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UMS Concert Program, Thursday, April 8, 2004: William Bolcom's Songs Of Innocence And Of Experience --

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University Musical Society
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Season: WINTER 2004
Hill Auditorium

University Musical Society
with the
School of Music
of the University of Michigan
Winter 2004 Season
William Bolcom's
Songs of Innocence pnd of Experience
A Musical Illumination of the Poems of William Blake
Leonard Slatkin,Conductor
Thursday, April 8, 2004 Hill Auditorium
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 WorkStudy Ushers
39 Support
48 LTMS Advertisers
Front Coven Simon Shaheen, Guthrie Theater's Othello, Cecilia Bartoli, Lyon Opera Ballet dancers Back Coven Dee Dee 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 cosponsor 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 twoday 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 ArabAmerican 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 copresentations 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 reopening of Hill Auditorium after its 20month renovation and restoration. If you're read?ing this program book while you are in Hill Audi?torium, welcome back to this glorious 90yearold 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 worldrenowned 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 universityrelated 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 email message at or call me at 734.647.1174.
Very best wishes,
Kenneth C. Fischer UMS President
irtie 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 UM 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 worldclass 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 20year 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 worldclass 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 artsloving 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, TIAACREF Individual and Institutional Services, Inc.
"TIAACREF 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 UMOhio 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
$50,000 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
MidAmerica Arts Alliance
The Molloy Foundation
Montague Foundation
THE MOSAIC foundation (of R. and P. Heydon)
Sams Ann Arbor Fund
Vibrant Ann Arbor Fund
of the University of Michigan
Prudence L. Rosenthal,
Chair Clayton Wilhite,
ViceChair 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 Ion Cosovich Douglas Crary Ronald M. Cresswell
Robert F. DiRomualdo James). 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 ludythe H. Maugh Paul W. McCracken Rebecca McGowan Shirley C. Neuman Len Niehoff Joe E. O'Neal John D. Paul John Psarouthakis Rossi RayTaylor Gail W. Rector John W. Reed Richard H. Rogel Ann Schriber Daniel H. Schurz Harold T. Shapiro
George I. Shirley John O. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A. Solis Peter Sparling Lois U. Stegeman Edward D. Surovell James L. Telfer Susan B. Ullrich Eileen Lappin Weiser Gilbert Whitaker B. Joseph White Marina v.N. Whitman Iva M. Wilson
Louise Townley, Chair Raquel Agranoff, Vice Chair Morrine Maltzman, Secretary Jeri Sawall, Treasurer
Barbara Bach Tracey Baetzel Paulett M. Banks Milli Baranowski Lois Bam Kathleen Benton Muni Bogdasarian Jennifer Boyce Mary Breakey leannine Buchanan
Victoria Buckler Heather Byrne Laura Caplan Cheryl Cassidy Nita Cox Norma Davis Lori Director H. Michael Endres Nancy Ferrario Sara B. Frank Anne Glendon Alvia Golden Ingrid Gregg Kathy Hentschel Phyllis Herzig
Meg Kennedy Shaw Anne Kloack Jean Kluge Kathy LaDronka Beth Lavoie Jill Lippman Stephanie Lord Judy Mac Esther Martin Mary Matthews Joann McNamara Jeanne Merlanti Candicc Mitchell Bob Morris Bonnie Paxtion
Danica Peterson Lisa Psarouthakis Wendy Moy Ransom Theresa Ann Reid Swanna Saltiel Penny Schreiber Sue Schroeder Aliza Shevrin Alida Silverman Loretta Skewes 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 Julaine LeDuc, Advisory Committee
and Events Coordinator Lisa Michiko Murray, Manager of
Foundation and Government Grants M. Joanne Navarre, Manager of
Annual Fund and Membership Mamie Reid, Manager of Individual
Support Lisa Rozek, Assistant to the Director
of Development
EducationAudience Development Ben Johnson, Director Amy Jo Rowyn Baker, Youth
Education Manager William P. Maddix, Manager Warren Williams, Manager
MarketingPublic Relations Sara Billmann, Director Susan Bozell, Marketing Manager Nicole Manvel, Promotion Coordinator
ProgrammingProduction Michael J. Kondziolka, Director Emily Avers, Production
Administrative Director Jeffrey Beyersdorf, Technical
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
WorkStudy Pearl Alexander Kara Alfano Nicole Blair Stephan Bobalik Bridget Briley Patrick Chu Katie Conrad Elizabeth Crabtree Bethany Heinrich Rachel Hooey Cortney Kellogg Lena Kim Leslie Leung Aubrey Lopatin Ryan Lundin Paul Bruce Ly Natalie Malotke Melissa McGivern Erika Nelson Nadia Pessoa Fred Peterbark Omari Rush Jennie Salmon Christy Thomas Sean Walls Amy Weatherford Christine Won Chun
Interns Noelle Butzlaff
li.i Lim Claire Rice
President Emeritus
Gail W. Rector
Fran Ampey Lori Atwood Robin Bailey Joe Batts Kathleen Baxter Elaine Bennett Lynda Berg Gail Bohner Ann Marie Borders David Borgsdorf
Sigrid Bower Susan Buchan Diana Clarke Hayes Dabney Wendy Day Susan Filipiak Jennifer Ginther Brenda Gluth Barb Grabbe Pamela Graff
Nan Griffith Joan Grissing Lynn Gulick Carroll Hart Barb Harte Bill Hayes Sandy Hooker Susan Hoover Silka Joseph JeffKass
Rosalie Koenig Sue Kohfeldt Laura Machida Ken McGraw Patty Meador Don Packard Susan Pollans Katie Ryan Julie Taylor
BarrierFree Entrances
For persons with disabilities, all venues have barrierfree 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 hearingimpaired 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 uptodate 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 HallsO Mentho LyptusO cough suppressant tablets to patrons attending UMS performances through?out the 0304 season.
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the Ticket Office. Refunds are not available; however, you will be given a receipt for an income tax deduction. Please note that ticket returns do not count toward UMS membership.
Subscription Ticket Exchanges
Subscribers may exchange tickets free of charge. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance. You may fax a photo?copy of your torn tickets to 734.647.1171.
Single Ticket Exchanges
Nonsubscribers 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, coworkers, 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 1525 for most performances
accessibility accommodations
norisk reservations that are fully refundable up to 14 days before the performance
13 complimentary tickets for the group organizer (depending on size of group). Comp tickets are not offered for performances with no group discount.
For information, contact the UMS Group Sales Hotline at 734.763.3100 or
Discounted Student Tickets
Did you know Since 1990, students have pur?chased over 144,000 tickets and have saved more than $2 million through special UMS student programs! UMS's commitment to affordable stu?dent tickets has permitted thousands to see some of the most important, impressive and influential artists from around the world. For the 0304 sea?son, students may purchase discounted tickets to UMS events in three ways:
1. At the beginning of each semester, UMS holds a HalfPrice 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 HalfPrice 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 prepaid punch card that allows students to pay up front ($50 for 5 punches, $100 for 11 punches) and use the card to purchase Rush Tickets during the 0304 season. Incoming freshman and transfer students can purchase the UMS Card with the added perk of buying Rush Tickets two weeks in advance, subject to availability.
Gift Certificates
Looking for that perfect meaningful gift that speaks vol?umes about your taste Tired of giving
flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for every event throughout our sea?son, wrapped and delivered with your personal message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming present when new friends move to town.
New This Year! UMS Gift Certificates are valid for 12 months from the date of purchase and do not expire at the end of the season.
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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 indepth 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 taxdeductible 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.
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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 worldclass 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?tionallyrecognized 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 notforprofit organi?zation that supports itself from ticket sales, corporate and individual contributions, foun?dation and government grants, special project support from UM, and endowment income.
Throughout its 125year 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 150voice Choral Union is known for its definitive per?formances of largescale 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 Chloi 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 Durufl's mystical Requiem, accompanied by internationalclass 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 BirminghamBloomfield Symphony Orchestra, and other musical theater favorites with Erich Kunzel and the DSO at Meadow Brook. The 72voice 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 36voice 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, email or call 734.763.8997.
VENUES Hill Auditorium
After an 18month $38.6million 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 reopened. 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?erfree ramp and loading dock, and improve?ments to landscaping.
Interior renovations included the demolition of lowerlevel spaces to ready the area for future improvements, the creation of additional restrooms, the improvement of barrierfree circula?tion by providing elevators and an addition with ramps, the replacement of seating to increase patron comfort, introduction of barrierfree seating and stage access, the replacement of the?atrical performance and audiovisual systems, and the complete replacement of mechanical and electrical infrastructure systems for heating, ventilation, and air conditioning.
Reopened 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 prosceniumstage 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 wellknown mirrored glass panels on the exterior. The lobby of the Power Center features two handwoven 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 higherlevel 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 1,129seat 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 1,710seat 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 fullsize 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 notforprofit 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 200seat 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 cappella 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 $29.6million Convocation Center. The BartonMalow 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 centerstage 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 wellknown University of Michigan and Ann Arbor land?marks. Completed in 1935 and designed by Albert Kahn, the 10story 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 walkup 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.
, of the University of Michigan, Ann Arbor
Winter 2004
125th Annual Season
Event Program Book
General Information
Children of all ages are welcome at UMS Family and Youth Performances. Parents are encour?aged not to bring children under the age of 3 to regular, fulllength 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: electronicbeeping 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.
William Bolcom's
Songs of Innocence and of Experience
A Musical Illumination of the Poems of William Blake
Thursday, April 8, 8:00 pm Hill Auditorium
Then and Now: Notes from the Composer 2
Song Casting 7
A Listener's Guide by Joseph Horowitz 9
Songs of Innocence and of Experience, poetry by William Blake 12
Biographies Featured Soloists Ensembles 25 26 31
Ensemble Rosters 33

"Nothing is worse than curdled innocence.. .America, up to now, has operated with
a strange unwillingness to confront actual human nature." -William Bolcom
Note by the composer for the US pre?miere of Songs of Innocence and of Experience nearly 20 years ago to the day: April 11, 1984 in Hill Auditorium.
Ever since I was 17, when the reading of William Blake was to make a pro?found difference to my life, I have wanted to set the entire Songs of Innocence and of Experience to music. Several songs were actually completed in 1956 -"The Sick Rose," and the opening, revised, of the Songs of Innocence, are survivors of that time -and the work remained in my mind until 1973, when I moved to Ann Arbor to teach at the University of Michigan. I felt that I could simplify my life enough to be able to real?ize the cycle I had dreamed of for so long. Most of the work was completed in the years 197374 and 197982; the opening of the Songs of Experience was fully sketched in 1966 and several of the major songs date from the early and middle 1970s. The largest problem was the form the entire setting would take. It could not be a standard opera, and the stopping and starting that constantly bedevils the orato?rio form would prove fatal for 46 poems over an evening.
The final ordering of the Songs left by Blake, as will be seen, is quite different from the one I had become used to in my earliest reading. In the 1880s William Muir, an artist greatly involved with the revival of interest in Blake's engravings and paintings, actually printed some of the poet's works from the original copper?plates. He then (as Blake and his wife Catherine had done) handcolored them, although, to my mind, not as interestingly or vividly as had Blake himself. In Muir's edition of The Marriage of Heaven and Hell (1888) I found, by chance, in the appendix, an ordering of the Songs of Innocence and of Experience (reproduced in what looks very much like Blake's own hand).
Blake had presumably left this for his wife should anyone have wanted a further printing of the Songs, which had been one of the few of his engraved works that had had any sale. (Evidently no one asked Catherine Blake for a copy.)
This ordering, new to me, gave me what I needed in trying to find an overall shape to the work: a series of arches, in both subject and emotion, that marked the piece off into nine clear movements, each inhabiting a certain spir?itual climate and progressing ever further in "Shewing the Two Contrary States of the Human Soul." With slight changes I have used Blake's last ordering in my piece. I had always wanted to end the evening with "A Divine Image," which Blake had engraved and then rejected for the Experience cycle, and I revised the order of the last part to accommodate the poem.
The Blakean principle of contraries -"Without Contraries is no progression: Attraction and Repulsion, Reason and Energy, Love and Hate, are necessary to Human exis?tence." (The Marriage of Heaven and Hell) -would also dominate my approach to the work, particularly in matters of style. Current Blake research has tended to confirm what I had assumed from the first, that at every point Blake used his whole culture, past and present, highflown and vernacular, as sources for his many poetic styles. Throughout the entire Songs of Innocence and of Experience, exercises in ele?gant Drydenesque diction are placed cheek by jowl with ballads that could have come from one of the "songsters" of his day (small, popular books or pamphlets of words set to wellknown tunes, in the manner of John Gay's 1728 Beggar's Opera). It is as if many people from all walks of life are speaking, each in a different way. The apparent disharmony of each clash and juxtaposition eventually produces a deeper and more universal harmony, once the whole cycle is absorbed. All I did was to use the same stylistic point of departure as Blake in my musical settings.
If any one work of mine has been the chief source and progenitor of the others, I would have to say that this is it. My fascination with the synthesis of the most unlikely stylistic ele
ments dates from my knowledge and applica?tion of Blake's principle of contraries, and I have spent most of my artistic life in pursuit of this higher synthesis. In this work, through my settings, I have tried my best to make everything clear, I have used some music in the same way Blake used line and color, in order to illuminate the poems.
To me, William Blake is the most urgent of poets. What he says is as immediate as ever, but particularly to us. He came from an epoch of social change as total as ours, and, in the time of our deepest human crisis, we can learn from him whether we will survive as a planet. With clear and unjudging vision Blake saw where the human race was heading; it could be argued that the Songs of Innocence and of Experience may be the clearest explanation we have of what forces have brought us to where we are now. If there is any solution, it is only through acceptance and understanding of our own nature, and if I have caused a more careful lis?tening to Blake's message, then my works over a span of 25 years will not have been in vain.
-William Bolcom, 1984
Recollections on the Twentieth Anniversary of Songs of Innocence and of Experience
After the US premiere of this work in this auditorium (the world's first performances had taken place January 8 and 9, 1984 with the Stuttgart Opera Orchestra) there have been 12 performances of Songs of Innocence and of Experience: at Grant Park in Chicago with Gustav Meier, who had conduct?ed the University of Michigan performance; with the Brooklyn Philharmonic under Lukas Foss; with the Saint Louis Symphony, both there and in New York, and the BBC
Symphony in London also under tonight's con?ductor Leonard Slatkin; and with the Pacific Symphony in Costa Mesa in Southern California under former Ann Arborite Carl St. Clair. A piece of its sheer size cannot hope to be played too often, and I am still amazed, 20 years later, that it has been heard all these times.
I was once afraid it would never be heard or even finished. Although parts of Songs date from almost 50 years ago, I certainly did not (and economically could not) work on it steadi?ly; Songs is one of those works one does with?out commission. Finding time and relative peace to compose it in the sheer allday effort to survive freelance in New York had proved impossible. When we came here, finally I was able to put the piece together; of course I did not realize that my wife Joan Morris and I would still be in Ann Arbor 30something years later!
