Press enter after choosing selection

UMS Concert Program, Friday Apr. 16 To 24: University Musical Society: Winter 2004 - Friday Apr. 16 To 24 --

Download PDF
Rights Held By
University Musical Society
OCR Text

Season: Winter 2004
University Of Michigan, Ann Arbor

University Music Society of the University of Michigan
Winter 2004 season
university musical society
winter 04 University of Michigan Ann Arbor
2 Letters from the Presidents
5 Letter from the Chair
UMS leadership 6 Corporate Leaders Foundations
12 UMS Board of Directors Senate
Advisory Committee
13 UMS Staff Teacher Advisory Committee
UMS services 15 General Information
16 Tickets
17 Gift Certificates
UMSannals 21 UMS History
22 UMS Choral Union
23 Venues Burton Memorial Tower
UMSexperience 27 The 125th Winter UMS Season
30 Education & Audience Development
33 UMS Preferred Restaurant & Business Progra
UMSsupport 35 Advisory Committee
35 Sponsorship & Advertising
37 Internships & College Work-Study Ushers
39 Support
48 UMS Advertisers
Front Coven Simon Shaheen, Guthrie Theater's Othello, Cecilia Bartoli, Lyon Opera Ballet dancers Back Coven Dee 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 co-sponsor of several events on this season's calendar. In addition to
reflecting the artistic beauty and passion that are integral to the human experience, these jointly sponsored events are also wonderful opportunities for University of Michigan students and faculty to learn about the creative
process and the sources of inspiration that motivate artists and scholars.
We are delighted to welcome UMS back to Hill Auditorium in time to celebrate UMS's 125th Anniversary with several concerts and revelry on January 17,18, and 19. Some of the highlights of the weekend will include a festive gala dinner and concert on January 17 and a rare appearance of the marvelous Orchestre Revolutionnaire et Romantique and The Monteverdi Choir on January 18. The weekend will conclude with the Jazz Divas Summit on January 19, as the University and UMS jointly commemorate Martin Luther King, Jr. Day.
I thoroughly enjoyed the results of our collaboration with UMS in Autumn 2003, which included some extraordinary per?formances. In 2004, a number of superb productions will result from the partner?ship between the University and UMS. Some of these include appearances by the Israel Philharmonic, the great pianist Alfred Brendel, and the celebrated saxo-
phonist Ornette Coleman, who will also provide a two-day residency to our stu?dents. The University is also working with UMS to provide exceptional educational programs to the campus: the legendary Merce Cunningham Dance Company will collaborate with our Department of Dance, and members of the Guthrie Theater will participate in over 20 events when they are in town to present their magnificent production of Othello. The remarkable Arab-American artist Simon Shaheen has been providing a splendid residency in Ann Arbor and Dearborn in conjunction with the Arab Community Center for Economic and Social Services, culminating in a concert in the Michigan Theater on January 31. And on April 8, UMS and the School of Music collaborate to produce Professor William Bolcom's epic Songs of Innocence and of Experience. I want to thank the faculty and staff of the University of Michigan and UMS for their hard work and dedication in making our partnership a success. The University of Michigan is pleased to support the University Musical Society during this exhilarating 0304 season, and we share the goal of making our co-presentations aca?demic and cultural events that benefit the university community and the broadest possible constituency.
Mary Sue Coleman
President, University of Michigan
Thank you for joining us for this perfor?mance during UMS's historic 125th season. We appreciate your support of the performing arts and of UMS, and we hope that we'll see you at more of our pro?grams during this milestone season. Check the complete listing of UMS's Winter 2004 events beginning on p. 27 and on our web-
site at
The big news during this winter term is, of course, the re-opening of Hill Auditorium after its 20-month renovation and restoration. If you're read?ing this program book while you are in Hill Audi?torium, welcome back to this glorious 90-year-old venue. If you're at another venue, I hope you have been or will soon get to Hill. What the University of Michigan has done in this
phase of Hill's renovation is absolutely marvelous. As a patron, you'll find a much more welcoming and comfortable build?ing...and one whose infrastructure has been vastly updated and improved to see it through the 21st century. Take the elevator to the balcony, have a coffee in the Elizabeth E. Kennedy Lower Lobby, sit in one of the new and wider seats on the main floor, and look at the stunning new colors surrounding the stage and the ring of lights on the ceiling. These are totally new experiences for a patron attending a UMS concert. What remains to be done in the next phase of renovation is the con?struction of a backstage addition to Hill
Auditorium so that this world-renowned concert hall will be as welcoming and comfortable for our visiting artists as it is now for our patrons.
We are pleased that International Arts Manager, the major business magazine for the performing arts published in London, featured UMS as the cover story in its
DecemberJanuary issue (see photo). The article recognizes the prominent role UMS now plays on the international performing arts scene, the outstanding team of UMS department heads, and UMS's being the oldest university-related pre?senting organization in the US. Visit our website to read the article.
It's wonderful to have you with us for this perfor?mance. Feel free to get in touch with us if you have
any questions or problems. The best place to begin is with our Ticket Office at 734.764.2538. You should also feel free to get in touch with me about anything related to UMS. If you don't see me in the lobby at this performance, please send me an e-mail message at or call me at 734.647.1174.
Very best wishes,
Kenneth C. Fischer UMS President
??he UMS 125th season continues with I the opening of a newly renovated Hill I Auditorium. What a pleasure it is to have our unique hall back with comfortable seats, air conditioning, and more restrooms!
Our fall season culminated with the Globe Theatre's production of Shakespeare's Twelfth Night, the Boston Pops, and the
125th annual UMS pro?duction of Handel's Messiah -very different and equally engaging pro?ductions. The UMS staff deserves a standing ova?tion for their enormous hard work. This past
summer we had to reduce our staff by 20, further increasingly everyone's work?load. This is a truly dedicated staff that continuously does a superb job providing the best productions and educational events for the University and our community.
In December, UMS celebrated, if from afar, President Ken Fischer who received the Patrick Hayes Award in London. Named after the man who was founding president of the International Society for the Performing Arts (ISPA) in 1949 and served as Ken's mentor, the Patrick Hayes Award recognizes an ISPA member of long standing whose achievements in arts man?agement are deserving of the highest praise and recognition.
This winter season brings us the Children of Uganda, the Israel Philhar?monic, and virtuosic pianist Lang Lang, to name just a few events from the splendid artistic menu UMS has planned for us.
The season finale will be the Ford Honors Program on May 15 featuring Sweet Honey in the Rock (founder Bernice Johnson Reagon received an honorary degree from U-M in 2000). The perform?ance will coincide with the opening of the University Capital Campaign. UMS will be a prominent part of the campaign, and we look to our audience and friends to help us ensure the future of the organization. For those of us who have been able to sup?port UMS in the past, it is an honor to participate in providing such a rich cultur?al environment for the University, the community and southeastern Michigan. I invite all of you to join us in ensuring the growth and success of the University Musical Society.
Prue Rosenthal
Chair, UMS Board of Directors
Sandra Ulsh
Vice President and Executive Director, Ford Motor Company Fund "Through music and the arts we are inspired to broaden our horizons, bridge differences among cultures and set our spirits free. We are proud to support the University Musical Society and acknowl?edge the important role it plays in our community."
David Canter
Senior Vice President, Pfizer, Inc. The science of discovering new medicines is a lot like the art of music: To make it all come together, you need a diverse collection of very brilliant people. What you really want are people with world-class talent--and to get those people, you have to offer them a special place to live and work. UMS is one of the things that makes Ann Arbor quite special. In fact, if one were making a list of the things that define the quality of life here, UMS would be at or near the very top. Pfizer is honored to be among UMS's patrons."
Eric J. Hill, PhD, FAIA
Vice President and Project Principal, Albert Kahn Associates, Inc.
