel
Bob and Chris Euritt
Dr. and Mrs. John A. Faulkner
Eric Fearon and Kathy Cho
Dedc and Oscar Feldman
Yi-tsi M. and Albert Feuerwerker
Mrs. Gerald J. Fischer (Beth B.)
Bob and Sally Fleming
John and Esther Floyd
Marilyn G. Gallalin
Bernard and Enid Galler
Marilyn Tsao and Steve Gao
Thomas and Barbara Gelchrtcr
Beverly Gershowitz
William and Ruth Gilkey
Mr. and Mrs. Clement Gill
Mrs. Cozette T. Grabb
Elizabeth Needham Graham
Susan Smith Gray and Robert Gray
Dr. John and Renec M. Greden
Jeffrey B. Green
John and Helen Griffith
Carl and Julia Guldbcrg
Martin D. and Connie D. Harris
Julian and Diane Hoff
Carolyn Houston
Robert M. and Joan F. Howe
Drs. Linda Samuelson and Joel Howell
Dr. H. David and Dolores Humes
Susan and Martin Hurwitz
Stuart and Maureen Isaac
Timothy and Jo Wiese Johnson
Robert L. and Beatrice H. Kahn
Herbert Katz
Richard and Sylvia Kaufman
lames and Patricia Kennedy
Dick and Pat King
Diane Kirkpatrick
Carolyn and Jim Knake
Joseph and Marilynn Kokoszka
Michael and Phyllis Korybalski
Samuel and Marilyn Krimm
Amy Sheon and Marvin Krislov
Bud and Justine Kulka
Barbara and Michael Kusisto
Jill M. Latta and David S. Bach
Laurie and Robert LaZebnik
Peter Lee and Clara Hwang
Donald J. and Carolyn Dana Lewis
Allen and Evie Lichtcr
Carolyn and Paul Lichter
Daniel Little and Bcrnadctte 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. Messcr Carl A. House
Andy and Candicc Mitchell
Therese M. Molloy
Lester and Jeanne Monts
Alan and Sheila Morgan
Jane and Kenneth Moriarty
Melinda and Bob Morris
Brian and Jacqueline Morton
Martin Nculiep and Patricia Pancioli
Donna Parmelee and William Nolting
Marylen and Harold Oberman
Dr. and Mrs. Frederick C. O'Dell
Robert and Elizabeth Oneal
Constance and David Osier
Mitchel Osman, MD and
Nancy Timmerman William C. Parkinson Dory and John D. Paul
Principals, cont.
Margaret and Jack Petersen Elaine and Bertram Pitt Richard and Mary Price Jeanne Raisler and Ton Conn 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 Willcs 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
Dr. and Mrs. Robert G. Aldrich
Anastasios Alexiou
Christine Webb Alvey
David and Katie Andrea
Dr. and Mrs. Rudi Ansbacher
Janet and Arnold Aronoff
Emily Avers
Rowyn Baker
Robert L. Baird
Paulett Banks
M. A. Baranowski
Norman E. Barnett
Mason and Helen Barr
L S. Berlin
Philip C, Berry
Jeffrey Bcyersdorf
Sara Billmann and Jeffrey Kuras Jerry and Dody Blackstone Donald and Roberta Blitz Tom and Cathie Bloem Jane Bloom, MD and
William L. Bloom Mr. and Mrs. Richard Boyce Dr. and Mrs. Ralph Bozell Susan Bozell Paul and Anna Bradley Joel Bregman and
Elaine Pomeranz June and Donald R. Brown Morton B. and Raya Brown Trudy and Jonathan Bulkley H. D. Cameron Bruce and Jean Carlson Edwin and Judith Carlson Jim and Priscilla Carlson Jack and Wendy Carman Cheryl Cassidy and
Richard Ginsburg Tsun and Siu Ying Chang Dr. Kyung and Young Cho Alice S. Cohen Lois and Avern Cohn Malcolm and Juanita Cox Sally A. Cushing Charles and Kathleen Davenport Marnee and John DeVine Lorenzo DiCarlo and
Sally Stegeman DiCarlo Mary E. Dwycr Jack and Betty Edman Judge and Mrs. S. J. Elden Patricia Enns Elly and Harvey FaJit John W Farah DDS PhD Claudinc Farrand and
Daniel Moerman Irene Fast