You will notice many instruments unusual to the orchestra. I love writing for the "modern" symphony orchestra, but often I am confronted
William Bolcom
Photo: Peter Smith
with the sad fact that its disposition -the term for its total instrumentation -has hardly evolved since World War I. (Up until then the orchestra admitted instrument after instrument when players in each attained a certain level of proficiency; why the subsequent inertia has occurred is a subject best explored elsewhere, but it would seem likely that any organization as codified, as rigidly delineated as today's orchestra is in danger of disappearing.) The University of Michigan School of Music provid?ed a possible escape from this unevolved orchestra. A rough demographic analysis of the student population taken in the aggregate yields a potential orchestra including saxophones, expanded percussion and brass, and electric instruments; all these are represented onstage along with the varied musical styles these instruments and their players bring to our new orchestra.
More important, even though Stuttgart has had the world premieres, Songs of Innocence and of Experience has been primarily meant to be a work involving our whole School of Music. (A school of our size could fall too easily into
watertight departmental thinking on the part of both faculty and students; what a shame not to get to know and collaborate with other kinds of musicians, or actors, or dancers, in one's learn?ing years!) In the chorus of a St. Matthew Passion performance when a student in Seattle, I experienced a deep feeling of oneness with the whole community of musicians onstage that permeated my soul; we were singers and instru?mentalists, each from different disciplines, brought spiritually together by Bach's music. I vowed someday to write something that could afford such an experience to students after me, that would permit a true bringing together of many kinds of performers; the hope is that the greater understanding of ourselves that Blake leads us toward in this cycle will thus be experi?enced here communally, on and offstage. The knowledge these poems give us is often fright?ening, but it makes us free and in the end gives us joy.
-William Bolcom, March 2004
and the
University of Michigan
School of Music
with the
Marine and Stuart
Frankel Foundation
Linda and
Maurice Binkow
William Bolcom's
Songs of Innocence and of Experience
A Musical Illumination of the Poems of William Blake
Thursday Evening, April 8, 2004 at 8:00 Hill Auditorium Ann Arbor
Leonard Slatkin, Conductor Featuring
University Symphony Orchestra Kenneth Kiesler, Music Director
Contemporary Directions Ensemble Jonathan Shames, Music Director
UMS Choral Union and UM Chamber Choir Jerry Blackstone, Conductor
UM University Choir Christopher Kiver, Conductor
UM Orpheus Singers
Carole Ott, William Hammer, Jason Harris, Conductors
MSU Children's Choir Mary Alice Stollak, Music Director
Christine Brewer, Soprano
Measha Brueggergosman, Soprano
liana Davidson, Soprano
Nmon Ford, Baritone
Nathan Lee Graham, SpeakerVocals
Linda Hohenfeld, Soprano
Tommy Morgan, Harmonica
Joan Morris, Mezzosoprano
Carmen Pelton, Soprano
Peter "Madcat" Ruth, Harmonica and Vocals
Marietta Simpson, Contralto
Thomas Young, Tenor
Please Note:
Tonight's program is approximately 3 hours in length including one 20minute intermission.
Please do your part to keep audience noise to a minimum, as this evening's performance is being professionally recorded for later release on CD.
The audience is politely asked to withhold applause until the end of each program half. Please do not applaud after the individual songs within each part.
64th 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 photo?graphing or sound record?ing is prohibited.
This performance is supported by the Maxine and Stuart Frankel Foundation, and Linda and Maurice Binkow.
This performance is copresented with the University of Michigan as part of a special UMUMS partnership that furthers a mutual commit?ment to education, creation, and presentation in the performing arts.
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.
Grateful thanks to Professor Michael Daugherty for the initiation of this project and his inestimable help in its realization.
Thanks to the UM Institute for the Humanities for their involvement with this event.
Thanks to Lisa Herbert and Arts at Michigan for underwriting tickets for UM School of Music students to attend this concert.
Special thanks to Claire Rice for her tireless contributions to this event.
The illuminated images reproduced in this program and in the lobby are taken from William Blake's 1826 edition of Songs of Innocence and of Experience: Shewing the Two Contrary States of the Human Soul. The original copy of this book is in the Rare Book and Special Collection Division, Library of Congress.
Mr. Slatkin appears by arrangement with ICM Artists, Ltd.
Ms. Brewer and Ms. Brueggergosman appear by arrangement with IMG Artists, New York, NY.
Mr. Ford appears by arrangement with Mirshak Artists Management. Mr. Graham appears by arrangement with Paul Kohner Agency.
Ms. Pelton and Ms. Simpson appear by arrangement with Herbert Barrett Management, Inc.
Mr. Young appears by arrangement with The Luedtke Agency. Large print programs are available upon request.
Forest Health Services presents the 125th Anni
Songs of Innocence and of Experience
Songs of Innocence
Introduction Mr. Young
The Ecchoing Green Combined Choruses
The Lamb
Ms. Brueggergosman
The Shepherd
Peter "Madcat" Ruth
Infant Joy
Ms. Simpson
MSU Children's Choir
The Little Black Boy Mr. Graham
Part II
Laughing Song
UM Chamber Choir
Spring Mr. Young Combined Choruses
A Cradle Song
Nurse's Song Ms. Morris
Holy Thursday
UM Chamber Choir Soloists
Combined Choruses
The Blossom
Ms. Brueggergosman
Interlude Orchestra
The Chimney Sweeper
Mr. Graham
UM Chamber Choir
The Divine Image Ms. Morris
Part III
Nocturne Orchestra
Night Mr. Young
A Dream Ms. Davidson
On Another's Sorrow Combined Choruses
The Little Boy Lost Ms. Pelton Combined Choruses
The Little Boy Found Mr. Graham
Coda Orchestra
Songs of Experience Volume I
Introduction Orchestra
Hear the Voice of the Bard Mr. Ford
Interlude Orchestra
Earth's Answer Ms. Brewer
Part II
Nurse's Song Ms. Morris
The Fly
MSU Children's Choir
The Tyger Combined Choruses
The Little Girl Lost Mr. Ford
In the Southern Clime UM Chamber Choir
The Little Girl Found Combined Choruses
Part III
The Clod and the Pebble Mr. Young
The Little Vagabond Ms. Morris
Holy Thursday Ms. Pelton
A Poison Tree Mr. Graham
The Angel Ms. Davidson
The Sick Rose Ms. Simpson
To Tirzah Mr. Graham Combined Choruses
Songs of Experience Volume II
Part IV
The Voice of the Ancient Bard Mr. Ford
My Pretty Rose Tree Chorus Men
Ah, SunFlower
UM Chamber Choir
The Lilly Mr. Young Combined Choruses
Introduction to Part V Orchestra
The Garden of Love Mr. Young
A Little Boy Lost Ms. Pelton Combined Choruses
A Little Girl Lost Mr. Ford Ms. Brewer
Infant Sorrow
UM Chamber Choir Soloists
Combined Choruses
Part VI
London Mr. Graham
The SchoolBoy
The Chimney Sweeper UM Chamber Choir
The Human Abstract Mr. Ford
Interlude: Voces Clamandae Orchestra
A Divine Image
Mr. Graham, Soloists, and
Combined Choruses
A Listener's Guide to William Bolcom's Songs of Innocence and of Experience
By Joseph Horowitz
Who was William Blake William Blake was born in London in 1757 and died there in 1826. He had no schooling past the age of 10 -around the time he saw a tree filled with angels. At 14 he was apprenticed to the trade of engraving. When he was 30 his beloved younger brother Robert died; William witnessed his spirit rise from his body ("clap?ping its hands for joy"). Robert returned in a vision to inspire William to create, through his engraver's art, "illuminated books," printed in color or painted in watercolor over prints in a single tint. These unique volumes, combining text and pictorial decoration, were also individ?ually unique, each edition colored for a private customer. They afforded Blake a modest income and sporadic recognition.
Blake the man was hightempered and excitable, with (according to a contemporary report) "the look of one who can do all things but hesitate." Influenced by American and French Revolutions, he mistrusted authority and grew indignant at evidence of social injus?tice. He was widely read in philosophy and poetry. His visions of spirits or angels accompa?nied him daily and he spoke of them plainly. He was perceived by some as tainted by mad?ness, as an object of sympathy or pity by others.
He is widely regarded as one of the leading British poets of his time and a painter of world consequence. He rejected oil paints in favor the engraver's clean outlines. He identified art with Christianity, of which his understanding was unorthodox. The Bible furnished many of his subjects.
What are the Songs of Innocence and of
Blake's intention was to unite the "labors of the
Artist, the Poet, and Musician." He sang his
lyrics in addition to illustrating them.
The Songs of Innocence, produced in 1789, were his first considerable exercise in "illumi?nated printing." The childlike simplicity of these verses mirrors one aspect of Blake's nature. The Songs of Experience of 1793 are
darker in tone and more opaque in meaning. In 1794 -the height of the French Terror -Blake issued in tandem the Songs of Innocence and of Experience, "Shewing the Contrary States of the Human Soul." The ordering, and even the number of individual poems, changed in all but five of 28 printings of what would become his bestknown work.
What is William Bolcom's message Blake's poem magnetized Bolcom for at least two reasons. The first is that William Blake, like Bolcom, sings "high" and "low:" his influences include the Bible and folk verse. Bolcom's twoandahalf hour setting of the Songs of Innocence and of Experience uses a huge orchestra supplemented by an electric guitar, keyboard, and two electric violins; a chorus, madrigal chorus, and children's chorus; and a group of soloists including country, rock, and folk singers. As the listener will discover with delight and amazement, his purpose is not maximum sound but maximum diversity: marches, carols, barroom ballads; rock and countryandwestern strains; and nontonal avantgardisms all convey an American melting pot complete with certain original British ingredients.
This multiplicity of styles conveys both an American reality and -Bolcom's second reason for setting Blake -a message about America. Bolcom's decision to place last "A Divine Image" -a poem Blake eventually dropped from the cycle -says it all:
Cruelty has a Human Heart, And Jealousy a Human Face; Terror the Human Form Divine, And Secrecy the Human Dress.
"Take the bad with the good," is William Bolcom's message. As his music makes clear, Bolcom's Songs of Innocence are less innocent than Blake's: the whole of his musical tapestry is invested with Experience. And, in Bolcom's cosmos, Experience teaches that Innocence -American innocence -is both false and dan?gerous. The composer comments: "Nothing is worse than curdled innocence. Cynicism is at least informed by brokenheartedness: by a form of knowledge. It's wonderful in early life to be straightforward and uncomplicated. But you have to grow up. America, up to now, has
operated with a strange unwillingness to con?front actual human nature. Our hard work ethic, our Puritanism are ultimately simplistic. We're a whole nation of innocents, thinking in black and white, conserving nostalgia for the world as it never was. The whole point of Blake's dichotomy between innocence and experience is to show a way to deal with these conflicts and accept them."
Of composing Songs of Innocence and of Experience over a multiyear span, Bolcom comments: "At first, I kept coming up with these settings that didn't fit together stylistically. A conversation with John Cage was what really got me feeling that such a strong impulse was best served by simply seeing where it took me. I was interviewing him for three hours on a local radio station in Seattle. And I was going through this stylistic problem at a time when there was a moral imperative among composers that tonality was dead. I was having trouble resolving my various selves. Cage asked me, 'How are you doing compositionally' And I said that I was tortured by conflicts and choic?es. And he said, 'Some people divide the world into things good and bad. Other people take the whole world in and let their inner organism decide.' This gave me a way to deal with these conflicts and accept them. As Walt Whitman said: 'I am big. I contain multitudes.'"
An overview of the piece Bolcom's Songs of Innocence comprises three parts. His Songs of Experience -almost twice as long -comprises six parts.
In Songs of Innocence, "The Chimney Sweeper," in part two, foreshadows darker "Experience" to come. The following song, "The Divine Image," signifies in Bolcom's view a futile effort "to hold onto an older notion that everything is sweet and nice." "The Little Boy Lost," the penultimate song of part three, opens a Pandora's box that cannot be shut.
Bolcom's Songs of Experience begins with the unresolved discord of the "Voice of the Bard" and "Earth's Answer." "A Little Girl Lost," in part five, and "London," beginning part six, are climactically anguished. "A Divine Image," com?ing last, is a final reality check: it is the lesson of Experience that there is no return to Innocence.
Listening Signposts Songs of Innocence
Part 1: The music we hear is not innocent but experienced -"fast and wild," says the score. Is this the state of nature The human condition Whatever it may be, a cosmos of disharmony underlies Bolcom's part one: it peeks through the cracks between songs and gradually dissi?pates. The Songs of Innocence -the happy piper, the laughing children, the little lamb -are presented as a palliative or distraction: not the experiential base, but an overlay. "The Little Black Boy," ending part one, is Blake condemn?ing slavery: the African child attains God with?out formal Christian instruction. Though Blake's views were liberal for his time and place, many readers of today will find God's whiteness disturbing. Bolcom (who here reads "white?ness" as "purity," not race) sets the poem as black music: his Black Boy does not copy the white man's song.
Part 2: The madrigal singing group of "Laughing Song," in its first appearance, links Bolcom's many American styles to English fore?bears. In "The Nurse's Song," Innocence mates with the tuneful simplicity of folksong. "The Chimney Sweeper," as situated by Bolcom in a Dickensian music hall, stresses the "coffins of black" of Tom's nightmare, not the happiness and warmth of his awakening. The composer even adds a pathetic postlude: Tom walks off?stage softly exclaiming "Weep! Weep!" "The Divine Image," coming next, seeks the human in the divine -and yet remains shadowed by Tom's distress.
Part 3: The Nocturne, a prelude, is literal: night sounds: a foreshadowing. In "Night," the lion lies down with the lamb: a Peaceable Kingdom here drawn less than peacefully. In "The Little Boy Lost," the Bartokian night sounds return, but menacingly. As reimaged by Bolcom, this image of anxious solitude -a nontonal Expressionist miasma -is no mere foil for "The Little Boy Found," with its loping rhythmandblues gait. The Coda, recalling the piper's tune of the Introduction, collapses back into the chaos with which all began.
Songs of Experience
Part 1: Songs of Innocence began in disharmony. The Introduction to Songs of Experience is even more fractious and "worldly:" a hoarse saxo?phone sings a postEdenic fanfare. The poems are now not only bleaker but more obscure. In "Hear the Voice of the Bard" the lapsed Earth is summoned to rise up and claim her destiny. "Earth's Answer," write the Blake scholars Robin Hamlyn and Michael Phillips, acknowledges the words of the Bard in the preceding poem, con?firming that verse's expression of confinement, while suggesting the possibility for hope." For William Bolcom, this "unresolved disagree?ment" between giver and receiver sets the tone of all to come. As a musicaldramatic fron?tispiece, the exchange is forbidding yet openended.
Part 2: "Nurse's Song" is Bolcom's one musical reprise: the guileless tune of the earlier, Innocent "Nurse's Song" returns to encounter words new and disturbing with some harmonic twists. "The Fly" miniaturizes man at fate's mercy. In "The Tyger," Bolcom rises to the chal?lenge of Blake's most famous lines, here chant?ed to thunderous jungle drums; the layered accretion of voices where "the stars threw down their spears" are master strokes. The madrigallike "Little Girl LostIn the Southern Clime," sensuously illustrated by Blake with erotic forms and pastel shades, is no existential trau?ma, but another Peaceable Kingdom, fleshier and more knowing than before. "The Little Girl Found" clinches this vision of earned repose: one part of the manyhued tapestry of Experience.