"Through the visionary rebirth of Hill Auditorium, UMS has at once glorified its mission, reconfirmed the cultural heart of the university community, and ensured the continuing legacy of architect Albert Kahn. Thank you!"
Douglass R. Fox
President, Ann Arbor Automotive "We at Ann Arbor Automotive are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
William M. Broucek
President and CEO, Bank of Ann Arbor 'Bank of Ann Arbor is pleased to contribute to enriching the life of our community by our sponsorship of the 0304 season."
Erik W. Bakker
Senior Vice President, Bank One, Michigan "Bank One is honored to be a partner with the University Musical Society's proud tradition of musical excellence and artistic diversity."
Habte Dadi
Manager, Blue Nile Restaurant
"At the Blue Nile, we believe in giving back to the com?munity that sustains our business. We are proud to sup?port an organization that provides such an important service to Ann Arbor."
Greg Josefowicz
President and CEO, Borders Group, Inc. "As a supporter of the University Musical Society, Borders Group is pleased to help strengthen our com?munity's commitment to and appreciation for artistic expression in its many forms."
John L. Herrygers
Vice PresidentOperating Unit Principal, Southeast Michigan, The Christman Company ''Christman is proud to support the community in which we earn our living. We feel privileged to have taken part in the Hill Auditorium renovation as construction managers, and wish the University Musical Society many successful seasons in its 'new' facility."
Len Niehoff
Shareholder, Butzel Long
UMS has achieved an international reputation for excel?lence in presentation, education, and most recently cre?ation and commissioning. Butzel Long is honored to support UMS, its distinctive and diverse mission, and its important work."
Clayton Wilhite
Managing Partner, CFI Group, Inc. We're pleased to be in the group of community businesses that supports UMS Arts and Education. We encourage those who have yet to participate to join us. Doing so feels good."
Rhonda Davenport
Group Manager & First Vice President of
Ann Arbor Region, Comerica Incorporated
Our communities are enriched when we work together.
That's why we at Comerica are proud to support the
University Musical Society and its tradition of bringing
the finest in performing arts to our area."
Erin R. Boeve
Sales Manager, Crowne Plaza The Crowne Plaza is a proud supporter and spon?sor of the University Musical Society. The dedica?tion to education through the arts is a priceless gift that continually enriches our community."
Fred Shell
Vice President, Corporate and Government Affairs, DTE Energy
"Plato said, 'Music and rhythm find their way into the secret places of the soul.' So do UMS programs. The DTE Energy Foundation salutes your efforts to enrich the quality of our lives through music."
Edward Surovell
President, Edward Surovell Realtors
"Edward Surovell Realtors and its 300 employees and sales associates are proud of our 20-year relationship with the University Musical Society. We honor its tradition of bringing the world's leading performers to the people of Michigan and setting a standard of artistic leadership recognized internationally."
Leo Legatski
President, Elastizell Corporation of America "UMS has survived the cancellations of September 2001, the renovation of Hill Auditorium, and budget cutbacks this past year. They need your support--more than ever-to continue their outstanding programming and educa?tional workshops."
Brian Campbell
President & CEO, Kaydon Corporation
"For over a century, the University Musical Society has been a national leader in arts presentation. Kaydon Corporation is honored to be counted among the supporters of this proud tradition of musical and artistic excellence."
Rick M. Robertson
Michigan District President, KeyBank "KeyBank is a proud supporter of the performing arts and we commend the University Musical Society on its contributions to the cultural excellence it brings to the community."
Albert M. Berriz
President and CEO, McKinley Associates, Inc. 'The success of UMS is based on a commitment to present a diverse mix of quality cultural performances. McKinley is proud to support this tradition of excellence which enhances and strengthens our community."
Erik H. Serr
Principal, Miller, Canfield, Paddock & Stone, P.L.C. "Miller Canfield is a proud supporter of the University Musical Society and its contribution to the culture of our community through its presentation of wonderful and diverse cultural events which contribute substan?tially to inspiration and enrichment of our community."
Robert J. Malek
Community President, National City Bank "A commitment to quality is the main reason we are a proud supporter of the University Musical Society's efforts to bring the finest artists and special events to our community."
Michael Quinn, FAIA President, Quinn EvansArchitects
"Each UMS season of world-class performers deserves the ' best, and it's been a pleasure to design to that end. Now it's a pleasure to return Hill to the arts-loving public -renewed for the 21st century."
Joe Sesi
President, Sesi Lincoln Mercury Volvo Mazda "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury Volvo Mazda team is delighted to sponsor such a fine organization."
Don Hawkins
Senior Vice President, Director of Community Affairs, TCFBank 'TCF Bank is pleased to join the University Musical Society to make the arts accessible to students of diverse back?grounds. How thrilling to see children's faces, experiencing their first performance as only UMS can present."
Sharon L. Beardman
Regional Vice President, TIAA-CREF Individual and Institutional Services, Inc.
'TIAA-CREF is proud to be associated with one of the best uni?versities in the country and the great tradition of the University Musical Society. We celebrate your efforts and appreciate your commitment to the performing arts community."
Thomas B. McMullen
President, Thomas B. McMullen Co., Inc. "I used to feel that a UM-Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational and artistic entertainment."
FOUNDATION AND GOVERNMENT SUPPORT UMS gratefully acknowledges the support of the following foundations and government agencies.
$100,000 and above Association of Performing Arts
Presenters Arts Partners Program Community Foundation for
Southeastern Michigan Doris Duke Charitable Foundation The Ford Foundation JazzNet Michigan Council for Arts and
Cultural Affairs The Power Foundation The Wallace Foundation The Whitney Fund
$50,000 99,999
National Endowment for the Arts
$10,000 49,999 Continental Harmony
$1,000 9,999
Akers Foundation
Altria Group, Inc.
Arts Midwest
Cairn Foundation
Heartland Arts Fund
The Lebensfeld Foundation
Martin Family Foundation
Maxine and Stuart Frankel Foundation
Mid-America Arts Alliance
The Molloy Foundation
Montague Foundation
Sams Ann Arbor Fund
Vibrant Ann Arbor Fund
of the University of Michigan
Prudence L. Rosenthal,
Chair Clayton Wilhite,
Vice-Chair Sally Stegeman DiCarlo,
Secretary Michael C. Allemang,
Kathleen Benton Charles W. Borgsdorf Kathleen G. Charla Mary Sue Coleman Hal Davis Aaron P. Dworkin George V. Fornero Maxine J. Frankel Patricia M. Garcia Debbie Herbert
Carl Herstein Toni Hoover Gloria James Kerry Marvin Krislov Barbara Meadows Lester P. Monts Alberto Nacif Jan Barney Newman Gilbert S. Omenn Randall Pittman
Philip H. Power Doug Rothwell Judy Dow Rumelhart Maya Savarino John J.H. Schwarz Erik H. Serr Cheryl L. Soper James C. Stanley Karen Wolff
(former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Lee C. Bollinger Janice Stevens Botsford Paul C. Boylan Carl A. Brauer Allen P. Britton William M. Broucek Barbara Everitt Bryant Letitia J. Byrd Leon S. Cohan Jill A. Corr Peter B. Corr Jon Cosovich Douglas Crary Ronald M. Cresswell
Robert F. DiRomualdo lames J. Duderstadt David Featherman Robben W. Fleming David J. Flowers Beverley B. Geltner William S. Hann Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Kay Hunt Alice Davis Irani Stuart A. Isaac Thomas E. Kauper David B. Kennedy Richard L. Kennedy Thomas C. Kinnear F. Bruce Kulp
Leo A. Legatski Earl Lewis Patrick B. Long Helen B. Love Judythe H. Maugh Paul W. McCracken Rebecca McGowan Shirley C. Neuman Len Niehoff Joe E. O'Neal John D. Paul John Psarouthakis Rossi Ray-Taylor Gail W. Rector John W. Reed Richard H. Rogel Ann Schriber Daniel H. Schurz Harold T. Shapiro
George I. Shirley John O. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smolder 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 Baetzet Paulett M. Banks Mill] Baranowski Lois Baru Kathleen Benton Mimi Bogdasarian Jennifer Boyce Mary Breakey Jeannine Buchanan
Victoria Buckler Heather Byrne Laura Caplan Cheryl Cassidy Nita Cox Norma Davis Lori Director H. Michael Endres Nancy Ferrario Sara B. Frank Anne Glendon Alvia Golden Ingrid Gregg Kathy Hentschel Phyllis Herzig
Meg Kennedy Shaw Anne Kloack Jean Kluge Kathy LaDronka Beth Lavoie Jill Lippman Stephanie Lord Judy Mac Esther Martin Mary Matthews Joann McNamara Jeanne Merlanti Candice Mitchell Bob Morris Bonnie Paxtion
Danica Peterson Lisa Psarouthakis Wendy Moy Ransom Theresa Ann Reid Swanna Saltiel Penny Schreiber Sue Schroeder Aliza Shevrin Alida Silverman 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
Work-Study Pearl Alexander Kara Alfano Nicole Blair Stephan Bobalik Bridget Briley Patrick Chu Katie Conrad Elizabeth Crabtree Bethany Heinrich Rachel Hooey Cortney Kellogg Lena Kim Leslie Leung Aubrey I . p.u in Ryan Lundin Paul Bruce Ly Natalie Malotke Melissa McGivern Erika Nelson Nadia Pessoa Fred Peterbark Omari Rush Jennie Salmon Christy Thomas Sean Walls Amy Weatherford Christine Won Chun
Noelle Butzlaff lia 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
Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, Power Center, Hill Auditorium, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Rackham Auditorium, and Power Center please call University Productions at 734.763.5213. For items lost at St. Francis of Assisi Catholic Church, Michigan Theater, or EMU Convocation Center, please call the UMS Production Office at 734.615.1444.