Sidney and Jean Fine Carol Finerman Clare M. Fingerle John and Karen Fischer Ray and Patricia Fitzgerald Jason I. Fox Dr. Ronald Freedman Harriet and Daniel Fusfeld Otto and Lourdes E. Gago Professor and
Mrs. David M. Gates Drs. Steve Geiringer and
Karen Bantel Jasper Gilbert Paul and Anne Glendon fack and Kathleen Glezen Alvia G. Golden and
Carroll Smith-Rosenberg William and Sally Goshorn Jenny Graf
Dr. and Mrs. Lazar J. Greenfield Seymour D. Greenstone David and Kay Gugala Ken and Margaret Guire Don P. Hacfncr and
Cynthia J. Stewart Mr. and Mrs. Elmer F. Hamel Susan A. Hamilton Clifford and Alice Hart Sivana Heller J. Lawrence and
Jacqueline Stearns Henkel Kathy and Rudi Hentschel Herb and Dee Hildebrandt Mrs. W.A. Hiltner Sun-Chien and Betty Hsiao Mrs.V.CHubbs Ann D. Hungerman Thomas and Kathryn Hunlzicker Eileen and Saul Hymans Jean Jacobson
Mark Jacobson Elizabeth Jahn Rebecca S. Jahn Wallie and Janet Jeffries ) mi and Dale Jerome Ben M. Johnson Herbert and Jane M. Kaufer Dr. and Mrs. Robert P. Kelch John B. and Joanne Kennard Emily Kennedy Dr. David E. and
Heidi Castleman Klein Hermine R. Klingler Philip and Kathryn Klintworth Michael J. Kondziolka and
Mathias-Philippe Florent Badin Charles and Linda Koopmann Dr. and Mrs. Melvyn Korobkin Bert and Catherine La Du Ted and Wendy Lawrence Mr. John K. Lawrence Julaine E. 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 Bernice and Herman Merte Leo and Sally Miedler Myrna and Newell Miller Lisa Murray and Mike Gatti Gerry and Joanne Navarre Edward Nelson Eulalie Nohrden Kathleen I. Operhall Marysia Ostafin and
George Smillie Nicole Paoletti Ms. Chandrika S. Patel John Peckham Wallace and Barbara Prince Mrs. Gardner C. Quarton Mrs. Joseph S. Radom Ms. Claudia Rast Ms. Rossi Ray-Taylor Molly Resntk and John Martin Jay and Machrec 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 ]i in.i J. SkJenar 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 Thiclking Elizabeth H. Thieme Dr. and Mrs. Merlin C. Townley Joan Lowenstcin and
Jonathan Trobe Jeff and Lisa TuIin-SUver Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger Charlotte Van Curler
Raven Wallace Harvey and Robin Wax Lawrence A. Weis Raoul Weisman and
Ann Friedman Angela and Lyndon Welch Reverend Francis E. Williams Warren Williams Lawrence and Mary Wise David and April Wright Mayer and Joan Zald
Jesus and Benjamin Acosta-Hughes
Michael and Marilyn Agin
Robert Ainsworth
Helen and David Aminoff
Douglas B. Anderson
Harlene and Henry Appelman
Jack and Jill Arnold
Jeff and Deborah Ash
Mr. and Mrs. Arthur J. Ashe, III
Dwight T. Ashley
Dan and Monica Atkins
Linda Bennett and Bob Bagramian
Laurence R. and Barbara K. Baker
Lisa and Jim Baker
Reg and Pat Baker
Barbara and Daniel Balbach
Gary and Cheryl Balint
Ms. Ruth Bardenstein
John R. Bareham
David and Monika Barera
Lois and David Baru
Lourdes Bastos Hansen
Tom and Judith Batay-Csorba
Francis J. and Lindsay Batetnan
Mrs. Jere M. Bauer
Gary Beckman and Karla Taylor
Professor and Mrs. Erling
Blondal Bengtsson Dr. and Mrs. Ronald M. Benson Joan and Rodney Bentz Dr. Rosemary R. Berardi James A. Bergman and
Penelope Hommel Steven J. Bernstein and
Maria Herrero Dan and Irene Biber John E. Billi and Sheryl 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 Ducll
Associates, cont.