Part 3: "A Poison Tree," "The Sick Rose," and "Holy Thursday" portray a bleak landscape of the soul. "To Tirzah," a finale to the first half of Songs of Experience, is a frustratingly obscure verse, possibly written later than the others. Tirzah was the first capital of the northern kingdom of Israel; it is also the name of one of the five daughters of Zelophehad. According to the Blake scholar Andrew Lincoln: "She is a power that seeks to imprison humanity in a vision of the body as finite and corrupt. In addressing her ['Thou Mother of my Mortal part'] the speaker of this song claims to reject her vision."
Part 4: In some of Blake's orderings, "The Voice of the Ancient Bard" -of truth newborn and vanquished doubt -comes last; in Bolcom's ordering (derived from an 1818 printing a list Blake left for his widow in case of future orders), it is a fleeting moment, happier than most.
Part 5: "The Garden of Love" and "A Little Boy Lost" bristle with anger toward "priests" whose rules institutionalize faith as rigid and ortho?doxy; Blake, in contrast, trusts personal experi?ence. "A Little Girl Lost" -a collapse in com?munication between maiden and "white father" -drives Bolcom's setting to a climax of disso?nant explosions marked "Like screams!" In the composer's reading, this poem "epitomizes that life is full of thwarted desires." Closing this penultimate segment is a singular inspiration: an unaccompanied choral Vocalise (that is, music sung without a text) alternating soft "pa" sounds with eruptions of "wild 'laughter.'" The "harmonies" are clusters of unfixed pitches in between designated upper and lower notes. Bolcom comments: "I'd thought of some extra?terrestrial group of creatures watching us, bemusedly and amusedly, in our sufferings, much as children watch ant colonies between glass plates, and with the same amount of personal concern."
Part 6: "London" is here a vulgar Hollywood horror show of midnight streets. "Weep!" "Weep!"-its chimney sweeper's cry, first heard in Songs of Innocence, part two -recurs in "The Chimney Sweeper." "The Human Abstract" and "A Divine Image" both in their way argue the joint necessity of good and evil, innocence and experience. In between, an Interlude: Voces damandae (Screaming Voices) recalls the hoarse saxophone of the Introduction to Songs of Experience. The last music we hear is Jamaican: a reggae number. William Bolcom: "To me, the message of 'A Divine Image' is the importance of accepting the humanity of the worst of us. Reggae is a cheerful music set to dark and trenchant words: apocalyptic stuff with a happy beat, a curious dichotomy. It perfectly embodies Blake's nontragic acceptance of that which we are. He advises us to take the world for what it is instead of trying to make it something it is not."
The audience is politely asked to withhold applause until the end of each program half. Please do not applaud after the individual songs within each part.
Songs of Innocence and of Experience
Poetry by William Blake
Songs of Innocence Parti
1. Introduction
Piping down the valleys wild, Piping songs of pleasant glee, On a cloud I saw a child, And he laughing said to me:
"Pipe a song about a Lamb!" So I piped with a merry chear. "Piper, pipe that song again;" So I piped: he wept to hear.
"Drop thy pipe, thy happy pipe; Sing thy songs of happy chear:" So I sung the same again, While he wept with joy to hear.
"Piper, sit thee down and write In a book, that all may read." So he vanish'd from my sight, And I pluck'd a hollow reed,
And I made a rural pen, And I stain'd the water clear, And I wrote my happy songs, Every child may joy to hear.
2. The Ecchoing Green
The Sun does arise,
And make happy the skies;
The merry bells ring
To welcome the Spring;
The skylark and thrush,
The birds of the bush,
Sing lounder around
To the bells' chearful sound,
While our sports shall be seen
On the Ecchoing Green.
Old John, with white hair, Does laugh away care, Sitting under the oak, Among the old folk. They laugh at our play, And soon they all say: "Such,such were the joys When we all, girls & boys, In our youth time were seen On the Ecchoing Green."
Till the little ones, weary,
No more can be merry;
The sun does descend,
And our sports have an end.
Round the laps of their mothers
Many sisters and brothers,
Like birds in their nest,
Are ready for rest,
And sports no more seen
On the darkening Green.
3. The Lamb
Little Lamb, who made thee Dost thou know who made thee Gave thee life, & bid thee feed By the stream & o'er the mead; Gave thee clothing of delight, Softest clothing, wooly, bright; Gave thee such a tender voice, Making all the vales rejoice Little Lamb, who made thee Dost thou know who made thee
Little Lamb, I'll tell thee, Little Lamb, I'll tell thee, He is called by thy name, For he calls himself a Lamb. He is meek, & he is mild; He became a little child. I a child, & thou a lamb, We are called by his name. Little Lamb, God bless thee! Little Lamb, God bless thee!
4. The Shepherd
How sweet is the Shepherd's sweet lot! From the morn to the evening he strays; He shall follow his sheep all the day, And his tongue shall be filled with praise.
For he hears the lamb's innocent call, And he hears the ewe's tender reply; He is watchful while they are in peace, For they know when their Shepherd is nigh.
5. Infant Joy
"I have no name: I am but two days old." What shall I call thee "I happy am, Joy is my name." Sweet joy befall thee!
Pretty joy!
Sweet joy but two days old,
Sweet joy I call thee:
Thou dost smile, I sing the while,
Sweet joy befall thee!
6. The Little Black Boy
My mother bore me in the southern wild, And I am black, but O! my soul is white; White as an angel is the English child, But I am black, as if bereav'd of light.
My mother taught me underneath a tree, And sitting down before the heat of day, She took me on her lap and kissed me, And pointing to the east, began to say:
"Look on the rising sun: there God does live, And gives his light, and gives his heat away; And flowers and trees and beasts and men
receive Comfort in morning, joy in the noonday.
"And we are put on earth a little space, That we may learn to bear the beams of love; And these black bodies and this sunburnt face Is but a cloud, and like a shady grove.
"For when our souls have learn'd the heat to
The cloud will vanish; we shall hear his voice, Saying: 'Come out from the grove, my love &
care, And round my golden tent like lambs rejoice."'
Thus did my mother say, and kissed me;
And thus I say to little English boy:
When I from black and he from white cloud
free, And round the tent of God like lambs we joy,
I'll shade him from the heat, till he can bear To lean in joy upon our father's knee; And then I'll stand and stroke his silver hair, And be like him, and he will then love me.
Part II
7. Laughing Song
When the green woods laugh with the voice
of joy,
And the dimpling stream runs laughing by; When the air does laugh with our merry wit, And the green hill laughs with the noise of it.
When the meadows laugh with lively green, And the grasshopper laughs in the merry scene, When Mary and Susan and Emily With their sweet round mouths sing "Ha, Ha, He!"
When the painted birds laugh in the shade, Where our table with cherries and nuts is
Come live & be merry, and join with me, To sing the sweet chorus of "Ha, Ha, He!"
8. Spring
Sound the Flute!
Now it's mute.
Birds delight
Day and Night;
In the dale,
Lark in Sky,
Merrily, Merrily, to welcome in the Year.
Little Boy,
Full of joy;
Little Girl,
Sweet and small;
Cock does crow,
So do you;
Merry voice,
Infant noise,
Merrily, Merrily, to welcome in the Year.
Little Lamb,
Here I am;
Come and lick
my white neck;
Let me pull
your soft Wool;
Let me kiss
your soft face:
Merrily, Merrily, we welcome in the Year.
9. A Cradle Song
Sweet dreams, form a shade O'er my lovely infant's head; Sweet dreams of pleasant streams By happy, silent, moony beams.
Sweet sleep, with soft down Weave thy brows an infant crown. Sweep sleep, Angel mild, Hover o'er my happy child.
Sweet smiles, in the night Hover over my delight; Sweet smiles, Mother's smiles, All the livelong night beguiles.
Sweet moans, dovelike sighs, Chase not slumber from thy eyes. Sweet moans, sweeter smiles, All the dovelike moans beguiles.
Sleep, sleep, happy child, All creation slept and smil'd; Sleep, sleep, happy sleep, While o'er thee thy mother weep.
Sweet babe, in thy face Holy image I can trace. Sweet babe, once like thee, Thy maker lay and wept for me,
Wept for me, for thee, for all, When he was an infant small Thou his image ever see, Heavenly face that smiles on thee,
Smiles on thee, on me, on all; Who became an infant small. Infant smiles are his own smiles; Heaven & earth to peace beguiles.
10. Nurse's Song
When the voices of children are heard
on the green
And laughing is heard on the hill, My heart is at rest within my breast And everything else is still.
"Then come home, my children, the sun is
gone down
And the dews of night arise; Come, come, leave off play, and let us away Till the morning appears in the skies."
"No, no, let us play, for it is yet day And we cannot go to sleep; Besides, in the sky the little birds fly And the hills are all cover'd with sheep."
"Well, well, go & play till the light fades away And then go home to bed." The little ones leaped & shouted & laugh'd And all the hills echoed.
11. Holy Thursday
'T was on a Holy Thursday, their innocent faces
clean, The children walking two & two, in red & blue
& green, Greyheaded beadles walk'd before, with wands
as white as snow, Till into the high dome of Paul's they like
Thames' waters flow.
O what a multitude they seem'd, these flowers of London town!
Seated in companies they sit with radiance all their own.
The hum of multitudes was there, but multi?tudes of lambs,
Thousands of little boys & girls raising their innocent hands.
Now like a mighty wind they raise to heaven
the voice of song, Or like harmonious thunderings the seats of
Heaven among. Beneath them sit the aged men, wise
guardians of the poor; Then cherish pity, lest you drive an angel
from your door.
12. The Blossom
Merry, Merry Sparrow! Under leaves so green A happy Blossom Sees you swift as arrow Seek your cradle narrow Near my Bosom.
Pretty, Pretty Robin! Under leaves so green A happy Blossom Hears you sobbing, sobbing, Pretty, Pretty Robin, Near my Bosom.
13. The Chimney Sweeper
When my mother died I was very young, And my father sold me while yet my tongue Could scarcely cry "'weep! 'weep! 'weep! 'weep!" So your chimneys I sweep, & in soot I sleep.
There's little Tom Dacre, who cried when his head, That curl'd like a lamb's back, was shav'd: so I said "Hush, Tom! never mind it, for when your
head's bare You know that the soot cannot spoil your white
And so he was quiet, & that very night, As Tom was asleeping, he had such a sight! That thousands of sweepers, Dick, Joe, Ned, & Jack, Were all of them lock'd up in coffins of black.
And by came an Angel who had a bright key, And he open'd the coffins & set them all free; Then down a green plain leaping, laughing,
they run, And wash in a river, and shine in the Sun.
Then naked & white, all their bags left behind, They rise upon clouds and sport in the wind; And the Angel told Tom, if he'd be a good boy, He'd have God for his father, & never want joy.
And so Tom awoke; and we rose in the dark, And got with our bags & our brushes to work, Tho the morning was cold, Tom was happy
& warm, So if all do their duty they need not fear harm.
14. The Divine Image
To Mercy, Pity, Peace, and Love All pray in their distress; And to these virtues of delight Return their thankfulness.
For Mercy, Pity, Peace, and Love Is God, our father dear, And Mercy, Pity, Peace, and Love Is Man, his child and care.
For Mercy has a human heart, Pity a human face, And Love, the human form divine, And Peace, the human dress.
Then every man, of every clime, That prays in his distress, Prays to the human form divine, Love, Mercy, Pity, Peace.
And all must love the human form, In heathen, turk, or jew; Where Mercy, Love, & Pity dwell There God is dwelling too.
Part HI
15. Night
The sun descending in the west, The evening star does shine; The birds are silent in their nest, And I must seek for mine. The moon like a flower In heaven's high bower, With silent delight Sits and smiles on the night.
Farewell, green fields and happy groves, Where flocks have took delight. Where lambs have nibbled, silent moves The feet of angels bright; Unseen they pour blessing And joy without ceasing, On each bud and blossom, And each sleeping bosom.
They look in every thoughtless nest, Where birds are cover'd warm; They visit caves of every beast, To keep them all from harm. If they see any weeping That should have been sleeping, They pour sleep on their head, And sit down by their bed.
When wolves and tygers howl for prey, They pitying stand and weep; Seeking to drive their thirst away, And keep them from the sheep; But if they rush dreadful, The angels, most heedful, Receive each mild spirit, New worlds to inherit.
And there the lion's ruddy eyes Shall flow with tears of gold, And pitying the tender cries, And walking round the fold, Saying "Wrath, by his meekness, And by his health, sickness Is driven away From our immortal day.
"And now beside thee, bleating lamb, I can lie down and sleep; Or think on him who bore thy name, Graze after thee and weep.
For, wash'd in life's river, My bright mane for ever Shall shine like the gold As I guard o'er the fold."
16. A Dream
Once a dream did weave a shade O'er my Angelguarded bed, That an Emmet lost its way Where on grass methought I lay.
Troubled, 'wilder'd, and forlorn, Dark, benighted, travelworn, Over many a tangled spray, All heartbroke I heard her say:
"O, my children! do they cry Do they hear their father sigh Now they look abroad to see: Now return and weep for me."
Pitying, I drop'd a tear; But I saw a glowworm near, Who replied: "What wailing wight Calls the watchman of the night
"I am set to light the ground, While the beetle goes his round: Follow now the beetle's hum; Little wanderer, hie thee home."
17. On Another's Sorrow
Can I see another's woe, And not be in sorrow too Can I see another's grief, And not seek for kind relief
Can I see a falling tear, And not feel my sorrow's share Can a father see his child Weep, nor be with sorrow filPd
Can a mother sit and hear An infant groan an infant fear No, no! never can it be! Never, never can it be!
And can he who smiles on all Hear the wren with sorrows small, Hear the small bird's grief & care, Hear the woes that infants bear,
And not sit beside the nest, Pouring pity in their breast; And not sit the cradle near, Weeping tear on infant's tear;
And not sit both night & day, Wiping all our tears away O, no! never can it be! Never, never can it be!
He doth give his joy to all; He becomes an infant small; He becomes a man of woe; He doth feel the sorrow too.
Think not thou canst sigh a sigh And thy maker is not by; Think not thou canst weep a tear And thy maker is not near.
O! he gives to us his joy That our grief he may destroy; Till our grief is fled & gone He doth sit by us and moan.
18. The Little Boy Lost
"Father! father! where are you going O do not walk so fast. Speak, father, speak to your little boy, Or else I shall be lost."
The night was dark, no father was there; The child was wet with dew; The mire was deep, & the child did weep, And away the vapour flew.
19. The Little Boy Found
The little boy lost in the lonely fen, Led by the wand'ring light, Began to cry; but God, ever nigh, Appear'd like his father in white.
He kissed the child & by the hand led And to his mother brought, Who in sorrow pale, thro' the lonely dale, Her little boy weeping sought.
Songs of Experience Volume I Parti
1. Hear the Voice of the Bard
Hear the voice of the Bard!
Who Present, Past, & Future sees;
Whose ears have heard
The Holy Word
That walk'd among the ancient trees,
Calling the lapsed Soul,
And weeping in the evening dew;
That might controll
The starry pole,
And fallen, fallen light renew!
"O Earth, O Earth, return!