Please allow plenty of time for parking as the campus area may be congested. Parking is avail?able in the Liberty Square (formerly Tally Hall), Church Street, Maynard Street, Thayer Street, Fletcher Street, and Fourth Avenue structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. UMS members at the Principal level and above receive 10 com?plimentary parking passes for use at the Thayer Street or Fletcher Street structures in Ann Arbor.
UMS offers valet parking service for Hill Auditorium performances in the 0304 Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before
each performance. There is a $10 fee for this service. UMS members at the Producer level and above are invited to use this service at no charge.
For up-to-date parking information, please visit the UMS website at
Refreshments are served in the lobby during intermissions of events in the Power Center and in the lower lobby of Hill Auditorium, and are available in the Michigan Theater. Refresh?ments are not allowed in the seating areas.
Smoking Areas
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Latecomers will be asked to wait in the lobby until a predetermined time in the program, when they will be seated by ushers. UMS staff works with the artists to determine when late seating will be the least disruptive to the artists and other concertgoers.
T n an effort to help reduce distracting X noises and enhance the theater?going experience, Pfizer Inc is providing complimentary HallsO Mentho LyptusO cough suppressant tablets to patrons attending UMS performances through?out the 0304 season.
If you are unable to attend a concert for which you have purchased tickets, you may turn in your tickets up to 15 minutes before curtain time by calling the Ticket Office. Refunds are not available; however, you will be given a receipt for an income tax deduction. Please note that ticket returns do not count toward UMS membership.
Subscription Ticket Exchanges
Subscribers may exchange tickets free of charge. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance. You may fax a photo?copy of your torn tickets to 734.647.1171.
Single Ticket Exchanges
Non-subscribers may exchange tickets for a $5 per ticket exchange fee. Exchanged tickets must be received by the Ticket Office (by mail or in per?son) at least 48 hours prior to the performance. You may fax a photocopy of your torn tickets to 734.647.1171. Lost or misplaced tickets cannot be exchanged.
Group Tickets
When you bring your group to a UMS event, you will enjoy the best the performing arts has to offer. You can treat 10 or more friends, co-workers, and family members to an unforgettable performance of live music, dance, or theater. Whether you have a group of students, a business gathering, a college reunion, or just you and a group of friends, the UMS Group Sales Office can help you plan the perfect outing. You can make it formal or casual, a special celebration, or just friends enjoying each other's company. The many advantages to booking as a group include:
reserving tickets before they go on sale to the general public
discounts of 15-25 for most performances
accessibility accommodations
no-risk reservations that are fully refundable up to 14 days before the performance
1-3 complimentary tickets for the group organizer (depending on size of group). Comp tickets are not offered for performances with no group discount.
For information, contact the UMS Group Sales Hotline at 734.763.3100 or
Discounted Student Tickets
Did you know Since 1990, students have pur?chased over 144,000 tickets and have saved more than $2 million through special UMS student programs! UMS's commitment to affordable stu?dent tickets has permitted thousands to see some of the most important, impressive and influential artists from around the world. For the 0304 sea?son, students may purchase discounted tickets to UMS events in three ways:
1. At the beginning of each semester, UMS holds a Half-Price Student Ticket Sale, at which students can purchase tickets for any event for 50 off the published price. This extremely popular event draws hundreds of students each year -last year, students saved over $100,000 by purchasing tickets at the Half-Price Student Ticket Sale!
2. Students may purchase up to two $10 Rush Tickets the day of the performance at the UMS Ticket Office, or 50 off at the door, subject to availability.
3. Students may purchase the UMS Student Card, a pre-paid punch card that allows students to pay up front ($50 for 5 punches, SI00 for 11 punches) and use the card to purchase Rush Tickets during the 0304 season. Incoming freshman and transfer students can purchase the UMS Card with the added perk of buying Rush Tickets two weeks in advance, subject to availability.
Gift Certificates
Looking for that perfect meaningful gift that speaks vol?umes about your taste Tired of giving
flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for every event throughout our sea?son, wrapped and delivered with your personal message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a house-warming present when new friends move to town.
New This Year! UMS Gift Certificates are valid for 12 months from the date of purchase and do not expire at the end of the season.
Join the thousands of savvy people who log onto each month!
Why should you log onto
In September, UMS launched a new web site, with more information that you can use:
Tickets. Forget about waiting in long ticket lines. Order your tickets to UMS performances online! You can find your specific seat location before you buy.
UMS E-Mail Club. You can join UMS's E-Mail Club, with information delivered directly to your inbox. Best of all, you can customize your account so that you only receive information you desire -including weekly e-mails, genre-specific event notices, encore information, education events, and more! Log on today!
Maps, Directions, and Parking. Helps you get where you're going...including insider parking tips!
Education Events. Up-to-date information detailing educational opportunities surround?ing each performance.
Online Event Calendar. Lists all UMS perform?ances, educational events, and other activities at a glance.
Program Notes. Your online source for per?formance programs and in-depth artist infor?mation. Learn about the artists and repertoire before you enter the performance!
Sound and Video Clips. Listen to recordings from UMS performers online before the concert.
Development Events. Current information on Special Events and activities outside the concert hall. Make a tax-deductible donation online!
UMS Choral Union. Audition information and performance schedules for the UMS Choral Union.
Photo Gallery. Photos from recent UMS events and related activities.
Student Ticket Information. Current info on rush tickets, special student sales, and other opportunities for U-M students.
Through an uncompromising commit?ment to Presentation, Education, and the Creation of new work, the University Musical Society (UMS) serves Michigan audiences by bring?ing to our community an ongoing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 125 years, strong leadership coupled with a devoted com?munity has placed UMS in a league of interna?tionally-recognized performing arts presenters. Indeed, Musical America selected UMS as one of the five most influential arts presenters in the United States in 1999. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, balanced by a commitment to dynamic and creative visions of where the performing arts will take us in this millennium. Every day UMS seeks to cultivate, nurture, and stimulate public interest and partic?ipation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Simmons Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first perform?ance of Handel's Messiah was in December of
1879, and this glorious oratorio has since been performed by the UMS Choral Union annually.