Dr. Alan S. Eiser
Sol and Judith Elkin
l.incl Fain
Phil and Phyllis Fellin
Stephen and Ellyce Field
Dr. James F. Filgas
Susan FilipiakSwing City
Dance Studio Herschel Fink C. Peter and Bev A. Fischer Gerald B. and Catherine L. Fischer Dennis Flynn Paula L Bockenstcdt and
David A. Fox
Howard and Margaret Fox Betsy Foxman and
Michael Boehnke Lynn A. Frecland Richard and Joann Freethy 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 [rwin Goldstein and Martha Mayo Enid M. Gosling James W. and Maria J. GoussefT 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 lohn and Susan Halloran Tom Hammond Robert and Sonia Harris Naomi Gottlieb Harrison and
Theodore Harrison DDS Paul Hysen and Jeanne Harrison Jeannine and Gary Hayden Henry R. and Lucia Heinold Rose and John Henderson Dr. and Mrs. Keith S. Henley Peter Hinman and Elizabeth Young Louise Hodgson
Mr. and Mrs. William B. Holmes Dr. Ronald and Ann Holz Jane H. Hughes Marilyn C. Hunting Robert B. Ingling David Jahn Ellen C. Johnson Ken! and Mary Johnson Paul and Otga Johnson Arthur A. Kaselemas Frank and Patricia Kennedy Donald F. and Mary A. Kiel Rhea Kish
Paul and Dana Kissner Steve and Shira Klein Laura Klem lean and Arnold Kluge Thomas and Ruth Knoll John Koselka and Suzanne DeVine Bert and Geraldine Kruse Mrs. David A. Lanius Mr. and Mrs. Henry M. Lapeza Neal and Anne Laurance Beth and George LaVoie John and Theresa Lee Jim and Cathy Leonard Sue Leong
Myron and Bobbie Levine Ken and Jane Lieberthal Rod and "Robin Little Vi-Cheng and Hsi-Yen Liu Dr. Lcnnart H. Lofstrom
Naomi E. Lohr Ronald Longhofer and
Norma McKenna Florence LoPatin Jenifer and Robert Lowry Edward and Barbara Lynn Pamela f. MacKintosh Mclvin and Jean Manis James E. and Barbara Martin Margaret E. McCarthy Margaret and Harris McClamroch James M. Beck and
Robert J. McGranaghan Michael G. McGuire Nancy A. and Robert E. Meader George R. and Brigitte Merz Shirley and Bill Meyers Mr. and Mrs. Eugene Miller Kathryn and Bertley Moberg Mr. and Mrs. William Moeller Olga Ann Moir
William G. and Edith O. Moller, Jr. Thomas and Hedi Mulford Gavin Eadie and Barbara Murphy Frederick C. Neidhardt and
Germaine Chipault Richard and Susan Nisbett Laura Nitzberg and Thomas Carli Arthur and Lynn Nusbaum Drs. Sujit and Uma Pandit William and Hedda Panzer Karen M. Park Joyce Phillips
Mr. and Mrs. Frederick R. Pickard Wayne Pickvet and Bruce Barrett Donald and Evonne Plantinga Bill and Diana Pratt Larry and Ann Preuss Leland and Elizabeth Quackenbush Jim and leva Rasmusscn Anthony L. Reffells and
Elaine A. Bennett Constance O. Rinehart Kathleen Roelofs Roberts Gay and George Rosenwald Mr. Haskell Rothstein Ina and Terry Sandalow Michael and Kimm Sarosi Mike Savitski
Dr. Stephen J. and Kim R. Saxe Frank J. Schauerte Mary A. Schieve Mrs. Harriet Selin lean and Thomas Shope Hollis and Martha A. Showalter Aliil.i and Gene Silverman Scott and foan Singer Susan and Leonard Skerker John and Anne Griffin Sloan Tim and Marie Slottow AJene Smith Carl and )ari Smith Mrs. Robert W. Smith Dr. Elaine R. Soller Hugh and Anne Solomon Yoram and Eliana Sorokln 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 Turcottc Mr. James R. Van Bochovc
Hugo and Karla Vandersypen Marie Vogt
Haruc and Tsuguyasu Wada Charles R. and