Arise from out the dewy grass;
Night is worn,
And the morn
Rises from the slumberous mass.
"Turn away no more;
Why wilt thou turn away
The starry floor,
The wat'ry shore,
Is giv'n thee till the break of day."
2. Earth's Answer
Earth rais'd up her head
From the darkness dread & drear.
Her light fled,
Stony dread!
And her locks cover'd with grey despair.
"Prison'd on wat'ry shore,
Starry Jealousy does keep my den:
Cold and hoar,
Weeping o'er,
I hear the father of the ancient men.
"Selfish father of men!
Cruel, jealous, selfish fear!
Can delight,
Chain'd in night,
The virgins of youth and morning bear
"Does spring hide its joy
When buds and blossoms grow
Does the sower
Sow by night,
Or the plowman in darkness plow
"Break this heavy chain
That does freeze my bones around.
Selfish! vain!
Eternal bane!
That free Love with bondage bound."
Part II
3. Nurse's Song
When the voices of children are heard on the
And whisp'rings are in the dale, The days of my youth rise fresh in my mind, My face turns green and pale.
Then come home, my children, the sun is gone
And the dews of night arise; Your spring & your day are wasted in play, And your winter and night in disguise.
4. The Fly
Little Fly,
Thy summer's play My thoughtless hand Has brush'd away.
Am not I A fly like thee Or art not thou A man like me
For I dance, And drink, & sing, Till some blind hand Shall brush my wing.
If thought is life, And strength & breath, And the want Of thought is death;
Then am I A happy fly, If I live or if I die.
5. The Tyger
Tyger! Tyger! burning bright, In the forests of the night, What immortal hand or eye Could frame thy fearful symmetry
In what distant deeps or skies Burnt the fire of thine eyes On what wings dare he aspire What the hand dare sieze the fire
And what shoulder, & what art, Could twist the sinews of thy heart And when thy heart began to beat, What dread hand & what dread feet
What the hammer what the chain In what furnace was thy brain What the anvil what dread grasp Dare its deadly terrors clasp
When the stars threw down their spears, And water'd heaven with their tears, Did he smile his work to see Did he who made the Lamb make thee
Tyger! Tyger! burning bright In the forests of the night, What immortal hand or eye Dare frame thy fearful symmetry
6. The Little Girl Lost
In futurity
I prophetic see
That the earth from sleep
(Grave the sentence deep)
Shall arise and seek For her maker meek; And the desart wild Become a garden mild.
6a. In the Southern Clime
In the southern clime, Where the summer's prime Never fades away, Lovely Lyca lay.
Seven summers old Lovely Lyca told; She had wander'd long Hearing wild birds' song.
"Sweet sleep, come to me Underneath this tree. Do father, mother weep, Where can Lyca sleep
"Lost in desart wild Is your little child. How can Lyca sleep If her mother weep
"If her heart does ake Then let Lyca wake; If my mother sleep, Lyca shall not weep.
"Frowning, frowning night, O'er this desart bright Let thy moon arise While I close my eyes."
Sleeping Lyca lay While the beasts of prey, Come from caverns deep, View'd the maid asleep.
The kingly lion stood And the virgin view'd, Then he gamboll'd round O'er the hollow'd ground.
Leopards, tygers, play Round her as she lay, While the lion old Bow'd his mane of gold.
And her bosom lick, And upon her neck From his eyes of flame Ruby tears there came;
While the lioness Loos'd her slender dress, And naked they convey'd To caves the sleeping maid.
7. The Little Girl Found
All the night in woe Lyca's parents go Over vallies deep, While the desarts weep.
Tired and woebegone, Hoarse with making moan, Arm in arm seven days They trac'd the desart ways.
Seven nights they sleep Among the shadows deep, And dream they see their child Starv'd in desart wild.
Pale, thro' pathless ways The fancied image strays Famish'd, weeping, weak, With hollow piteous shriek.
Rising from unrest, The trembling woman prest With feet of weary woe: She could no further go.
In his arms he bore
Her, arm'd with sorrow sore;
Till before their way
A couching lion lay.
Turning back was vain: Soon his heavy mane Bore them to the ground. Then he stalk'd around,
Smelling to his prey; But their fears allay When he licks their hands, And silent by them stands.
They look upon his eyes Fill'd with deep surprise, And wondering behold A spirit arm'd in gold.
On his head a crown, On his shoulders down Flow'd his golden hair. Gone was all their care.
"Follow me," he said; "Weep not for the maid; In my palace deep Lyca lies asleep."
Then they followed Where the vision led, And saw their sleeping child Among the tygers wild.
To this day they dwell In a lonely dell; Nor fear the wolvish howl Nor the lion's growl.
Part III
8. The Clod and the Pebble
"Love seeketh not Itself to please,
Nor for itself hath any care,
But for another gives its ease,
And builds a Heaven in Hell's despair."
So sang a little Clod of Clay Trodden with the cattle's feet, But a Pebble of the brook Warbled out these metres meet:
"Love seeketh only Self to please, To bind another to Its delight, Joys in another's loss of ease, And builds a Hell in Heaven's despite."
9. The Little Vagabond
Dear Mother, dear Mother, the Church is cold, But the Alehouse is healthy & pleasant & warm; Besides I can tell where I am used well, Such usage in Heaven will never do well.
But if at the Church they would give us some Ale, And a pleasant fire our souls to regale, We'd sing and we'd pray all the livelong day, Nor ever once wish from the Church to stray.
Then the Parson might preach, & drink, & sing, And we'd be as happy as birds in the spring; And modest Dame Lurch, who is always at Church,
Would not have bandy children, nor fasting, nor birch.
And God, like a father rejoicing to see His children as pleasant and happy as he, Would have no more quarrel with the Devil or
the Barrel, But kiss him, & give him both drink and
10. Holy Thursday
Is this a holy thing to see
In a rich and fruitful land,
Babes reduc'd to misery,
Fed with cold and usurous hand
Is that trembling cry a song Can it be song of joy And so many children poor It is a land of poverty!
And their sun does never shine, And their fields are bleak & bare, And their ways are fill'd with thorns: It is eternal winter there.
For wheree'er the sun does shine, And wheree'er the rain does fall, Babe can never hunger there, Nor poverty the mind appall.
11. A Poison Tree
I was angry with my friend:
I told my wrath, my wrath did end.
I was angry with my foe:
I told it not, my wrath did grow.
And I water'd it in fears, Night & morning with my tears; And I sunned it with smiles, And with soft deceitful wiles.
And it grew both day and night, Till it bore an apple bright; And my foe beheld it shine, And he knew that it was mine,
And into my garden stole
When the night had veil'd the pole:
In the morning glad I see
My foe outstretch'd beneath the tree.
12. The Angel
I dreamt a Dream! what can it mean And that I was a maiden Queen, Guarded by an Angel mild: Witless woe was ne'er beguil'd!
And I wept both night and day, And he wip'd my tears away, And I wept both day and night, And hid from him my heart's delight.
So he took his wings and fled; Then the morn blush'd rosy red; I dried my tears, & arm'd my fears With ten thousand shields and spears.
Soon my Angel came again: I was arm'd, he came in vain; For the time of youth was fled, And grey hairs were on my head.
13. The Sick Rose
O Rose, thou art sick! The invisible worm That flies in the night, In the howling storm,
Has found out thy bed Of crimson joy, And his dark secret love Does thy life destroy.
14. To Tirzah
Whate'er is Born of Mortal Birth Must be consumed with the Earth To rise from Generation free: Then what have I to do with thee
The Sexes sprung from Shame & Pride, Blow'd in the morn, in evening died; But Mercy chang'd Death into Sleep; The Sexes rose to work & weep.
Thou, Mother of my Mortal part, With cruelty didst mould my Heart, And with false selfdeceiving tears Didst bind my Nostrils, Eyes, & Ears:
Didst close my Tongue in senseless clay, And me to Mortal Life betray. The Death of Jesus set me free: Then what have I to do with thee
Songs of Experience Volume II Part IV
15. The Voice of the Ancient Bard
Youth of delight, come hither,
And see the opening morn,
Image of truth new born.
Doubt is fled, & clouds of reason,
Dark disputes & artful teazing.
Folly is an endless maze,
Tangled roots perplex her ways.
How many have fallen there!
They stumble all night over bones of the dead,
And feel they know not what but care,
And wish to lead others, when they should be led.
16. My Pretty Rose Tree
A flower was offer'd to me, Such a flower as May never bore; But I said "I've a Pretty Rosetree," And I passed the sweet flower o'er.
Then I went to my Pretty Rosetree, To tend her by day and by night; But my Rose turn'd away with jealousy, And her thorns were my only delight.
17. Ah! SunFlower
Ah, Sunflower! weary of time, Who countest the steps of the Sun, Seeking after that sweet golden clime Where the traveller's journey is done:
Where the Youth pined away with desire And the pale Virgin shrouded in snow Arise from their graves, and aspire Where my Sunflower wishes to go.
18. The Lilly
The modest Rose puts forth a thorn, The humble Sheep a threat'ning horn; While the Lilly white shall in Love delight, Nor a thorn, nor a threat, stain her beauty bright.
19. The Garden of Love
I went to the Garden of Love, And saw what I never had seen: A Chapel was built in the midst, Where I used to play on the green.
And the gates of this Chapel were shut, And "Thou shalt not" writ over the door; So I turn'd to the Garden of Love That so many sweet flowers bore;
And I saw it was filled with graves,
And tombstones where flowers should be;
And Priests in black gowns were walking thei
rounds, And binding with briars my joys & desires.
20. A Little Boy Lost
"Nought loves another as itself, Nor venerates another so, Nor is it possible to Thought A greater than itself to know:
"And Father, how can I love you
Or any of my brothers more
I love you like the little bird
That picks up crumbs around the door."
The Priest sat by and heard the child, In trembling zeal he siez'd his hair: He led him by his little coat, And all admir'd the Priestly care.
And standing on the altar high, "Lo! what a fiend is here!" said he, "One who sets reason up for judge Of our most holy Mystery."
The weeping child could not be heard, The weeping parents wept in vain; They strip'd him to his little shirt, And bound him in an iron chain;
And burn'd him in a holy place, Where many had been burn'd before: The weeping parents wept in vain. Are such things done on Albion's shore
21. A Little Girl Lost
Children of the future Age Reading this indignant page, Know that in a former time Love! sweet Love! was thought a crime.
In the Age of Gold,
Free from winter's cold,
Youth and maiden bright
To the holy light,
Naked in the sunny beams delight.
Once a youthful pair,
Fill'd with softest care,
Met in garden bright
Where the holy light
Had just remov'd the curtains of the night.
There, in rising day,
On the grass they play;
Parents were afar,
Strangers came not near,
And the maiden soon forgot her fear.
Tired with kisses sweet,
They agree to meet
When the silent sleep
Waves o'er heaven's deep,
And the weary tired wanderers weep.
To her father white
Came the maiden bright;
But his loving look,
Like the holy book,
All her tender limbs with terror shook.
"Ona! pale and weak!
To thy father speak:
O, the trembling fea:!
O, the dismal care!
That shakes the blossoms of my hoary hair."
22. Infant Sorrow
My mother groan'd! my father wept. Into the dangerous world I leapt: Helpless, naked, piping loud: Like a fiend hid in a cloud.
Struggling in my father's hands, Striving against my swadling bands, Bound and weary I thought best To sulk upon my mother's breast.
22a. Vocalise
Part VI
23. London
I wander thro" each charter'd street, Near where the charter'd Thames does flow, And mark in every face I meet Marks of weakness, marks of woe.
In every cry of every Man, In every Infant's cry of fear, In every voice, in every ban, The mindforg'd manacles I hear.
How the Chimneysweepers cry Every black'ning Church appalls; And the hapless Soldier's sigh Runs in blood down Palace walls.
But most thro' midnight streets I hear
How the youthful Harlot's curse
Blasts the new born Infant's tear,
And blights with plagues the Marriage hearse.
24. The SchoolBoy
I love to rise in a summer morn When the birds sing on every tree; The distant huntsman winds his horn, And the skylark sings with me. O! what sweet company.
But to go to school in a summer morn, O! it drives all joy away; Under a cruel eye outworn, The little ones spend the day In sighing and dismay.
Ah! then at times I drooping sit, And spend many an anxious hour, Nor in my book can I take delight, Nor sit in learning's bower, Worn thro' with the dreary shower.
How can the bird that is born for joy
Sit in a cage and sing
How can a child, when fears annoy,
But droop his tender wing,
And forget his youthful spring
O! father & mother, if buds are nip'd And blossoms blown away, And if the tender plants are strip'd Of their joy in the springing day, By sorrow and care's dismay,
How shall the summer arise in joy,
Or the summer fruits appear
Or how shall we gather what griefs destroy,
Or bless the mellowing year,
When the blasts of winter appear
25. The Chimney Sweeper
A little black thing among the snow, Crying "'weep! 'weep!" in notes of woe! "Where are thy father & mother say" "They are both gone up to the church to pray.
"Because I was happy upon the heath, And smil'd among the winter's snow, They clothed me in the clothes of death, And taught me to sing the notes of woe.
"And because I am happy & dance & sing, They think they have done me no injury, And are gone to praise God & his Priest & King, Who make up a heaven of our misery."
26. The Human Abstract
Pity would be no more If we did not make somebody Poor; And Mercy no more could be If all were as happy as we.
And mutual fear brings peace, Till the selfish loves increase: Then Cruelty knits a snare, And spreads his baits with care.
He sits down with holy fears, And waters the grounds with tears; Then Humility takes its root Underneath his foot.
Soon spreads the dismal shade Of Mystery over his head; And the Catterpiller and Fly Feed on the Mystery.
And it bears the fruit of Deceit, Ruddy and sweet to eat; And the Raven his nest has made In its thickest shade.
The Gods of the earth and sea Sought thro' Nature to find this Tree; But their search was all in vain: There grows one in the Human Brain.
27. A Divine Image
Cruelty has a Human Heart, And Jealousy a Human Face; Terror the Human Form Divine, And Secrecy the Human Dress.
The Human Dress is forged Iron, The Human Form a fiery Forge, The Human Face a Furnace seal'd, The Human Heart is hungry Gorge.
Internationally recognized as one of today's leading conductors, Leonard Slatkin is Music Director of the National Symphony Orchestra (NSO) and Chief Conductor of the BBC Symphony Orchestra in London. After a distin?guished tenure as Music Director of the Saint Louis Symphony from 1979 until 1996, Mr. Slatkin was named Conductor Laureate.
Mr. Slatkin's 0304 season with the NSO includes return performances at New York's Carnegie Hall, national and international tours, and a unique American Residencies program. His guest conducting schedule this season includes concerts with the Los Angeles Philharmonic, the Minnesota Orchestra, the Vienna Symphony, and the Paris and Frankfurt Radio Symphonies.
Mr. Slatkin's more than 100 recordings have been recognized with four Grammy awards and more than 50 Grammy nominations. His discography includes a number of discs devoted to the works of American composers, such as Corigliano, Schwantner, Barber, Piston, Ives, Schuman, Copland, and Bernstein.