As a great number of Choral Union members also belonged to the University, the University Musical Society was established in December
1880. UMS included the Choral Union and
University Orchestra, and throughout the year presented a series of concerts featuring local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts--internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and
Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
theater. Through educational endeavors, com?missioning of new works, youth programs, artist residencies and other collaborative projects, UMS has maintained its reputation for quality, artistic distinction, and innovation. UMS now hosts approximately 90 performances and more than 150 educational events each season. UMS has flourished with the support of a generous community that this year gathers in 11 diverse venues in Ann Arbor and Ypsilanti.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organi?zation that supports itself from ticket sales, corporate and individual contributions, foun?dation and government grants, special project support from U-M, and endowment income.
Throughout its 125-year history, the UMS Choral Union has performed with many of the world's distin?guished orchestras and conductors. Based in Ann Arbor under the aegis of the University Musical Society, the 150-voice Choral Union is known for its definitive per?formances of large-scale works for chorus and orchestra. Eleven years ago, the Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra (DSO). Among other works, the cho?rus has joined the DSO in Orchestra Hall and at Meadow Brook for subscription performanc?es of Stravinsky's Symphony of Psalms, John Adams' Harmonium, Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe and Brahms' Ein deutsches Requiem,
Participation in the Choral Union remains open to all by audition. Members share one common passion -a love of the choral art.
and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
Led by interim conductor Jerry Blackstone, the Choral Union opened its current season with performances of Verdi's Requiem with the DSO in September. In December the chorus presented its 125th series of annual perform?ances of Handel's Messiah. The Choral Union's season will conclude with a performance of William Bolcom's Song of Innocence and of Experience in the newly renovated Hill Auditorium in April 2004.
The Choral Union's 0203 season included performances of Mahler's Symphony No. 3 with the DSO, followed by a performance of Beethoven's Symphony No. 9 with the Ann Arbor Symphony Orchestra. Choral Union's season concluded in March with a pair of mag?nificent French choral works: Honegger's King David, accompanied by members of the Greater Lansing Symphony Orchestra, and Durufle's mystical Requiem, accompanied by international-class organist Janice Beck.
The Choral Union is a talent pool capable of performing choral music of every genre. In addition to choral masterworks, the Choral Union has performed Gershwin's Porgy and Bess with the Birmingham-Bloomfield Symphony Orchestra, and other musical theater favorites with Erich Kunzel and the DSO at Meadow Brook. The 72-voice Concert Choir drawn from the full chorus has performed Durufle's Requiem, the Langlais Messe Solennelle, and the Mozart Requiem. Recent programs by the Choral Union's 36-voice Chamber Chorale include "Creativity in Later Life," a program of late works by nine com?posers of all historical periods; a joint appear?ance with the Gabrieli Consort and Players; a performance of Bach's Magnificat, and a recent joint performance with the Tallis Scholars.
Participation in the Choral Union remains open to all by audition. Composed of singers from Michigan, Ohio and Canada, members of the Choral Union share one common passion -a love of the choral art. For more informa?tion about membership in the UMS Choral Union, e-mail or call 734.763.8997.
VENUES Hill Auditorium
After an 18-month $38.6-million dollar reno?vation, which began on May 13, 2002, over?seen by Albert Kahn Associates, Inc. and historic preservation architects Quinn EvansArchitects, Hill Auditorium has re-opened. Originally built in 1913, renovations have updated Hill's infra?structure and restored much of the interior to its original splendor. Exterior renovations include the reworking of brick paving and stone retaining wall areas, restoration of the south entrance plaza, the reworking of the west barri?er-free ramp and loading dock, and improve?ments to landscaping.
Interior renovations included the demolition of lower-level spaces to ready the area for future improvements, the creation of additional rest-rooms, the improvement of barrier-free circula?tion by providing elevators and an addition with ramps, the replacement of seating to increase patron comfort, introduction of barrier-free seating and stage access, the replacement of the?atrical performance and audio-visual systems, and the complete replacement of mechanical and electrical infrastructure systems for heating, ventilation, and air conditioning.
Re-opened in January 2004, Hill Auditorium seats 3,538.
Power Center
The Power Center for the Performing Arts was bred from a realization that the University of Michigan had no adequate proscenium-stage theater for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre too small. The Power Center was built to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities was mentioned "a new the?ater." The Powers were immediately interested, realizing that state and federal government were
unlikely to provide financial support for the construction of a new theater.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieves the seemingly contradictory combination of providing a soaring interior space with a unique level of intimacy. Architectural features include two large spiral staircases leading from the orchestra level to the balcony and the well-known mirrored glass panels on the exterior. The lobby of the Power Center features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes by Pablo Picasso.
The Power Center seats approximately 1,400 people.
Rackham Auditorium
Fifty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, Newberry Hall and the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strongly in the importance of the study of human history and human thought, died in 1933, his will established the Horace H. Rackham and Mary A. Rackham Fund, which subsequently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School which houses Rackham Auditorium, but also to establish a $4 million endowment to further the development of graduate studies. Even more remarkable than the size of the gift, which is still considered one of the most ambi?tious ever given to higher-level education, is the fact that neither of the Rackhams ever attended the University of Michigan.
Designed by architect William Kapp and architectural sculptor Corrado Parducci, Rackham Auditorium was quickly recognized as the ideal venue for chamber music. In 1941, UMS presented its first chamber music festival with the Musical Art Quartet of New York per?forming three concerts in as many days, and the current Chamber Arts Series was born in 1963.
Chamber music audiences and artists alike appreciate the intimacy, beauty and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
Michigan Theater
The historic Michigan Theater opened January 5,1928 at the peak of the vaudeville movie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ. At its opening the theater was acclaimed as the best of its kind in the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation. With broad community support, the Foundation has raised over $8 million to restore and improve the Michigan Theater. The beautiful interior of the theater was restored in 1986. In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addition, which also included expanded restroom facili?ties for the historic theater. The gracious facade and entry vestibule was restored in 2000.
St. Francis of Assisi Catholic Church
In June 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and on March 19, 1969 John Cardinal Dearden dedi?cated the new St. Francis of Assisi Church. Father James McDougal was appointed pastor in 1997.
St. Francis of Assisi Catholic Church has grown from 248 families when it first started to more than 2,800 today. The present church seats 900 people and has ample free parking. In 1994 St. Francis purchased a splendid three manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec.
Through dedication, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and contemplation of sacred a cap-pella choral music and early music ensembles.
EMU Convocation Center
An exciting new era in EMU athletics was set in motion in the fall of 1998 with the opening of the $29.6-million Convocation Center. The Barton-Malow Company along with the architectural firm Rossetti Associates of BirminghamThe Argos Group began construction on the campus facility in 1996. The Convocation Center opened its doors on December 9, 1998 with a seating capacity of 9,510 for center-stage entertainment events. UMS has presented special dance parties at the EMU Convocation Center nearly every April since 1998, and this year's popular concert fea?tures Orchestra Baobab on Saturday, April 17.
Burton Memorial Tower
Seen from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor land?marks. Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet.
UMS administrative offices returned to their familiar home at Burton Memorial Tower in August 2001, following a year of significant renovations to the University landmark.
This current season marks the third year of the merger of the UMS Ticket Office and the University Productions Ticket Office. Due to this new partnership, the UMS walk-up ticket window is now conveniently located at the Michigan League Ticket Office, on the north end of the Michigan League building at 911 North University Avenue. The UMS Ticket Office phone number and mailing address remains the same.
i K of the University of Michigan, Ann Arbor
Winter 2004
125th Annual Season
Event Program Book
General Information
Children of all ages are welcome at UMS Family and Youth Performances. Parents are encour?aged not to bring children under the age of 3 to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a prede?termined time in the program.