Barbara H. Wallgrcn 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 I. Willis Lloyd and Lois Crabtree Beverly and Hadlcy Wine Charles Witke and Aileen Gatten Charlotte A. Wolfe Richard ?. and Muriel Wong Al and Alma Wooll Frances A. Wright Don and Charlotte Wyche MaryGrace and Tom York
Corporate Fund
$100,000 and above Ford Motor Company Fund Forest Health Services
Corporation University of Michigan Pfizer Global Research and
Development: Ann Arbor
$20,000-$49,999 Bank of Ann Arbor Borders Group, Inc. DaimlerChrysler Foundation Kaydon Corporation KeyBank TIAA-CREF
$W,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
Albert Kahn Associates Ann Arbor Automotive Butzel Long Attorneys Crowne Plaza Elastizell Corporation
of America
MASCO Charitable Trust Miller Canfield Paddock
and Stone PX.C. National City Bank Quinn EvansArchitects TCF Bank
Thomas B. McMullen
Company Total Travel Management
Arts at Michigan
Blue Nile
Bosart Financial Group
Charles Reinhart Company,
Chase Manhattan Mortgage Conlin Travel Joseph Curtin Studios Lewis Jewelers ProQuest Republic Bancorp United Bank & Trust
ABN AMRO Mortgage Group,
Adult Learning Institute Ayse's Courtyard Cafe" Ann Arbor Builders Ann Arbor Commerce Bank Bed & Breakfast on Campus Bennett Optometry Bivouac
Burns Park Consulting Clark Professional Pharmacy Coffee Express Comcast
Edward Brothers, Inc. Garris, Garris, Garris 8c
Garris, P.C. Malloy Incorporated Michigan Critical Care
Consultants Rosebud Solutions Seaway Financial Agency
Wayne Milcwski SeloShevel Gallery Swedish Women's Educational
Foundation & Government Support
UMS gratefully acknowl?edges the support of the following foundations and government agencies:
$100,000 and above Association of Performing
Arts Presenters Arts
Partners Program Community Foundation for
Southeastern Michigan Doris Duke Charitable
Foundation The Ford Foundation JazzNet Michigan Council for Arts
and Cultural Affairs The Power Foundation
Foundation & Government Support, cotit.
The Wallace Foundation The Whitney Fund
$50,000-$99,999 Anonymous
National Endowment for the Arts
SW,000-$49,999 Continental Harmony
Sl,000-S9,999 Akers Foundation Altria Group, Inc. Arts Midwest Cairn Foundation Heartland Arts Fund The Lebensfeld Foundation Martin Family Foundation Maxine and Stuart Frankel
Mid-America Arts Alliance The Molloy Foundation Montague Foundation THE MOSAIC FOUNDA?TION (of R. and P. Heydon)
Sarns 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 Amsler
Maurice Binkow
Tom and Laura Binkow
Mr. and Mrs. Thomas Caterino
T. Earl Douglass
Robert Bruce Dunlap
Alice Kelsey Dunn
David Eklund
Kenneth C. Fischer
Dr. Beverley B. Geltner
Michael Gowing
Lila Green
Werner Grilk
Elizabeth E. Kennedy
Ted Kennedy, Ir.
Dr. Gloria Kerry
Alexandra Lofstrom
loyce Malm
Frederick N. McOmber
Evelyn P. Navarre
Phil and Kathy Power
Gwen and Emerson Powric
Prof. Robert Putnam
Ruth Putnam
Mrs. Gail Rector
Steffi Reiss
Prue Rosenthal
Margaret E. Rothstein
Eric H. Rothstein
Nona R. Schneider
Ruth E. Schopmeyer
Prof. Wolfgang Stolpcr
Diana Stone Peters Peter C. Tainsh Dr. Isaac Thomas III Clare Venables Francis V.Viola III Horace Warren Donald Whiting Peter Holderness Woods Barbara ?. Young Elizabeth Yhouse
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.