Since his debuts with the Chicago Symphony and the New York Philharmonic in the early
Leonard Slatkin (I) and William Bolcom
1970s, Mr. Slatkin has been a frequent guest conductor of the world's major symphony orchestras, including those of London, Paris, Berlin, New York, Philadelphia, Chicago, Cleveland, Boston, Tokyo, and Tel Aviv. His international festival responsibilities have included the Festival of American Music at London's South Bank Centre, for which he served as Artistic Director. In June 1999 he led an American Festival in Amsterdam with the Royal Concertgebouw Orchestra and the Lincoln Center Jazz Orchestra. His operatic conducting includes performances with the Metropolitan Opera, the Lyric Opera of Chicago, the Vienna State Opera, the Hamburg Opera, the Stuttgart Opera, the Washington Opera, and France's L'Orange Festival and Opera National de Paris.
Mr. Slatkin is the recipient of the 2003 National Medal of Arts (the highest award given to artists by the US Government), ASCAP awards with both the National Symphony and the Saint Louis Symphony for "adventuresome programming of contemporary music," an hon?orary doctorate from The Juilliard School, and the prestigious Declaration of Honor in Silver from the Austrian ambassador to the United
Photo: Peter Smith
States for outstanding contributions to cultural relations. In 1993 he received the Laurel Leaf Award from the American Composers Alliance and was named an honorary member of the Royal Academy of Music. For his work in the community, he was honored with the 1998 Community Service Award from the AntiDefamation League, and he has been awarded the George Peabody Medal for Outstanding Contributions to Music in America.
Tonight's performance marks Maestro Leonard Slatkin's third appearance under UMS auspices. Mr. Slatkin made his UMS debut in April 1989 conducting the St. Louis Symphony Orchestra.
For over 30 years Mr. Bolcom and his wife, mezzosoprano Joan Morris, have performed programs of American popular song, both onstage and in over two dozen recordings.
Mr. Bolcom has taught at the University of Michigan since 1973 where he is the Ross Lee Finney Distinguished Professor of Music in Composition. In 1977 he was awarded the Henry Russel Award, the highest academic prize given by the University of Michigan. He has been chairman of the composition department since 1998.
Further information on Mr. Bolcom's music and composition is available at
Pulitzer Prizewinning composer pianist William Bolcom was bom in Seattle, Washington, in 1938. Exhibiting early musical talent, he entered the University of Washington at age 11, studied composition with John Verrall and piano with Berthe Poncy Jacobson, and earned his B.A. there in 1948. He went on to study with Darius Milhaud at Mills College in California and at the Paris Conservatoire de Musique. He completed his doctorate in com?position at Stanford University in 1964, where he studied with Leland Smith. Returning to the Paris Conservatoire in 1964, he won the 2e Prix in composition in 1965. While in Europe he began writing stage scores for theaters in West Germany, and he continued to do so at such places as Stanford University, in Memphis, Tennessee, at Lincoln CenterNew York, and at the Yale Repertory Theater.
Mr. Bolcom's compositions, widely per?formed and recorded, include seven sym?phonies, various concertos, three operas for Lyric Opera of Chicago, three theater operas, and an extensive catalog of chamber music as well as keyboard, vocal, and choral music. In 1988 he received the Pulitzer Prize for Music for his 12 New Etudes for Piano.
His newest opera, A Wedding, with libretto by Arnold Weinstein and based on the Robert AltmanJohn Considine movie of the same name, will be premiered at Lyric Opera of Chicago in December 2004 with Mr. Altman directing.
Featured Soloists
In concert, American soprano Christine Brewer has appeared under the batons of Kurt Masur, Robert Shaw, Pierre Boulez, Michael Tilson Thomas, Christoph von Dohnanyi, Sir Simon Rattle, Sir Neville Marriner, Leonard Slatkin, and Charles Dutoit.
She regularly performs with the world's leading orches?tras, including the Chicago, Boston, and San Francisco Symphonies; the Cleveland, Philadelphia, New York, and Los Angeles
Christine Brewer Philharmonic Orchestras;
the London and National Symphony Orchestras; the Orchestre de Paris, the Orchestra of the Age of Enlightenment, and the Academy of St. MartinintheFields.
The 0203 season marked Ms. Brewer's Metropolitan Opera debut in the title role of Ariadne aufNaxos. She has performed her sig?nature role of Donna Anna in Don Giovanni to critical acclaim at Covent Garden, New York City Opera, Florida Grand Opera, Opera Theatre of Saint Louis, and the Edinburgh Festival. Ms. Brewer has also performed with the Opera de Lyon, the Paris Chatelet, the Santa Fe Opera, English National Opera, and Opera Colorado. In addition to many recital appear?ances at London's Wigmore Hall, Ms. Brewer has also graced Lincoln Center's "Art of the Song"
series at Alice Tully Hall and has performed in recital in St. Louis, Portland, Oregon, and Oklahoma City. Ms. Brewer's recordings include a contribution to Hyperion's presti?gious Schubert series with pianist Graham Johnson; and the Janacek Glagolithic Mass and Dvorak Te Deum with Shaw and the Atlanta Symphony (Telarc).
Tonight's performance marks Ms. Brewer's UMS debut.
Soprano Measha Brueggergosman was awarded the Grand Prize at the 2002 Jeunesses Musicales Montreal International Competition and has been a prizewinner in other renowned competitions including the Wigmore Hall in London, George London Foundation in New York, and RobertSchumann in Germany.
Highlights of Ms. Brueggergosman's current season include programs with the Montreal Symphony Orchestra, the Vancouver Symphony, the Verdi Requiem in London's Royal Albert Hall, Berlioz's Les Nuits d'ete with the Quebec Symphony Orchestra, and performances with the Manitoba Chamber Orchestra of Copland's Emily Dickinson Songs and Barber's Knoxville:
Summer of 1915. She offers solo recital programs in Vancouver, Toronto, Ottawa, Calgary, and in Iceland and Finland.
During the 0203 season, Ms. Brueeeereosman per
Measha Brueggergosman formed Beethoven's
Symphony No. 9 and Janacek's Glagolitk Mass with the Stuttgart Philharmonic, appeared with Sir Andrew Davis and the Toronto Symphony Orchestra in the Verdi Requiem, offered Strauss' Four Last Songs with the Philharmonisches Orchester Bad Reichenhall in Germany, and gave a Royal Command Performance for Queen Elizabeth II. She also bowed as Liu in Turandot in a return engagement with Cincinnati Opera.
Ms. Brueggergosman's appearances of past seasons have included roles in Elektra and Dead Man Walking with Cincinnati Opera, a recital debut at Roy Thomson Hall, and the Verdi Requiem with Helmuth Rilling at the International Beethoven Festival Bonn. Ms. Brueggergosman also has been honored to sing for the Prince of Wales and for Nelson Mandela.
Tonight's performance marks Ms. Brueggergosman's second appearance under UMS auspices. Ms. Brueggergosman made her UMS debut as sopra?no soloist in Hill Auditorium's ReOpening Celebration on January 17, 2004, stepping in that evening to perform selections of William Bolcom's 24 Cabaret Songs with the composer as piano accompanist.
Soprano liana Davidson made her debut at Lincoln Center with Leon Botstein and the American Symphony Orchestra in Orff's Trionfo di Afrodite. She made her Carnegie Hall debut as soloist with Leonard Slatkin and the St. Louis Symphony in William Bolcom's Songs of Innocence and Experience. She returns to Carnegie Hall in 2004 as soprano soloist in Mahler's Second Symphony with the Boston Philharmonic Orchestra conducted by Benjamin Zander. Ms. Davidson is a graduate of the Curtis Institute of Music and Carnegie Mellon University.
Ms. Davidson has sung major roles with opera companies including the Stuttgart Opera, Vlaamse Opera, Nationale Reisopera, Florida Grand Opera, Glimmerglass Opera, and the Opera Company of Philadelphia. Ms. Davidson
has also performed exten?sively in oratorio and con?cert repertoire, including Haydn's Creation, Handel's Messiah, Schumann's Requiem fur Mignon, Mozart's Reauiem, Mahler's
liana Davidson Symphonies No. 2 and 4,
Ligeti's Mysteries of the Macabre, Barber's Knoxville: Summer of 1915, and a debut in Amsterdam's Concertgebouw singing Mozart arias. Recent concert engagements include a series of Bach Cantata concerts with the Orchestra of St. Luke's, and recitals in Colorado and New York.
Ms. Davidson frequently performs contem?porary works and has premiered works by Bolcom, Ligeti, Rorem, Kurtag, Krenek, and Weill. Ms. Davidson and pianist Debra Ayers will begin an international tour focusing on art songs of AustrianAmerican composer Ernst Krenek during the current season.
Tonight's performance marks Ms. Davidson's UMS debut.
PanamanianAmerican baritone Nmon Ford has performed throughout the Americas, Europe, and Japan. He has appeared with the operas of San Francisco, Los Angeles, Utah, Portland, Memphis, Syracuse, Virginia, Kansas City, Madison, San Jose, and at the Spoleto Festival U.S.A. in roles including Don Giovanni, Escamillo (Carmen), Figaro ( barbiere di Siviglia), Marcello (La boheme), Valentin (Faust), Arsamene (Xerxes), Aeneas (Dido and Aeneas), Enrico (Lucia di Lammennoor), Sharpless (Madama Butterfly), and Riccardo (I puritani).
This season Mr. Ford sings Mahmoud in John Adams' The Death of Klinghoffer with the Brooklyn Philharmonic, Mahler's Riickertlieder
and Faure's Requiem with the Santa Barbara Symphony, The Porgy and Bess Suite with the Florida Orchestra, Haydn's Creation with the Los Angeles Philharmonic, L'Enfant du
Nmon Ford Sortilege with the National
Symphony, a recital for the Marilyn Home Foundation with the Huntsville Chamber Music Guild, and Ellington's Sacred Concerts with the Los Angeles Master Chorale at Disney Concert Hall. Mr. Ford made his New York recital debut with the Marilyn Home Foundation's "On Wings of Song" Series at the Kosciuszko Foundation. He has recorded Villa Lobos' Symphony No. JO"Amerindia"and The Sweetest Brilliance -Songs ofBolcom and Weinstein.
Tonight's performance marks Mr. Ford's UMS debut.
Actor and singer Nathan Lee Graham's eclectic career includes such feature films as Sweet Home Alabama and Zoolander, the internationally renowned television show Absolutely Fabulous, the Broadway production of the Tonv and Grammv nominated musical
The Wild Party, the first national touring company of Jesus Christ Superstar, as well as countless commer?cial and new theater proj?ects. Mr. Graham has previ?ously performed Songs of Innocence and of Experience
Nathan Lee Graham
with the Pacific Symphony Orchestra under the direction of Carl St. Clair. Mr. Graham has a BFA in musical theater from Webster University Conservatory. His latest feature film, Sledge, the Mockumentary, opens in theaters this fall.
Tonight's performance marks Mr. Graham's UMS debut.
Linda Hohenfeld has appeared in opera, musical theater, symphonic concerts, solo recitals, and chamber music performanc?es. She has sung with the Cleveland, Minnesota, Philadelphia, Orchestras; the National, Saint Louis, and San Francisco Symphony Orchestras; the Vienna, Pittsburgh, and BBC
Symphonies; and the New York Philharmonic, the Philharmonia in London, the Orchestre National de France in Paris, the Berlin Radio Symphony, and Norddeutscher Rundfunk
Linda Hohenfeld Sinfonieorchester in
Hamburg. Ms. Hohenfeld has performed at summer music festivals including Aspen, Cabrillo, Marlboro, Copenhagen's Tivoli Festival, Frankfurt Feste in Germany, and the Blossom Festival with the Cleveland Orchestra.
Ms. Hohenfeld was recently seen on PBS in the Concert for America, recorded live from The Kennedy Center. Recent performances have included appearances at the Library of Congress, the Great Lakes Chamber Music Festival, and with the London Mozart Players. Her most recent Carnegie Hall appearance was with David Randolph and the St. Cecilia Chorus and Orchestra in April 2002.
Ms. Hohenfeld's discography includes Vaughan Williams's Symphonies Nos. 1, 3 and 7, a recording of Leonard Bernstein's Songfest and Barber's Knoxville: Summer of 1915. She is coartistic director of the "Women in Music" con?cert series at the National Museum of Women in the Arts.
Tonight's performance marks Ms. Hohenfeld's second appearance under UMS auspices. Ms. Hohenfeld made her UMS debut in January 1996 as soprano soloist with the St. Louis Symphony Orchestra.
Tommy Morgan is recognized as one of the most unique harmonica players in the recording industry today. He recently celebrated 50 years as a recording musician in Hollywood (first session in September 1950 with the Andrews Sisters for Decca Records). Longtime "first call" in the studio recording industry, he has recorded for motion pictures, television, records, and com?mercials.
With reruns throughout the world of the longrunning television series Green Acres, Sanford and Son, The Waltons, The Rockford Files, The Dukes of Hazard, The Newhart Show, and China Beach; performances on hit records Good Vibrations (The Beach Boys), Rainy Days
and Mondays (I he Carpenters), He Ain't Heavy, He's My Brother (The Hollys); and others; and a solo appearance on The Academy Awards 2000 television broadcast (esti
Tommy Morgan mated audience one bil
lion); his harmonica playing has been heard by more people than any other player in history.
As a performer, he has given four command performances and has appeared in concert in over 30 countries. He holds a Master of Arts Degree in Music (Composition) from the University of California at Los Angeles. He has composed background music for episodes of The Twilight Zone, Have Gun, Will Travel, Gunsmoke, and for the Will Rogers, USA televi?sion special. He has been arranger for Johnny Cash, Glenn Yarbrough, and Rod McKuen.
Tonight's performance marks Mr. Morgan's UMS debut.
Mezzosoprano Joan Morris attended Gonzaga University in Spokane prior to her studies at the American Academy of Dramatic Arts in New York. While continuing her speech and voice studies, she appeared in OffBroadway and road produc?tions at the Cafe Carlyle, the WaldorfAstoria's Peacock Alley, and other Manhattan nightspots. Since 1972 Ms. Morris has concertized with her husband, William Bolcom. They perform American popular songs from the late19th and early20th centuries, the latest songs by Leiber and Stoller, and cabaret songs by Mr. Bolcom.
They perform extensively throughout the US, Canada, and abroad. Recent appearances include return engagements at Alice Tully HallLincoln Center, the Metropolitan Museum of Art, and their eighth engagement at Jordan HallBoston. They have recorded 22 albums, the first of which garnered a Grammy nomination for Ms. Morris for "Best Vocal Soloist Performance on a Classical Album."
Ms. Morris has performed Mr. Bolcom's Songs of Innocence and of Experience with Leonard Slatkin and the BBC Symphony Orchestra, as well as with the Pacific Symphony Orchestra. She has also appeared in various productions with the Guthrie Theater and as soloist with the St. Louis and Seattle Symphony Orchestras.
Since 1981, Ms. Morris has taught a cabaret class at the UM School of Music. In 2003 she wrote, pro?duced, and starred in a musical revue, The Police Gazette, based on materials
Joan Morris housed in the Clements
Library at the University of Michigan.
Tonight's performance marks Ms. Morris' UMS debut.