Cameras and recording equipment are prohibited in the auditorium.
If you have a question, ask your usher. They are here to help.
Please take this opportunity to exit the "infor?mation superhighway" while you are enjoying a UMS event: electronic-beeping or chiming dig?ital watches, ringing cellular phones, beeping pagers and clicking portable computers should be turned off during performances. In case of emergency, advise your paging service of audi?torium and seat location in Ann Arbor venues, and ask them to call University Security at 734.763.1131.
In the interests of saving both dollars and the environment, please retain this program book and return with it when you attend other UMS performances included in this edition or return it to your usher when leaving the venue. Thank you for your help.
Friday, April 16 through Saturday, April 24, 2004
Girls Choir of Harlem 3
Friday, April 16, 8:00 pm Michigan Theater
Shoghaken Ensemble 7
Sunday, April 18, 6:00 pm Rackham Auditorium
Karita Mattila 11
Thursday, April 22, 8:00 pm Hill Auditorium
Cassandra Wilson and 19
Peter Cincotti
Friday, April 23, 8:00 pm Hill Auditorium
Rossetti String Quartet with 23
Jean-Yves Thibaudet
Saturday, April 24, 8:00 pm Rackham Auditorium
and Bank One
Girls Choir of Harlem
Priscilla Baskerville,Director
Friday Evening, April 16, 2004 at 8:00 Michigan Theater Ann Arbor
Ernani Aguiar Salmo 150
Baldassare Galuppi Dixit Dominus
Four French Songs
Pierre Passereau II est bel et bon
Jacques Offenbach Barcarolle
Leo Delibes, Arr. Nunez Dome Epais
Claude Debussy Salut Printemps
Arr. Hall Johnson and Dorothy Rudd Moore Ride On King Jesus
Arr. William L Dawson Ain't That Good News
Arr. Jester Hairston Elijah Rock
Arr. Max and Beatrice Krone Ride the Chariot
An. Joseph Joubert
Traditional, An. Moses Hogan
Dottie Rambo, An. Baskerville
Richard Smallwood
Arr. M. Roger Holland
Girls! Girls! Girls!
A medley of songs made famous by female performers Boogie Woogie Bugle Boy My Guy Soldier Boy
When Will I See You Again I Will Survive Boogie Oogie Oogie Girls Just Wanna Have Fun I Wanna Dance With Somebody Turn The Beat Around Do The Conga Crazy In Love
A Gospel Amen Music Down In My Soul
He Looked Beyond My Faults I Will Sing Praises Sweeping Through The City
65th Performance of the 125th Annual Season
10th Annual
African American Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by Bank One.
Additional support provided by media sponsors Michigan Chronicle and Michigan Front Page.
This performance is made possible, in part, with public funding from the National Endowment of the Arts, the New York State Council of the Arts, and the New York City Department of Cultural Affairs.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Girls Choir of Harlem's 36th Anniversary Season Outreach and Replication activities are made possible, in part, by the National Endowment of the Arts Leadership Initiatives for the Millennium.
Girls Choir of Harlem's blazers courtesy of Saks Fifth Avenue. Girls Choir of Harlem's sweaters courtesy of Michael Simon.
Girls Choir of Harlem appears by arrangement with Columbia Artists Management, LLC.
Large print programs are available upon request.
Priscilla Baskerville, a versatile dra?matic soprano, has an ever-expanding repertoire that reaches from Wagner to Puccini. She has appeared in lead?ing opera houses in North America including the Metropolitan Opera, where she has performed the title roles in Verdi's Aida, Gershwin's Porgy and Bess, and Mussetta in Puccini's La Boheme. Among Ms. Baskerville's latest engagements were concerts with the Napa Valley Symphony, Carnegie Hall's Harlem Renaissance Jazz Orchestra, conducted by Jon Faddis, the North Carolina Symphony, the San Francisco Symphony, and the Skitch Henderson Orchestra, as well as a series of recitals.
Ms. Baskerville has performed the role of Bess in George Gershwin's Porgy and Bess with numerous companies but most recently with Opera Colorado and an extensive European tour produced by Bill Barkheimer. In concert version, Ms. Baskerville has performed with the Knoxville, Phoenix, San Antonio and Houston Symphonies as well as the Hollywood Bowl Orchestra under Maestro John Mauceri. She also had the honor of participating in the Anthony Davis opera, Amistad, commissioned by the Chicago Lyric Opera, where she per?formed the role of Goddess of the Water. Ms. Baskerville can also be seen singing the hauntingly beautiful "Creole Love Call" of Duke Ellington in the film The Cotton Club. She can also be heard on the original cast recordings of Broadway's Sophisticated Ladies, Davis' The life and Times of Malcolm X, and The Cotton Club movie soundtrack.
Lately, Ms. Baskerville has combined her active singing career with teaching. In the New York public school system, she has been suc?cessful in creating choruses that have been wor?thy of significant public recognition. Ms. Baskerville also directs the Youth Choir for the National Association of Negro Musicians as well as her church choir.
Tonight's performance marks Priscilla Baskerville's UMS debut.
The 50-voiced performing choir repre?senting the Girls Choir of Harlem made its debut at Alice Tully Hall at Lincoln Center in November 1997. The ensemble garnered critical acclaim and strong press coverage after their debut, includ?ing a featured segment on CBS's 60 Minutes as well as a front-page photo in the New York Times.
Since then, The Girls Choir of Harlem has appeared on ABC's Good Morning America and Oprah's Angel Network, and has performed at colleges and universities throughout the US. The ensemble has also appeared at a number of major concert halls and theaters, including the Apollo Theater in Harlem, the New Jersey Performing Arts Center, on Broadway with The Lion King's Tsiddi Le Loka in a gala celebration called Nothing Like a Dame, and at a Lincoln Center's all-star salute to Lena Home. The Girls Choir of Harlem makes frequent local appearances for such organization as Americans for the Arts, the Federal Law Enforcement Foundation, Opus 118, the Women's National Basketball Association (WNBA), the Colgate Women's Games, and the Advertising Council.
In 1999, The Girls Choir of Harlem was fea?tured in Jessye Norman's annual holiday dinner program for the second consecutive year. That same year, the Girls Choir appeared on Queen Latifah's Christmas for Kids show broadcast in New York City on Christmas Eve. The ensemble has presented highly acclaimed Christmas con?certs for the past three years at Paine Webber. On September 23, 2001, the Girls and Boys Choir of Harlem were among the performers at Prayer for America, a live worldwide broad?cast in memory of those who perished in the September 1 lth terrorist attacks that month. In May 2002, the Girls Choir's 10-day, seven-city tour of California garnered standing ova?tions and this observation from the Marin Independent Journal: "The evening turned out like a major cultural event, a night that cele?brated diversity...a consummate production worthy of any professional troupe."
Tonight's performance marks the Girls Choir of Harlem's UMS debut.
Girls Choir of Harlem
Dr. Walter J. Turnbull, FounderDirector,
The Boys Choir of Harlem, Inc. Priscilla Baskerville, Director, The Girls Choir of Harlem
Touring Staff
William Byrd, Counselor
Hilda C. Cabrera, Company Manager
Leslie Dockery, Choreographer
Willard Dyson, Drummer
Todd Hutchinson, Sound Engineer
Alison King, Assistant Wardrobe Mistress
Edward Ladner, Driver
Sajda Musawir Ladner, Wardrobe Mistress
Walter Rutledge, Stage ManagerProduction Manager
Jahmel Terrell, Assistant Stage Manager
Jennifer Vincent, Bassist
Aleeza Meir, Pianist
Ron Metcalf, Pianist
Please visit the Girls and Boys Choirs of Harlem on the Internet at
Shoghaken Ensemble
Gevorg Dabaghyan, Duduk Karine Hovhannisyan, Kanon
Tigran Ambaryan, Kamancha Kamo Khatchaturian, Dhol
Aleksan Harutyunyan, Voice Grigor Takushian, Duduk
Hasmik Harutyunyan, Voice Levon Tevanian, Blul, Shvi, Tav Shvi, Pku
66th Performance of the 125th Annual Season
Photography or recording devices are prohibited.