Carol and Herb Amster
Dr. and Mrs. David G. Anderson
Mr. Neil P. Anderson
Catherine S. Arcure
Mr. Hilbert Beyer
Elizabeth Bishop
Mr. and Mrs. Pal E. Borondy
Carl and Isabelle Brauer
Barbara Everitt Bryant
Joanne A. Cage
Pat and George Chatas
Mr. and Mrs. John Alden Clark
Douglas D. Crary
H. Michael and Judith L Endres
Beverley and Gerson Geltner
John and Martha Hicks
Mr. and Mrs. Richard Ives
Marilyn Jeffs
Thomas C. and
Constance M. Kinnear Charlotte McGeoch Michael G. McGuire Dr. Eva Mueller Len and Nancy Niehoff Dr. and Mrs. Frederick C. O'Dell Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Mr. and Mrs. Jack W. Ricketts Mr. and Mrs. 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 funds. H. Gardner Ackley
Endowment Fund Herbert S. and Carol Amster
Fund Catherine S. Arcure
Endowment Fund Carl and IsabeUe Brauer
Endowment Fund Choral Union Fund Hal and Ann Davis
Endowment Fund Ottmar Eberbach Funds Epstein Endowment Fund JazzNet Endowment Fund William R. Kinney
Endowment Fund NEA Matching Fund Palmer Endowment Fund Mary R. Romig-deYoung
Music Appreciation Fund Charles A. Sink Memorial Fund Catherine S. ArcureHerbert
E. Sloan Endowment Fund University Musical Society
Endowment Fund
In-Kind Gifts
A-l Rentals, Inc.
Raquel and Bernard Agranoff
Alexandra's in Kerrytown
Amadeus ( aw
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
The Blue Nile Restaurant
Bodywise Therapeutic Massage
Mimi and Ron Bogdasarian
Borders Book and Music
Janice Stevens Botsford
Susan Bozell
Tana Breiner
Barbara Everitt Bryant
By the Pound
Cafe Marie
Margot Campos
Cappellos Hair Salon
Coach Me Fit
Bill and Nan Conlin
M.C Conroy
Hugh and Elly Cooper
Cousins Heritage Inn
Roderick and Mary Ann Daanc
D'Amato's Italian Restaurant
David Smith Photography
Peter and Norma Davis
Robert Derkacz
The Display Group
Dough Boys Bakery
The Earle
Eastover Natural Nail Care
Katherine and Damian Farrell
Ken and Penny Fischer
Food Art
Sara Frank
The Gandy Dancer
Beverley and Gerson Gellner
Great Harvest Bread Company
Linda and Richard Greene
Nina Hauser
John's Pack & Ship
Steve and Mercy Kasle
Cindy Kellerman
Kenytown Bistro
Kilwin's Chocolate Shoppe
King's Keyboard House
Kinko's Copies
Uky's Salon
Ray Lance
George and Beth Lavoie
Leopold Bros. Of Ann Arbor
Richard LeSueur
Carl Lutkehaus
I 'mi Lystra
Mainstreet Ventures
Ernest and Jeanne Merlanti
John Metzger
Michael Susanne Salon
Michigan Car Services, Inc. and
Airport Sedan, LTD Moe Sport Shops Inc. Robert and Melinda Morris Joanne Navarre Nicola's Books, Little Professor
Book Co.
Paesano's Restaurant 1'ti at Global Research and
Development: Ann Arbor
Laboratories Preview Properties Produce Station Randy Parrish Fine Framing Red Hawk Bar & Grill Regrets Only Right side Cellar Ritz Camera One Hour Photo Don and Judy Dow Rumclhart Safa Salon and Day Spa Salon Vertigo Rosalyn Sarvar MayaSavarino Penny and Paul Schreiber Shaman Drum Bookshop Loretta Skewes Dr. Elaine R. Soller Maureen Stoeffler STUDIOsucteen Two Sisters Gourmet Van Bovcns
Washington Street Gallery Whole Foods Weber's Restaurant Zanzibar

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