Soprano Carmen Pelton came to interna?tional attention when she debuted as Fiordiligi in Cost fan tutte with the Aldeburgh Festival. She has since performed many of Mozart's heroines, including Donna Anna in Don Giovanni, Giunia in Lucio Silla, and Tamiri in Re Pastore. She has sung with Glimmerglass Opera, Long Beach Opera, Tulsa Opera, Opera Omaha, and New Jersey June Opera.
Ms. Pelton has soloed with orchestras nationwide, including those of San Francisco, St. Louis, Baltimore, Atlanta, Seattle, and Houston, as well as with the Saint Paul Chamber Orchestra and Choral Arts Society of Washington. Ms. Pelton's 0304 engagements
include Barber's Prayer of Kirkengaard and Vaughan Williams' A Sea Symphony with the Berkshire Choral Festival, and Copland's Dickenson Songs and Barber's Knoxville: Summer of 1915 with ProMusica
Carmen Pelton
Chamber Orchestra. Her 1998 Telarc recording of Barber's Prayers of Kierkegaard and Vaughan Williams' Dona Nobis Pacem with the Atlanta Symphony and Robert Shaw won Grammys in three different categories, including "Best Classical Album" and "Best Choral Album."
Ms. Pelton has also gained recognition singing contemporary music, starring in Frank Galatis' She Always Said, Pablo at the Goodman Theatre in Chicago and The Mother of Us All, which she has sung in major revivals around the US. She appears regularly with Da Camera of Houston, the 20th Century Consort, and Sergio Luca's chamber group Context.
Tonight's performance marks Ms. Pelton s UMS debut.
Peter "Madcat" Ruth's music has been evolving for over 40 years. It started in the Chicago area in the early 1960s, with Madcat playing folkblues on guitar and har?monica. By the late 1960s he had immersed himself in the Chicago Blues and was studying
harmonica with Big Walter Horton. In the early 1970s Madcat moved to Ann Arbor where he was a key presence in two of Ann Arbor's finest progressive rock bands: New Heavenly
Peter Madcat Ruth Blue and Sky King. By the mid '70s Madcat was tour?ing the world with jazz pianist Dave Brubeck. In the 1980s, Madcat began performing solo, infusing the folkblues tradition with elements of rock and jazz.
In 1990, "Madcat" Ruth teamed up with gui?taristsinger Shari Kane to form the duo Madcat & Kane. For the past 14 years they have been touring nationally and internationally.
In 1997, The Society for the Preservation and Advancement of the Harmonica (SPAH) honored Peter "Madcat" Ruth as the "Harmonica Player of the Year."
Since 1997, Madcat has made six trips to Brazil and three trips to Japan touring with local blues bands. In 1999, Madcat, Joel Brown, and Chris Brubeck (son of Dave Brubeck) formed a new acoustic jazz trio called Triple Play. Since then the ensemble has toured exten?sively throughout the US.
Tonight's performance marks Peter "Madcat" Ruth's second appearance under UMS auspices. He made his UMS debut in April 1991 in per?formance with the Butch Thompson Trio.
Mezzosoprano Marietta Simpson has sung with the major orchestras in the US and under many of the world's great conductors, including Robert Shaw, Kurt Masur, Lorin Maazel, Simon Rattle, Helmuth Rilling, Charles Dutoit, Wolfgang Sawallisch, Neeme Jarvi, and Neville Marriner.
This season Ms. Simpson debuts with the Vienna Philharmonic under Sir Simon Rattle, the Chicago Symphony under Daniel Barenboin, and at Chicago Lyric Opera singing the role of Addie in Marc Blitzstein's opera Regina. She also performs under Rattle with the Berlin Philharmonic. Previous seasons have seen her Carnegie Hall debut in 1988, as soloist in Brahms's Alto Rhapsody with Robert Shaw and the Atlanta Symphony, and her 1991 New York Philharmonic. In 1992 she debuted at the Royal Opera House in Porgy and Bess. Ms.
Simpson has completed over ten recordings with the Atlanta Symphony and Shaw on the Telarc label, and she can also be heard on the EMI recording of Porgy and Bess, conducted
Marietta Simpson by Rattle.
In 1994, Philadelphia's National Political Congress of Black Women presented her with its second Chisholm Award as an outstanding AfricanAmerican woman in music. She won the 1983 Minna Kaufman Ruud Award and was a finalist in the Metropolitan Opera Regional Auditions. In 1989, she was a prize winner in the Naumburg International Vocal Competition and was awarded First Prize in the Leontyne Price Vocal Arts Competition sponsored by the National Association of Negro Business and Professional Women Clubs, Inc.
Tonight's performance marks Ms. Simpson's second appearance under UMS auspices. Ms. Simpson made her UMS debut in January 2001 as featured soloist with the Moses Hogan Singers in St. Francis ofAssisi Catholic Churcli in Ann Arbor.
Tenor Thomas Young has appeared as a principal soloist in the major concert halls and opera houses of some 20 coun?tries under the batons of Zubin Mehta, Sir Roger Norrington, Sir Simon Rattle, and EsaPekka Salonen. Mr. Young also serves as tenured professor of music at Sarah Lawrence College.
One of the foremost interpreters of tenor roles in contemporary opera, Mr. Young made his Chicago Lyric Opera debut in the world premiere of Anthony Davis' Amistad in a role which was written for him, The Trickster God. Other composers and directors with whom he has collaborated include George C. Wolfe, Peter Sellers, Mike Nichols, John Adams, and Tan Dun, whose works he has performed with the New York City Opera, Opera Theatre of St. Louis, the San Francisco Opera, the Hong Kong Festival, and Opera de Lyon. He has also per?formed roles at Covent Garden, the festivals of Vienna and Salzburg, and extensively with the Netherlands Opera.
Mr. Young's concert appearances include performances with the London, American,
Japan, BBC Scotland, Baltimore, Seattle, and Denver Symphony Orchestras, as well as the Brooklyn Philharmonic and St. Louis Symphony. His recordings include X: The
Thomas Young Life and Times ofMalcom X
(Gramavision), nominated for a Grammy in 1993; John Adams' The Death of Klinghoffer (Elektra), nominated for a Grammy in 1994; Tan Dun's Marco Polo (Sony); George Gershwin's Blue Monday (Telarc); and Schoenberg's Von Heufe auf Morgen (DGG).
Tonight's performance marks Mr. Young's second appearance under UMS auspices. Mr. Young made his UMS debut in October 1997 as tenor soloist with the Orchestra of St. Luke's Chamber Ensemble.
The University of Michigan University Symphony Orchestra (USO) is consid?ered one of the world's finest student orchestras. Under the auspices of the School of Music, the USO serves as a training ground for both young musicians, many of whom go on to play in major symphony orchestras, and for students who come to the conducting program, ranked number one in the country.
Recent projects include the first perform?ance since 1940 of the oneact blues opera, De Organizer, by librettist Langston Hughes and composer James P. Johnson, reconstructed by James Dapogny; firstever recordings on the Equilibrium label of works by William Bolcom, Leslie Bassett, and Michael Daugherty; and recordings with the University Chamber Choir and Orpheus Singers on the Naxos American Jewish series of opera scenes by Amram, Ellstein, Schiff, and Schoenfield.
Kenneth Kiesler is the Director of Orchestras and Professor of Conducting at the University of Michigan School of Music.
Over the last 125 years, UM student orchestras have played an important role in the concert pre?sentations ofUMS. Before 1940, UMS and the School of Music were under one umbrella and one name; university orchestras often performed as part ofUMS concerts. Since 1941, when aus?pices of the School of Music were transferred from UMS to the University, student orchestras have regularly performed as part of UMS concerts in annual Messiah performances, special tribute concerts, and festivals. The University Symphony Orchestra under the baton of Maestro Kenneth Kiesler was recently featured at the Hill Auditorium ReOpening Celebration on January 17, 2004.
t Ihe University of Michigan School of Music's Contemporary Directions A. Ensemble (CDE), the only one of the school's performing groups to concentrate solely on new music, is comprised of graduate students and upperclassmen with an intense interest in this repertoire. The CDE, under the musical direction of Jonathan Shames, works regularly with important composers of our day, includ
ing recently Stephen Hartke, Betsy Jolas, Karen Tanaka, Bright Sheng, William Bolcom, and Michael Daugherty, as well as other members of UM's own composition department.
Tonights performance marks the Contemporary Directions Ensemble's UMS debut.
A total often choral ensembles provide singing opportunities for students and com?munity members throughout the University of Michigan and the Ann Arbor area. Over 600 singers participate regularly in choral ensembles on the UM campus.
Dr. Jerry Blackstone is the Director of Choral Activities at the University of Michigan School of Music.
Please refer to UMS Annals, page 22 of the white pages of your program, for biogra?phical information on the UMS Choral Union.
The UMS Choral Union began performing in 1879 and has presented Handel's Messiah in annual performances. Tonight's performance marks the UMS Choral Union's 395th appear?ance under UMS auspices.
Members of the School of Music's 40voice UM Chamber Choir are gradu?ate and undergraduate students major?ing in vocal performance, conducting, or music education. Recent appearances by the UM Chamber Choir have included performances at national and division conventions of the American Choral Directors Association and acclaimed performances of Handel's Messiah with the Detroit Symphony Orchestra.
Dr. Jerry Blackstone is the Director of Choral Activities at the University of Michigan School of Music.
Tonight's performance marks the UM Chamber Choir's second appearance under UMS auspices. The Choir made their UMS debut in October 1994 as part ofUMS's In the American Grain: The Martha Graham Centenary Festival.
The UM University Choir, a 110voice ensemble at the University of Michigan School of Music, is comprised of music majors, most in vocal performance, music edu?cation, piano, composition, and theory. The UM Orpheus Singers, the newest choir at the UM School of Music, is a 24voice ensemble comprised of music education and vocal per?formance majors, and is directed by graduate choral conductors.
Tonight's performance marks both the UM University Choir and UM Orpheus Singers' UMS debuts.
The Michigan State University Children's Choir program began in 1993 with the founding of the MSU Community Music School. The program has a present membership of over 180 singers in four choirs representing 23 communities.
In August of 2002, The MSU Children's Choir performed at the Sixth World Symposium on Choral Music as the official representative of the US, and it was a featured choir on the national NPR special broadcast produced by Peabody Awardwinning host, Brian Newhouse. The MSU Children's Choir gave performances at national, division, and state conventions of the American Choral Directors Association (ACDA). They have been guest artists with the Detroit Symphony Orchestra (Neemi Jarvi, conducting), Greater Lansing, MSU, and Rochester symphony orchestras and have appeared in concert with the Canadian Brass, Peter Nero, Marilyn Home, and Marvin Hamlisch. Opera chorus engage?ments include Bizet's Carmen and Humperdinck's Hansel and Gretel.
The choir has recorded the CDs Songs of Sorrow, Songs of Hope, works with texts written by children caught in the Holocaust and the war in Bosnia; America the Beautiful: Songs of Our Heritage; and Rejoice!, traditional Christmas music. The choir's tenth anniversary CD, Songs From the Heart, was released in December of 2003.
Tonight's performance marks the MSU Children's Choir's UMS debut.
University of Michigan School of Music
Karen L. Wolff, Dean
University Symphony Orchestra
Kenneth Kiesler, Director of Orchestras Jonathan Shames, Associate Director of Orchestras
lulia Gish", Concertmaster
Eric Wuest", Principal
Emma Banflcld
Sarah Charness
Myriam Clermont
Andrew d'Allemand
Michelle Davis
Mili Fernandez
Annie Guenette
SeoYeon Han
Andy Harvey
Joseph Hintz
Shawn laeger
Min Lee
Ashley Malloy
Bethany Mennemeyer+
Diego Piedra
Jennifer Salmon
Eric Shieh
Stephanie Song
Trina Stoneham
TzuYin Su
Brittany Uschold
Jennifer Walvoord +
Sarah Whitney
Austin Wulliman
Elvis Chan, Principal
Jason Amos
Levi Hyssong
Megan Mason
Daniel McCarthy
Kathleen Overfield
Andrew Barnharf, Principal
Will Dunlap
Kareem Goode
Geein Hwang
Amy McGinn
Diane Strasser
Benjamin Vickers
Christopher Wild+
Double Bass Jordan Scapinello",
Principal Pearl Alexander B.K. Daniels Anna Jensen Andrew Kratzat+ Evan Premo Isaac Trapkus
Solo Fiddle
Jeremy Kittel
Electric Violin Julia Gish Jennifer Walvoord
Matthew Dievendorf
Mandolin Bradley Phillips
Electric Bass Robert Lester
Jennifer Hooker+ Melissa Klauder Kelly Sulick Marie Tachouet
Bobby Streng
Sarah Davis Aaron Hill Jenny Sengpiel Jessica Warner
Jeremy Benhammou+ Catherine Gatewood Jonathon Troy Lyle Wong
Bassoon Derek Bannasch Sam Childers Christopher Reid+ Tristan Rcnnie
Christopher Blossom Brian Sacawa
Brian Allen Patrick Carlson+ Tasha O'Neal Tom Weber William Wiegard+ Ian Zook
Trumpet Adam Decker Kevin Gebo Timothy Krohn Alex Noppe Louis Reed
Trombone Arthur Haecker+ Eric Newsome+ Steven Peterson
Bass Trombone Robert Graham Nathan Platte
Euphonium Evy Rodriguez
Tuba Eric Bank Grant Harville
Timpani and Percussion Jeffrey Barudin Hayes Bunch Dan Fineberg Daniel Karas Renee Keller+ Olman Piedra Chuck Ricotta
Hannah Foster Nadia Pessoa
Keyboards lulius Abrahams
Concertmastcrs () and princi?pal () string players rotate posi?tions during the season. Wind players rotate principal positions during the concert.