Sunday Evening, April 18, 2004 at 6:00 Rackham Auditorium ? Ann Arbor
Traditional Music of Armenia
Tsamerov Par
Shatakhi Dzernapar
Karabakhi Horovel
Zangezuri Par
Hovern Enkan
Kani Voor Jan Im
Saren Gookayi
Armenak Ghazariani Yerk
Yes oo Yars
Karabakhi Harsanekan Par
Mokats Mirza
Naz Par
Sev Moot Amber
Aparani Par
Im Khorodik Yar
Tuy-tui and Ghazakhi
Antarayin Tsayner
Zurni Trngi
Tnen liar and Jakhraki Vod
Msho Geghen
Lelum Le Le and Yarkhooshta
Support provided by media sponsor Metro Times.
Special thanks to Kevork Bardakjian, the U-M International Institute, and the U-M Armenian Studies Program for their involvement in this event.
The Shoghaken Ensemble appears by arrangement with Traditional Crossroads. Large print programs are available upon request.
Armenian folk music is one of the world's richest musical traditions, burgeoning with an extraordinary array of melodies and genres. Since the 1880s, musicologists have trav?eled to remote villages in Anatolia and the Caucasus collecting Armenian songs and dances. Currently there are over 30,000 pieces catalogued in various archives. Tonight's pro?gram, performed by Armenia's preeminent tra?ditional music ensemble, offers a rare chance to witness the energy and variety of this music. Popular dances and troubadour melodies are interspersed with more unusual emigrant and work songs, medieval epic verse, mournful wedding dances (a peculiarly Armenian oxy?moron), and exquisite lullabies.
Speaking their own Indo-European language and following their own religious traditions, the Armenians found themselves sandwiched between the Graeco-Roman and Persian empires in the classical period and the Ottoman and Russian empires in the modern period. For years a valued trade route on the Silk Road, Armenia was continually re-conquered, divid?ed, governed, and taxed by invaders. Occupiers and merchants introduced new customs, and Armenians were adept at assimilating and transforming neighboring traditions, from Persian Zoroastrianism to Roman bureaucracy to Central Asian and Middle Eastern musical instruments. Armenians' cultural autonomy in the region was buttressed by theology and liter?acy; they adopted Christianity in 301 CE and an alphabet in 404, leading to an extraordinary monastic culture that churned out countless manuscripts, many gloriously illuminated, which preserved both the classical heritage and a received Armenian tradition. Meanwhile Armenia's remarkably stable feudal courts and large towns and cities supported professional bardic ashughs (troubadours), who prospered especially between the 17th and 19th centuries traveling between towns singing and collecting traditional Armenian music.
Armenian folk music traditionally accompa?nied everything from family celebrations to field work to funerals. Like much Middle
Eastern music, Armenian music is modal, based on an untempered scale instead of an octave with major or minor notes. Still, within the dif?ferent regions, distinct music styles and instru?ments evolved corresponding to the geographi?cal and political division of western and eastern Armenia and to the area's more than 60 dialects. Such musical differences solidified in the wake of the genocide of 1915, in which over one million Armenians perished and the remainder fled either to the west or eastward to what would become the Soviet republic of Armenia. The Shoghaken Ensemble, the con?summate representative of the eastern tradition, combines the musical virtuosity inherited from the Soviet years with a new attention to the unscripted forms and styles of lost songs and dances, from both west and east, a characteris?tic that has become a hallmark of post-Soviet Armenian culture.
Tsamerov Par (Braid Dance): A dance in the "urban folk" genre written by 20th-century female composer Dzovak Hambartsumyan in which young female dancers twirl their long braids.
Janoy (Oh, My Dear): A wedding song tradition?ally sung by family elders as they moved in a half-circle in a quiet, solemn dance called a govend.
Shatakhi Dzernapar (Hand Dance of Shatakh): A mournful female solo wedding dance empha?sizing graceful hand movements. Traditionally danced as part of the ceremony of taking a bride from her family home.
Karabakhi Horovel (Horovel of Karabakh): A horovel is a work song traditionally sung in a call-and-response form while ploughing, its beats sometimes corresponding to the time it takes to plough a length of field. Karabakh is an Armenian enclave surrounded by modern Azerbaijan and is historically one of the richest Armenian cultural regions.
Zangezuri Par: A women's dance from the mountainous southern Armenian region of Zangezur (bordering Azerbaijan) in which
dancers mime the gestures of various female tasks, such as rocking a cradle, sewing, or knitting.
Gorani: Pagan in origin and widespread in Anatolian Armenian villages, Gorani songs tell the stories of emigrants forced to leave their homes.
Hovern Enkan (Coolness has Descended): A traditional duduk folk melody.
Kan Voor Jan Im (As Long as I Am Alive): A song by the great 18th-century Armenian ashugh Sayat Nova. Featuring the kamancha, an instrument long associated with the lone travel?ing troubadour.
Shalakho: A male solo dance featuring character?istically Caucasian fast footwork, abrupt turns, high kicks, and deep knee bends. Internationally renowned composer Aram Khachaturian includ?ed the melody in his ballet Gayane. Often played as a stricdy instrumental piece.
Ororotsayin (Lullaby): A medley of verses from four lullabies -Pootanya Ororotsayin (Lullaby of Pontus), from the ancient province of Pontus on the Black Sea; Taroni Heyroor (Lullaby of Taron), from the town of Mush, historical Taron region; Roori Roori (Rock, Rock); Nani Bala (Sleep, My Child), from the town of Van.
Saren Gookayi (I Was Coming From the Mountain): A lyric song by the blind ashugh Sheram (1857-1938), the most famous modern musician in the Armenian troubadour tradition.
Armenak Ghazariani Yerk (Armenak Ghazarian's Song): A patriotic song from the turn of the 20th century written by Ghazarian, a leader in the Armenians' struggle for freedom from Ottoman rule.
Yes oo Yars (My Love and I): A spry line-dance called the ververi (literally "up"), characterized by repeated jumps, in which dancers would break into song.
Karabakhi Harsanekan Par: A wedding dance from Karabakh, its urgent wail, heard hundreds of yards away, is a traditional opener and closer of ceremonies.
Mokats Mirza (The Lord of Moks): An epic song about the death of the Lord of Moks, a province whose people often struggled against various nomadic tribes. The Lord of Jizre invites the Lord of Moks to visit, only to poison him.
Naz Par: A woman's solo improvisational dance featuring delicate arm and hand movements and playful glances (the word naz suggests both grace and coyness).
Sev Moot Amber (Dark Black Clouds): A folk melody sung to the verses of poet Avetik Isahakian, who portrays Mt. Aragadz (modern Armenia's highest peak) as a symbol of the grief and longing of Armenians.
Aparani Par: A traditional harvesting dance from the Aparan region, north of Yerevan.
Im Khorodik Yar (My Beautiful Love): A folk lyric from Sassun in eastern Anatolia.
Tuy-tuy and Ghazakhi Par: Dance melodies from the duduk repertoire. The region of Gazakh lies at the juncture of Azerbaijan, Armenia, and Georgia.
Antarayin Tsayner (Sounds of the Forest): A modern showpiece for the shepherd's flute (sivi), imitating with remarkable fidelity the forest cries and singing of animals and birds, especially the nightingale.