Performing Member of the Contemporary Directions Ensemble
Production Staff
David Adercntc, Managing
Director Brian Eldridge, Personnel
Manager Eric Newsome, Equipment
University Musical Society
Kenneth C. Fischer, President
UMS Choral Union
Jerry Blackstone, Interim Conductor and Music Director
Jason Harris, Assistant Conductor
Steven Lorenz, Assistant Conductor
Jean Schneider, Accompanist
Kathleen Operh all, Chorus Manager
Donald Bryant, Conductor Emeritus
Mary Bowman
Debra Joy Brabenec
Ann K. Burke
Susan F. Campbell
Young Cho
Cheryl D. Clarkson
Marie Ankenbruck Davis
Kathy Neufeld Dunn
Jennifer Freese
Kathleen Gage
Keiko Goto
Loretta Lovalvo
Melissa Hope Marin
Linda Selig Marshall
Marilyn Meeker
Motoko Osawa
Young Park
Nancy K. Paul
Ulrike Peters
Margaret Dearden Petersen
Sara Peth
Marie Phillips
Julie Pierce
Mary A. Schieve
Jennifer Wagner Sobocinski
Elizabeth Starr
Sue Ellen Straub
Barbara Trevethan
Barbara Hertz Wallgren
Elizabeth Ward
Rachelle Barcus Warren
Margie Warrick
Mary Wigton
Linda Kaye Woodman
Kathleen Young
Anne Lampman Abbrecht
Paula AllisonEngland
Leslie Austin
Carol Barnhart
Dody Blackstone
Ellen Bryan
Anne Casper
Laura Clausen
Alison Cohen
Siri Gottlieb
Kat Hagedorn
Allison Halerz
Nancy Heaton
Jeanmarie Leverich Houle
Carol Kraemer Hohnke
Olga Johnson
Maren E. Keyt
Eunice Kua
Heidi Laura
Jessica Lehr
Jan Leventer
Carolyn Gillcspie Loh
Cynthia Lunan
Karla K. Manson
Patricia Kaiser McCloud
Carol Milstein
Betty Montgomery
Deidre Myers
Kristen Neubauer
Kathleen Operhall
Jennifer Rosenbaum
Carren A. Sandell
Tricia Sartor
Cindy Shindlcdecker
Rhonda Sizemore
Beverly N. Slater
Jari Smith
Kathcrine Spindler
Ruth A. Theobald
Patricia J. Tompkins
Barb Tritten
Cheryl Utiger
Madeleine A. Vala
Alice VanWambcke
Katherine Verdery
Sandra Wiley
Bonnie Wright
Adam D. Bonarek Jack Etsweiler Steven Fudge Albert Girod Roy Glover Matthew P. Gray Arthur Gulick Jason Harris J. Derek Jackson Henry lohnson Bob Klafike Mark A. Krempski Richard Marsh A.T. Miller Jason Sell Carl Smith Jim Van Bochove
William Baxter Kee Man Chang Jeff Clevenger Roger Craig John Dryden Don Faber Gregory Fleming David Hoffman George Lindquist Rod Little Lawrence Lohr Steven Lorenz Joseph D. McCadden Gerald Miller Michael Pratt Andrew Schulz Rodney Smith JeffSpindler Michael Steelman Robert D Strozier Steve Telian Terril O.Tompkins Thomas L. Trevethan James Wessel Walker Donald R. Williams Mike Zeddics
UM Chamber Choir
Jerry Blackstone, Conductor
Sopranos Kara Alfano Minnita Daniel Cox Kelly Daniel Decker Kaori Emery Sara Guttenberg" Abigail Haynes Jo Ellen MillerCarole Ott Shaina Taelman
Cindy Boote Victoria DeCarlo Suzanne Klock Diana Lawrence Rebecca Jo Loeb Suzanne Ma Andrea Moore Valerie Ogbonnaya Heather Yanke Peiyi Wang
loshua Breitzer Nicholas Edwin Jason Harris Brent Hegwood Grant Harville Christopher Kiver leremy Nabors Sean Panikkar Korland Simmons Ian Trevethan Gregory Wakefield
Keith Dixon Bryan Estabrooks leff Landau William Hammer leffrey Krause Tobey Miller loseph Roberts Marco Santos Paul Tipton David Wilson
"Soloist in "Holy Thursday" and "Infant Sorrow"
UM Orpheus Singers
Carole Ott, William Hammer, Jason Harris, Conductors
Sopranos Rebecca Eaddy Sara Emerson Sara Guttenberg Carole Ott Sara Packard Rachel Simowitz
Megan Landry Carolyn Senger Amy Weatherford Adrienne Webster
Tenors Jason Harris Eiki Nomura Christopher Kiver Adrian Leskiw Fred Peterbark Fernando Tarango David Steely Gavin Bidelman
Stephen Bobalik Mark Buckles William Hammer Chris Lees Donald Milton Devin Provenzano Tobias Singer
UM University Choir
Christopher Kiver, Conductor
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Michigan State University Children's Choir
Mary Alice Stollak, Music Director
Amanda Bergman Claire Buitendorp Shawn Buitendorp Katrina Campos Carolyn Carpenter Morgan Chavez lackie Cook Noelle Cruce Stephanie Dale Chantel Dunham Katie Endahl Grace Hanson Allie Harte Savior Henney Jennifer Hogg Abigail lohnson Amy lohnson BoRaKim Zachary Kribs Heather Lantz Falina Lothamer Sara MacKimmie Molly Magen Kasey Mahoney Laura Mason Rachel Maver Liz Meadow Mara Miller Katherine Moore KatyPotocki Rebecca Reisdorff Christina Rocha ralifa ii Sdnifa Elizabeth Schultz Mooka Sheets Valerie Sir Ann'Smith Katheriiie Srrofer lessee! Taylor Kjtherine Taylor SanhVtnAdzr liar. WMan
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MS experience
January 2004
Sat 17 Hill Auditorium Celebration Sun 18 Orchestre Revolutionnaire et Romantique and The Monteverdi Choir Mon 19 Jazz Divas Summit: Dee Dee Bridgewater, Regina Carter & Dianne Reeves
Please note that a complete listing of all UMS Educa?tional programs is conveniently located within the concert pro?gram section of your program book and is posted on the UMS website at
Fri 30 Emerson String Quartet
Sat 31 Simon Shaheen and Qantara
Sun 8 Michigan Chamber Players (free admission)
Thur 12 Hilary Hahn, violin
Sat 14 Canadian Brass Valentine's Day Concert
ThurSat 1921 Children of Uganda
Fri 20 Cecilia Bartoli, mezzosoprano, and
Orchestra of the Age of Enlightenment
ThurSun 47 Guthrie Theater: Othello
FriSat 1213 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 AfroLatin Jazz Orchestra

Thur 1 Lang Lang, piano
FriSat 23 Lyon Opera Ballet: Philippe Decoufle's Tricodex
Sat 3 Lyon Opera Ballet OneHour 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
Sum 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 JeanYves 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, email, or call 734.647.6712. Join the UMS EMail Club for regular reminders about educational events.
Artist Interviews
These indepth interviews engage the leading artmakers 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
Preperformance 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 K12 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, email, or call 734.615.0122.
Youth Performance Series
Designed to enhance the K12 curriculum, UMS Youth Performances cover the full spec?trum of worldclass 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 email,
Primary supporters of the Youth Education Program are:
A complete listing of Education Program supporters are listed at
Teacher Workshop Series
As part of UMS's ongoing effort to incorporate the arts into the classroom, local and national arts educators lead indepth 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 TeamBuilding 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 email
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 email
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 onehour or fulllength performances and activities are designed especially for children and families. UMS provides childfriendly, 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
Cast Yourself in a Starring ple
'Become a Member of the University Musical Society
The 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 paqe.
Presenter's Circle
J $25,000 Soloist ($150)
For information about this very special membership group, call the Development Office at 734.647.1175.
J S10,00OS24,999 Maestro ($150)
Virtuoso benefits, plus:
Opportunity to be a concert or supporting sponsor for a selected performance
? S7.500S9.999 Virtuoso ($150)
Concertmaster benefits, plus:
Guest of UMS Board at a special thankyou event
? S5,000S7,499 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
? S3.500S4.999 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
J $2,50053,499 Leader ($85)
Principal benefits, plus:
Opportunity (o purchase prime scats up to 48 hours before performance (subject to availability)
Complimentary parking passes for all UMS concerts at UM venues
? $1,000$2,499 Principal ($55)
Benefactor benefits, plus:
Ten complimentary onenight parking passes for UMS concerts
Priority subscription handling
Invitation to all Presenters Circle events
Q S50OS999 Benefactor
Associate benefits, plus:
Invitation to one working rehearsal (subject to artist approval)
Halfprice tickets to selected performances
Q $2505499 Associate
Advocate benefits, plus:
Listing in UMS Program
G S100S249 Advocate
UMS Card, providing discounts at Ann Arbor restaurants, music stores and shops
Advance notice of performances
Advance ticket sales
Denotes nontax deductible portion of gift.
Please check your desired giving level above and complete the form below or become a member online at
{Print names exactly as you wish them to appear in UMS listings.)
Day Phone_____________________________________Eve Phone_______________________________________Email___________________________
Comments or Questions
Please make checks payable to University Musical Society
Gifts of $50 or more may be charged to: ? VISA _1 MasterCard ? Discover Q American Express
Account _________________________________________________________________________________________________Expiration Date________
ID I do not wish to receive nondeductible benefits, thereby increasing the deductibility of my contributions.
J My company will match this gift. Matching gift form enclosed.
Send gifts to: University Musical Society, 881 N. University, Ann Arbor, MI 481091011
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 58member 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 awardwinning cookbook, the Committee brings vital volunteer assistance and financial support to our everexpanding 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 seasonlong visibility among ticketbuyers 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 businesstobusiness 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 WorkStudy
Internships with UMS provide experience in performing arts administration, marketing, ticket sales, programming, production and arts education. Semester and yearlong 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 WorkStudy 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 workstudy 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 concertgoing experience more pleasant and efficient. The allvolunteer 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 emaU
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
Concertmcuteri, com.
Dr. and Mrs. Richard H. Lineback Charlotte McGeoch Julia S. Morris Charles H. Nave John Psarouthakis and Antigoni Kefalogiannis Mr. Gail W. Rector )ohn 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
BettyAnn and Daniel Gilliland
Dr. Sid Gilman and Dr. Carol Barbour
Debbie and Norman Herbert
Kcki 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 JoAnna 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 G. Anderson
Rebecca Gepner Annis and Michael Annis
Jonathan W. T. Ayers
Lcsli and Christopher Ballard
Dr. and Mrs. Robert Bartlett
Astrid B. Beck and David Noel Freedman
Ralph P. Beebe
Patrick and Maureen Belden
Harry and Betty Benford
Ruth Ann and Stuart J. Bergstein
Suzanne A. and Frederick J. Beutler
loan Akers Binkow
John BlankJey 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
Jeannine and Robert Buchanan
Robert and Victoria Buckler
Sue and Noel Buckner
Lawrence and Valerie Bullen
Laurie Bums
Mr. and Mrs. Richard J. Burstein
Letitia J. Byrd
Amy and Jim Byrne
Betty Byrne
Barbara and Albert Cain
Jean W. Campbell
Michael and Patricia Campbell
Carolyn M. Carty and Thomas H. Haug
Jean and Kenneth Casey
Janet and Bill Cassebaum
Anne Chase
James S. Chen
Janice A. Clark
Mr. and Mrs. John Alden Clark
Leon and Heidi Cohan
Hubert and Ellen Cohen
Nan and Bill Conlin
Jane Wilson Coon and A. Rees Midglcy, Jr.
Anne and Howard Cooper
Susan and Arnold Coran
Paul N. Courant and Marta A. Manildi
George and Connie Cress
Kathleen J. Crispell and Thomas S. Porter
Julie F. and Peter D. Cummings
Richard J. Cunningham
Roderick and Mary Ann Daane
Peter and Susan Darrow
Lloyd and Genie Dethloff
Steve and Lori Director
Andrzej and Cynthia Dlugosz
Elizabeth A. Doman
John Dryden and Diana Raimi
Martin and Rosalie Edwards
Charles and Julia Eisendrath
Joan and Emil Engel
Bob and Chris Euritt
Dr. and Mrs. John A. Faulkner
Eric Fearon and Kathy Cho
Dede and Oscar Feldman
Yitsi M. and Albert Feuerwerker
Mrs. Gerald J. Fischer (Beth B.)
Bob and Sally Fleming
John and Esther Floyd
Marilyn G. Gallatin
Bernard and Enid Galler
Marilyn Tsao and Steve Gao
Thomas and Barbara Gelehrter
Beverly Gershowitz
William and Ruth Gilkey
Mr. and Mrs. Clement Gill
Mrs. Cozette T. Grabb
Elizabeth Necdham Graham
Susan Smith Gray and Robert Gray
Dr. John and Renee M. Greden
Jeffrey B. Green
John and Helen Griffith
Carl and Julia Guldberg
Martin D. and Connie D. Harris
Julian and Diane HofT
Carolyn Houston
Robert M. and Joan F. Howe
Drs. Linda Samuclson and Joel Howell
Dr. H. David and Dolores Humes
Susan and Martin Hurwitz
Stuart and Maureen Isaac
Timothy and Jo Wiese Johnson
Robert L. and Beatrice H. Kahn
Herbert Katz
Richard and Sylvia Kaufman
James and Patricia Kennedy
Dick and Pat King
Diane Kirkpatrick
Carolyn and Jim Knake
Joseph and Marilynn Kokoszka
Michael and Phyllis Korybalski
Samuel and Marilyn Krimm
Amy Sheon and Marvin Krislov
Bud and Justine Kulka
Barbara and Michael Kusisto
Jill M. Latta and David S. Bach
Laurie and Robert LaZebnik
Peter Lee and Clara Hwang
Donald J. and Carolyn Dana Lewis
Allen and Evie Lichter
Carolyn and Paul Lichter
Daniel Little and Bernadette Lintz
Lawrence and Rebecca Lohr
Leslie and Susan Loomans
Mark and Jennifer LoPatin
Richard and Stephanie Lord
Lawrence N. Lup, DDS
John and Cheryl MacKrell
Catherine and Edwin L. Marcus
Nancy and Philip Margolis
Sally and Bill Martin
Chandler and Mary Matthews
Carole Mayer
Ernest and Adele McCarus
Joseph McCune and Georgiana Sanders
Rebecca McGowan and Michael B. Staeblcr
Ted and Barbara Meadows
Henry D. Messer Carl A. House
Andy and Candicc Mitchell
Thcrcse M. Molloy
Lester and Jeanne Monts
Alan and Sheila Morgan
Jane and Kenneth Moriarty
Mclinda and Bob Morris
Brian and Jacqueline Morton
Martin Neuliep and Patricia Pancioli
Donna Parmelee and William Nolting
Marylen and Harold Oberman
Dr. and Mrs. Frederick G 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 Petcrsen Elaine and Bertram Pitt Richard and Mary Price Jeanne Raisler and Jon Cohn Donald H. Regan and
Elizabeth Axelson Ray and Ginny Reilly Bernard E. and Sandra Reisman Kenneth J. Robinson Mr. and Mrs. Irving Rose Doug and Sharon Rothwell Dr. Nathaniel H. Rowe Craig and [an Ruff Dr. and Mrs. Frank Rugani Alan and Swanna Saltiel lohn and Reda Santinga Maya Savarino David and Marcia Schmidt Meeyung and
Charles R. Schmitter Mrs. Richard C. Schneider Rosalie and David Schottenfetd Steve and Jill Schwartz John J. H. Schwarz Erik and Carol Serr l.inci and Michael Shatusky Carl P. Simon and Bobbi Low Frances U. and Scott K. Simonds Katharine B. and Philip Soper LJoyd and Ted St. Antoine Victor and Marlene Stocffler Dr. and Mrs. Stanley Strasius Katharine Terrell and Jan Svejnar Virginia G. Tainsh Jim Toy Joyce A. Urba and
David J. Kinsella Jack and Marilyn van der Velde Elly Wagner Florence S. Wagner Willes and Kathleen Weber Elise Weisbach Robert O. and
Darragh H. Weisman Dr. Steven W. Werns Marcy and Scott Westerman Roy and JoAn Wetzel Harry C. White and
Esther R. Redmount Max Wicha and Sheila Crowley Dr. and Mrs. Max Wisgerhof II Robert and Betty Wurtz Paul Yhouse Edwin and Signe Young Gerald B. and
Mary Kate Zelenock
Dr. and Mrs. Robert G. Aldrich
Anastasios Alcxiou
Christine Webb Alvey
David and Katie Andrea
Dr. and Mrs. Rudi Ansbacher
lanct and Arnold AronofT
Emily Avers
Rowyn Baker
Robert L Baird
Paulett Banks
M. A. Baranowski
Norman E. Barnett
Mason and Helen Barr
L S. Berlin
Philip C. Berry
Icffrey Beyersdorf
Sara 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 lune and Donald R. Brown Morton B. and Raya Brown Trudy and Jonathan Bulkley H. D. Cameron Bruce and Jean Carlson Edwin and Judith Carlson Jim and Priscilla Carlson Jack and Wendy Carman Cheryl Cassidy and
Richard Ginsburg Tsun and Siu Ying Chang Dr. Kyung and Young Cho Alice S. Cohen Lois and Avern Cohn Malcolm and Juanita Cox Sally A. Cushing Charles and Kathleen Davenport Marnee and John DeVine Lorenzo DiCarlo and
Sally Stegeman DiCarlo Mary E. Dwyer Jack and Betty Edman Judge and Mrs. S. J. Elden Patricia Enns Elly and Harvey Falit John W. Farah DDS PhD 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 Glcndon Jack and Kathleen Glezen Alvia G. Golden and
Carroll SmithRosenberg 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. Hacfner and
Cynlhia J. Stewart Mr. and Mrs. Elmer F. Hamel Susan A. Hamilton Clifford and Alice Hart Sivana Heller J. Lawrence and
Jacqueline Stearns Henkcl Kathy and Rudi Hcntschel Herb and Dee Hildebrandt Mrs. W.A. Hiltner SunChien and Betty Hsiao Mrs.V.C. Hubbs Ann D. Hungerman Thomas and Kathryn Huntzicker Eileen and Saul Hymans Jean Jacobson
Mark Jacobson
Elizabeth Jahn
Rebecca S. Jahn
Wallie and Janet Jeffries
Jim and Dale ferome
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 K.ithryn Klintworth Michael J. Kondziolka and
MathiasPhilippe Florcnt 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 Michetine Maynard Griff and Pat McDonald Bernice and Herman Merle 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 RayTaylor Molly Resnik and John Martin Jay and Machree Robinson Dr. Susan M. Rose Mrs. Doris E. Rowan Lisa Rozek
James and Adrienne Rudolph Paul and Penny Schreiber Alicia Schuster Terry Shade
Howard and Aliza Shevrin George and Gladys Shirley Pat Shure
Robert and Elaine Sims Irma). Sklenar Herbert Sloan
Donald C. and Jean M. Smith Gus and Andrea Stager Curt and Gus Stager David and Ann Staiger James C. Steward Prof. Louis J. and Glennis M. Stout Ellen and Jeoffrey K. Stross Charlotte B. Sundelson Bob and Betsy Teeter Paul and Jane Thielking Elizabeth H. Thieme Dr. and Mrs. Merlin C. Townley Joan Lowenstein and
Jonathan Trobe Jeff and Lisa TulinSilver 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 AcostaHughes
Michael and Marilyn Agin
Robert Ainsworth
Helen and David AminofT
Douglas B. Anderson
Harlene and Henry Appelman
lack 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
Lourdcs Baslos Hansen
Tom and Judith BatayCsorba
Francis J. and Lindsay Bateman
Mrs. Jere M. Bauer
Gary Beckman and Karla Taylor
Professor and Mrs. Erling
Blondal Bcngtsson Dr. and Mrs. Ronald M. Benson loan and Rodney Bentz Dr. Rosemary R. Berardi fames A. Bergman and
Penelope Hommel Steven J. Bernstein and
Maria Herrero Dan and Irene Biber John E. mih 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 Valeric and Brent Carey Jeannctte and Robert Carr Dr. and Mrs. Joseph C. Cerny Kwang and Soon Cho Reginald and Beverly Ciokajlo Brian and Cheryl Clarkson Harvey Colbert Wayne and Melinda Colquitt Merle and Mary Ann Crawford Peter C. and Lindy M. Cubba Mary R. and John G. Curtis Sunil and Merial Das Art and Lyn Powrie Davidge John and Jean Debbink Elena and Nicholas Delbanco Elizabeth Dexter Judy and Steve Dobson Thomas and Esther Donahue Cecilia and Allan Dreyfuss Elizabeth Duell
Associates, cont.
Dr. Alan S. Eiser
Sol and Judith Elkin
land 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. Bockcnstcdt and
David A. Fox
Howard and Margaret Fox Betsy Foxman and
Michael Boehnke Lynn A. Freeland Richard and Joann Freethy Dr. Leon and Marcia Friedman Lela J. Fuester
Mr. and Mrs. William Fulton Thomas J. Garbaty Deborah and Henry Gerst Elmer G. Gilbert and
Lois M.Verbrugge Maureen and David Ginsburg Irwin Goldstein and Martha Mayo Enid M. Gosling James W. and Maria J. Gousseff Michael L. Gowing M,a .inii.i 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 Haydcn 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 ahn Ellen C. Johnson Kent and Mary Johnson Paul and Olga Johnson Arthur A. Kaselemas Frank and Patricia Kennedy Donald F. and Mary A. Kiel Rhea Kish
Paul and Dana Kissner Steve and Shira Klein Laura Klem Jean and Arnold Kluge Thomas and Ruth Knoll John Koselka and Suzanne DeVine Bert and Geraldine Krusc Mrs. David A. Lanius Mr. and Mrs. Henry M. Lapeza Ncal 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 ViCheng and HsiYen Liu Dr. Lennart H. Lofstrom
Naomi E. Lohr Ronald Longhofer and
Norma McKenna Florence LoPatin Jenifer and Robert Lowry Edward and Barbara Lynn Pamela J. MacKintosh Melvin and )ean Manis lames E. and Barbara Martin Margaret E. McCarthy .Margaret and Harris McClamxoch 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 Nisbctt Laura Nitzberg and Thomas Cadi 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 hm and leva Rasmussen Anthony L. Reffells and
Elaine A. Bennett Constance O. Rinchart Kathleen Roelofs Roberts Gay and George Rosenwald Mr. Haskell Rothstein Ina and Terry Sandalow Michael and Kimm Sarosi Mike Savitski
Dr. Stephen J. and Kim R. Saxe Frank J. Schauerte Mary A. Schieve Mrs. Harriet Selin Jean and Thomas Shope Hollis and Martha A. Showalter Alida and Gene Silverman Scott and Joan Singer Susan and Leonard Skerker John and Anne Griffin Sloan Tim and Marie Slottow Alene Smith Carl and fari Smith Mrs. Robert W. Smith Dr. Elaine R. Soller Hugh and Anne Solomon Yoram and Eliana Sorokin Tom Sparks Jeffrey D. Spindlcr Allen and Mary Spivey Judy and Paul Spradlin Burnctte Staebler Gary and Diane Stahle Rick and Lia Stevens James L. Stoddard Barbara and Donald Sugcrman Brian and Lee Talbot Eva and Sam Taylor Edwin J. Thomas Bette M. Thompson Nigel and lane Thompson Claire and Jerry Turcotte Mr. James R. Van Bochovc
Hugo and Karla Vandersypcn Marie Vogt
Harue and Tsuguyasu Wada Charles R. and
Barbara H. Wallgren Robert D. and Liina M. Wallin Carol Weber John Weber Deborah Webster and
George Miller Iris and Fred Whitehouse Leslie Clare Whitfield Professor Steven Whiting Cynthia and Roy Wilbanks Anne Marie and Robert J. Willis Lloyd and Lois Crabtrec Beverly and Hadley Wine Charles Witke and Aileen Gatten Charlotte A. Wolfe Richard E. and Muriel Wong Al and Alma Wooll Frances A. Wright Don and Charlotte Wyche MaryGrace and Tom York
Corporate Fund
$100,000 and above Ford Motor Company Fund Forest Health Services
Corporation University of Michigan Pfizer Global Research and
Development: Ann Arbor
$20,000$49,999 Bank of Ann Arbor Borders Group, Inc. DaimierChrysler Foundation Kaydon Corporation Key Bank TIAACREF
$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
S5,000$9,999 Albert Kahn Associates Ann Arbor Automotive Butzel Long Attorneys Crowne Plaza Elastizell Corporation
of America
MASCO Charitable Trust Miller Canfield Paddock
and Stone P.L.C. National City Bank Quinn EvansArchitects TCF Bank
Thomas B. McMullen
Company Total Travel Management
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 8c Trust
ABN AMRO Mortgage Group,
Adult Learning Institute Ayse's Courtyard Cafe" Ann Arbor Builders Ann Arbor Commerce Bank Bed & Breakfast on Campus Bennett Optomctry Bivouac
Burns Park Consulting Clark Professional Pharmacy Coffee Express Comcast
Edward Brothers, Inc. Garris, Garris, Garris &
Garris, P.C. Malloy Incorporated Michigan Critical Care
Consultants Rosebud Solutions Seaway Financial Agency
Wayne Milewski SeloShevel Gallery Swedish Women's Educational
Foundation & Government Support
VMS gratefully acknowl?edges the support of the following foundations and
government agencies:
$100,000 and above Association of Performing
Arts Presenters Arts
Partners Program Community Foundation for
Southeastern Michigan Doris Duke Charitable
Foundation The Ford Foundation JazzNet Michigan Council for Arts
and Cultural Affairs The Power Foundation
Foundation & Government Support, cont.
The Wallace Foundation The Whitney Fund
$50,000$99,999 Anonymous
National Endowment for the Arts
SW,000S49,999 Continental Harmony
51,00059,999 Akers Foundation Altria Group, Inc. Arts Midwest Cairn Foundation Heartland Arts Fund The Lebensfeld Foundation Martin Family Foundation Marine and Stuart Frankel
MidAmerica Arts Alliance The Molloy Foundation Montague Foundation THE MOSAIC FOUNDA?TION (of R. and P. Hcydon)
Sams Ann Arbor Fund Vibrant of Ann Arbor
Tribute Gifts
Contributions have been received in honor andor memory of the following individuals:
H. Gardner Ackley
Herb and Carol Amster
Maurice Binkow
Tom and Laura Binkow
Mr. and Mrs. Thomas Caterino
T. Earl Douglass
Robert Bruce Dunlap
Alice Kelsey Dunn
David Eklund
Kenneth C. Fischer
Dr. Beverley B. Geltner
Michael Gowing
Iil.i Green
Werner Grilk
Elizabeth E. Kennedy
Ted Kennedy, Jr.
Dr. Gloria Kerry
Alexandra Lofstrom
Joyce Malm
Frederick N. McOmber
Evelyn P. Navarre
Phi! and Kathy Power
Gwen and Emerson Powrie
Prof. Robert Putnam
Ruth Putnam
Mrs. Gail Rector
Steffi Reiss
IJruc Rosenthal
Margaret E. Rothstein
Eric H. Rothstein
Nona R. Schneider
Ruth E. Schopmeyer
Prof. Wolfgang Stolper
Diana Slone Peters Peter C. Tainsh Dr. Isaac Thomas III Clare Vcnables Francis V.Viola HI Horace Warren Donald Whiting Peter Holdcrncss Woods Barbara E. Young Elizabeth Yhouse
Burton Tower Society
The Burton Tower Society recognizes and honors those very special friends who have included VMS in their estate plans. VMS is grateful for this important support, which will continue the great traditions of artistic excellence, educational opportunities and community partnerships in future years.
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 Isabclle Brauer
Barbara Evcritt Bryant
Joanne A. Cage
Pat and George Chatas
Mr. and Mrs. John Alden Clark
Douglas D. Crary
H. Michael and Judith L Endres
Bcvcrley and Gerson Geltner
John and Martha Hicks
Mr. and Mrs. Richard Ives
Marilyn Jeffs
Thomas C. and
Constance M. Kinnear Charlotte McGeoch Michael G. McGuire Dr. Eva Mueller Len and Nancy Niehoff Dr. and Mrs. Frederick C. O'Dell Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael Radock Mr. and Mrs. Jack W. Ricketts Mr. and Mrs. Willard L Rodgers Prudence and Amnon Rosenthal Mr. Haskell Rothstcin Irma J. Skelnar Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wctzel Mr. and Mrs. Ronald G. Zollars
Endowed Funds
The future success of the University Musical Society is secured in part by income
from UMS's endowment. VMS extends its deepest appreciation to the many donors who have established andor contributed to the following fu nds. H. Gardner AckJcy
Endowment Fund Herbert S. and Carol Amster
Fund Catherine S. Arcurc
Endowment Fund Carl and Isabelle Brauer
Endowment Fund Choral Union Fund Hal and Ann Davis
Endowment Fund Ottmar Eberbach Funds Epstein Endowment Fund .iNct Endowment Fund William R. Kinney
Endowment Fund NEA Matching Fund Palmer Endowment Fund Mary R. RomigdeYoung
Music Appreciation Fund Charles A. Sink Memorial Fund Catherine S. ArcureHerbcrt
E. Sloan Endowment Fund University Musical Society
Endowment Fund
InKind Gifts
Al Rentals, Inc.
Raqucl and Bernard Agranoff
Alexandra's in Kerrytown
Amadeus Cafe
Ann Arbor Automotive
Ann Arbor Art Center
Ann Arbor Women's City Club
Arbor Brewing Co.
Ashley Mews
Avanti Hair Designers
The Back Alley Gourmet
Barnes Ace Hardware
Lois and David Baru
Baxter's Wine Shop
Kathleen Beck
Bella Ciao Trattoria
K.ithv Benton and Bob Brown
The Blue Nile Restaurant
Bodywise Therapeutic Massage
Mimi and Ron Bogdasarian
Borders Book and Music
Janice Stevens Botsford
Susan Bozell
Tana Breiner
Barbara Everitt Bryant
By the Pound
Cafe Marie
Margot Campos
Cappcllos 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 Dcrkacz
The Display Group
Dough Boys Bakery
The Earle
Eastovcr Natural Nail Care
Katherine and Damian Farrell
Ken and Penny Fischer
Food Art
Sara Frank
The Gandy Dancer
Bcverley and Gerson Gdtner
Great Harvest Bread Company
Linda and Richard Greene
Nina Hauser
lohn's Pack & Ship
Steve and Mercy Kasle
Cindy Kellerman
Kerrytown Bistro
Kilwin's Chocolate Shoppe
King's Keyboard House
Kinko's Copies
Laky s Salon
Ray Lance
George and Beth Lavoie
Leopold Bros. Of Ann Arbor
Richard LeSucur
Carl Lutkehaus
Doni Lystra
Mainstreet Ventures
Ernest and Jeanne Merlanti
lohn Mctzger
Michael Susannc Salon
Michigan Car Services, Inc. and
Airport Sedan, LTD Moe Sport Shops Inc. Robert and Melinda Morris loannc Navarre Nicola's Books, Little Professor
Book Co.
Paesano's Restaurant Pfizer Global Research and
Development: Ann Arbor
Laboratories Preview Properties Produce Station Randy Parrish Fine Framing Red Hawk Bar & Grill Regrets Only Rightside Cellar Ritz Camera One Hour Photo Don and )udy Dow Rumclhart Safa Salon and Day Spa Salon Vertigo Rosalyn Sarvar Maya Savarino Penny and Paul Schrciber Shaman Drum Bookshop Lorctta Skewes Dr. Elaine R. Soller Maureen Stoeffler STUDIOsucteen Two Sisters Gourmet Van Bovens
Washington Street Gallery Whole Foods Weber's Restaurant Zanzibar

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