Ororotsayin: Two more lullabies, Taroni Oror (Lullaby of Taron) and Oror Jojk Em Kabel (I Bind the Cradle), from the eastern Anatolian village of Agn (near Kharpert). A jojk is a spe?cial kind of cradle made of woven branches and tied between trees.
Zurni Trngi: A Caucasian men's solo or pair dance with intricate footwork and jumps. Usually performed on the zurna, as the title suggests.
Tnen liar (You Left Home) and Jakhraki Vod (Leg of the Spinning Wheel): Traditional milling and spinning work songs.
Msho Geghen (From a Village of Mush): A folk song from the Mush plains, said to hold a thou?sand Armenian villages: "From a village of Mush two brides emerge from a river Shivering and shining like pomegranate seeds Two rivers pass through Mush, Meghraget, and Mourat, And they flow to the river Yeprat."
Lelum Le Le: Lyrics of a traditional song-dance (paryerg) in which line-dancers sing in a call-and-response form, followed by Yarkhooshta, a male military clapping dance. The men circle separately and then clasp hands together in an outstretched arc, the sound of their hands clap?ping signifying weapons being exchanged and the popping of gunpowder.
Program notes by Cynthia Rogers.
Founded by Gevorg Dabaghyan in 1991, The Shoghaken Ensemble has become one of the most respected tra?ditional music ensembles in Armenia. Dedicated to rediscovering and con?tinuing Armenia's extraordinary folk music his?tory, the group presents music from a broad geographical and historical span using tradi?tional instruments and song styles. The ensem?ble has performed extensively in Europe, Armenia, and throughout the former Soviet Union. The group recently performed on the soundtrack of Atom Egoyan's movie Ararat. In the summer of 2002 the Shoghaken Ensemble performed at the Smithsonian in Washington, DC, as part of the Silk Road festival.
In the past two years, members of The Shoghaken Ensemble have performed alongside
The Shoghaken Ensemble
Yo-Yo Ma and his Silk Road Project chamber ensemble in concerts and recordings. A much sought-after collaborator, Gevorg Dabaghyan (dttdnk) has recently performed in concerts with violinist Gidon Kremer and saxophonist Jan Garbarek.
Please visit for further biogra?phies on the individual members of The Shoghaken Ensemble and for a complete description of tonight's instrumentation.
This evening's performance marks The Shoghaken Ensemble's VMS debut.
The 2004 Shoghaken Tour is produced by Direct Cultural Access Inc. with the following sponsor support:
Mr. and Mrs. Nubar and Anna Afeyan Foundation, Armenian American Cultural Assoc, Mr. and Mrs. Varujan and Linda Arslanyan, Mr. and Mrs. Edward and Eleonore Astanian Foundation, Mr. and Mrs. Nishan Atinizian, Mr. and Mrs. Kcvork Atinizian, Mr. and Mrs Vartkcss and Rita Balian, Mr. and Mrs. Jim and Marta Batmasian, Cafesjian Family Foundation, Cannery Row Company, Mr. and Mrs. Vahan and Anoush Chamlian, Mr. Haig Dadourian and the United Armenian Charities, Dr. Raymond Damadian, Dickranian Family Trust Mrs. Eleanor Dickranian, Mrs. Laurel Karabian, Mrs. Cynthia Norian, Dr. and Mrs. Heratch and Sonya Doumanian, Mr. Robert Fesjian and the Fcsjian Foundation, Mrs. Siran Gabrellian, Dr. Arnold and Mrs. Diannc Gazarian and The Bcrberian and Gazarian Family Foundation, Mr. and Mrs. Hirant and Ruby Gulian, Hagopian Family Foundation, Mr. and Mrs. Robert Hekemian Jr. and Hckemian Family Foundation, Mrs. Ann Hintli,m, Mr. and Mrs. Jirair S. and Elizabeth Hovnanian Family Foundation, Mr. and Mrs. Kcvorg and Sirvart Hovnanian, Mr. and Mrs. Vahag and Hasmik Hovnanian, Armen and Bcrsabc Jerejian Foundation, Mr and Mrs. Edward Kashian, Mr. Haig Kelcgian and Bicycle Casino, Mr. Luther Khachigian and Cal Western Nurseries, Garabed and Aghavni Kouzoujian Benevolent Foundation, Mrs. Barbara Lorincie, Megerian Rugs, Mr. and Mrs. Cyrus Mclikian, John Mirak Foundation, Ms. Carolyn Mugar and the Azadoutioun Foundation, K. George and Carolann S. Najarian Charitable Foundation Inc., Mr. and Mrs. Martin and Anig Nalbandian, Mr. and Mrs. Nazar and Artemis Nazarian, Jcrair Nishanian Foundation, Inc., Mr. Edward Paloyan, Pchlivanian Family Foundation, Leon S. Peters Foundation, Philibosian Foundation, Mr. and Mrs. Stephen and Elizabeth Sabounjian Foundation, Mr. Arsen Sanjian, Mrs. Louise Simone and the Manoogian Simone Foundation, The Starr Foundation, Mr. and Mrs. Arshag and Takouhi Tarpinian, Mr. Tom Tarzian, Mr. and Mrs. Bruce and Katherinc Tatarian, Mr. and Mrs. Jack Tcnbekjian, Mr. and Mrs. Harry Toufayan, Janet and Agnes Saghatelian of Valley Lavosh Baking Co., and Mr. and Mrs. George and Margaret Yacoubian.
Karita Mattila
Martin Katz, Piano
Thursday Evening, April 22, 2004 at 8:00 Hill Auditorium Ann Arbor
Henri Duparc
L'invitation au voyage
Romance de Mignon
Au pays ou se fait la guerre
Chanson triste
Jean Sibelius
Illalle (To Evening), Op. 17, No. 6
VSren flyktar hastigt (Spring is Flying), Op. 13, No. 4
Norden (The North), Op. 90, No. 1
Flickan kom ifran sin alsklings mote (The Girl Returned
from Meeting Her Lover), Op. 37, No. 5 En slanda (A Dragonfly), Op. 17, No. 5 Var det en drom (Was It a Dream), Op. 37, No. 4
Sergei Rachmaninoff
Oh, do not sing to me, fair maiden, Op. 4, No. 4
Twilight, Op. 21, No. 3
Loneliness (Fragment from De Musset) Op. 21, No. 6
The Muse, Op. 34, No. 1
What happiness, Op. 34, No. 12
Antonin Dvorak
Ciganske melodie (Gypsy Songs), Op. 55
Ma pisen (My Song)
Aj! Kterak trojhranec muj (Ay! How Sweetly)
A les je tichy (And the Woods Are Silent All Around)
Struna naladena (The Strings Are Tuned)
Siroke rukavy a siroke gate (Wide Sleeves and Wide Trousers)
Kdyz mne stara matka zpivat' ucivala (Songs My Mother
Taught Me) Dejte klec jestf abu (Offer a Hawk a Cage of Purest Gold)
The audience is politely asked to withhold applause until the end of each group of songs. Please do not applaud after the individual songs within each group.
67th 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.
Special thanks to Randall and Mary Pittman for their continued and generous support of the University Musical Society, both personally and through Forest Health Services.
Additional support provided by media sponsors WGTE 91.3 FM and Observer & Eccentric Newspapers.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for tonight's concert.
The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
Karita Mattila appears by arrangement with IMG Artists, New York, New York.
Large print programs are available upon request.
Forest Health Services presents the 125th Annual Choral Union Series.
Any vocal recital that does not contain reper?toire in German or Italian must be considered unusual. Such a wealth of literature exists in these two languages that it is actually rather dif?ficult to avoid programming such songs; one could even go so far as to claim that these two pillars of the vocal repertoire are rarely absent from any international artist's recitals. And yet with Karita Mattila, the unusual has become the norm. As her biography in this program will attest, she is not content to be categorized as an Italianate heroine, nor a German one; neither is she to be thought of primarily for Mozart and Beethoven, or Janacek, Tchaikovsky, or Dvorak -although all of these masters figure promi?nently in her engagements year after year. Such is the richly diverse profile of Karita Mattila, and tonight's program, with its heavy emphasis on the North, certainly demonstrates such diversity.
Probably no composer has achieved a perma?nent place in any repertoire based on such a small quantity of music as has Henri Duparc. Authorities disagree, but the longest list of his output contains but 16 solo songs and one duet for two voices. We know of a few other songs which were never published or which the com?poser destroyed, believing them to be inferior to the rest of his oeuvre, but we have no access to these works. Thus, as is very rarely the case, less than an hour's worth of music has earned Duparc an important place in French melodie composition -indeed, a prominent position on any list of celebrated song composers, irre?spective of which language is involved. Tonight's group of five songs includes the first of Duparc's efforts ("Chanson triste") and one of his last ("Phidyle"). While we can hear sig?nificant development which occurred during these 14 years of intense, painful work by the composer, we must also acknowledge that even the earliest songs already bear the stamp of psy?chological insight, literary taste, and comfort?able, elegant writing for both piano and voice. Duparc wanted very much to be a concert pianist, but never achieved the technical facility
which would have made this possible. He was branded as "hopeless" by his idol, Franz Liszt, and even Cesar Franck (who had recruited him from law studies in the first place) found his playing "appalling and useless." We must thank these erudite and honest luminaries, for had he not been converted to composition, the world of song would be much poorer today. Although surrounded by the sweet romanticism of Gounod and Massenet, Duparc pursued his own path. He was fascinated with Wagner's new harmonies and orchestrations, and one easily notes that his branch of the French tree displays both French and German characteristics. Two-thirds of the songs are orchestrated by the com?poser, and even those that remain solely for piano quite clearly demonstrate Duparc's predilection for orchestral colors. The great tragedy of Henri Duparc is not that his output is so small, but rather that he lived 50 years after his last song was written, forbidding himself any composing, as he knew his mental faculties had deteriorated too far to be of any real use.
Baudelaire was Duparc's poet for two of the 16 songs, and they are inevitably judged the composer's best syntheses of text and music. Only two of the poet's stanzas are set in "L'invitation au voyage," but who could refuse this sensuous invitation It is a perfect opening for tonight's program as the performers invite their audience to accompany them on their journey. Few composers could have captured the dangerous and compelling attraction of these words as has Duparc with his overripe chromaticism, undulating accompaniment, and unexpected twists in the vocal line. Mignon's Romance is a not too faithful translation of Goethe's text, and not at all the same transla?tion as we find in Thomas' famous operatic air, "Connais-tu le pays," although both pieces use the same simple strophic form. This song was published for the first time only 15 years ago and is a wonderful example of Duparc at his most naive, most vulnerable. The world of chivalry, the Crusades, and the chatelaine in her tower are artfully captured in "Au pays oil se fait la guerre." This is truly an operatic scene, encompassing a full day and night of tedious
waiting and disappointment for the abandoned wife who sings to us. The modal quality of the accompaniment evokes the medieval world, and notice that all the singer's efforts leave the piano solos totally unchanged, for her waiting endures. The composer's earliest song, "Chanson triste," is one of his loveliest. The soaring vocal line seems to be self-accompanied on her harp, and perhaps one can hear echoes of former pain in the inner voices of the piano. Last in this group is one of the great love songs in any language. "Phidyle" is nine-tenths repose and slumber, then one-tenth simmering excitement, as the sensuous summer day comes to a close and night brings the best of rewards for a day of patient waiting.
Jean Sibelius was born just as Duparc was com?posing his first songs. Sibelius' name has become synonymous with the musical culture of his native land; while many other Finnish voices have been heard and continue to appear every day, it is this master's work which first brought his country into the world's concert halls. Song is not the first genre we think of when Sibelius is mentioned; his colorful mastery of orchestra?tion makes his tone poems, symphonies, and the violin concerto certainly at the top of any list of Sibelius favorites. These works fully cap?ture the expanse, the wilderness, the solitude, and inner calm that are Finland. And yet Sibelius was able to work his nationalistic magic in the smallest of forms as well, the art song for voice and piano, even if his keyboard writing is far from idiomatic. As with Duparc, a great many Sibelius songs also have orches?trated versions.
The surprising and ironic feature of Sibelius' songs is that while the music does its utmost to capture Finland, the texts are almost always Swedish. Only 10 of his nearly 100 works for voice and piano are in the Finnish tongue. The reason for this is simple: the Finnish language was not accepted as anything an educated person would use until early in the 20th century. Even today, Finns invariably study
and speak Swedish, and the great majority of their literary heritage is in that language. Any poet Sibelius might have considered using for his song composition would have invariably written in Swedish to avoid criticism and to be considered worthy of the world's attention.
Tonight's Sibelius group begins with one of these Finnish rarities, and as she is so proud of her national culture, Miss Mattila always insists on including something in her native tongue in any Sibelius set of songs. "Illalle" (To Evening) may be about the Night, or as the text is revealed, it may prove to be about the afterlife. It hardly matters, for the joy in anticipating both is omnipresent in these three shimmering and very excited strophes. The high tessitura of voice and particularly the piano guarantee that the poem's great exuberance is maintained throughout. In the next song, "Spring is Flying," Sibelius behaves as Schubert often does, using changes from minor to major to illustrate how the two sexes look at the passage of time and what one should do about it. This very early song shows us Sibelius' infrequently dis?played sense of humor. "Norden" (The North) is very reminiscent of the violin concerto's opening atmosphere. This exotic work from Sibelius' last collection of songs avoids anything predictable: cadences are postponed, tonality shifts constantly. The sentiments expressed here are not tangible ones. "Flickan kom ifran sin alsklings mote" (The Girl Returned from Meeting Her Lover) is certainly Brahmsian in its sonorous keyboard writing and in its lack of specific word-painting despite the very specific story line of the poem. This song and the group's last example, "Was it a dream", are probably Sibelius' two most performed songs, and were both written for the great Finnish lyric soprano, Ida Eckman, who brought Sibelius' music to Brahms for the first time. "A Dragonfly" (En sla'nda) is unique among the songs of Sibelius. Melismas abound, accompa?niment is almost altogether absent, and there are even trills to suggest the unusual world of this delicate creature.
Rachmaninoff is the only composer on tonight's program who was also a performer -and what a performer he was! Ann Arbor was fortu?nate to hear him no less than eight times and as late as May 1942 in Hill Auditorium, only a year before his death. After a turbulent youth, full of romantic ups and downs, great personal tragedies as immediate family members died too young, and the vicissitudes of launching his career, it was finally the Revolution of 1917 which was the last straw, causing the 45-year-old pianist and composer to emigrate, first to Sweden, later on to Switzerland, New York, and finally to southern California. In Beverly Hills, he found himself welcomed into the midst of a large Russian ex-patriot community, including Heifetz and Piatigorsky. By then, with three piano concerti, two symphonies, and 70 songs behind him, his celebrity and place in musical posterity was assured.
It cannot go unnoticed that as Sergei Rachmaninoff took leave of his beloved Russia, he also took leave of writing songs forever. Despite commissions offered him, despite cele?brated singers' entreaties, Rachmaninoff never again set words to music for a solo voice. It is as if that particular lyric stream and poetic sensi?bility were dramatically and irrevocably extin?guished as he bade his motherland farewell.
Tonight's group of five of Rachmaninoff's songs proceeds in chronological order of com?position, so following the composer's growth in complexity of harmony, texture, prosody, and word-painting is facilitated for tonight's listen?ers. At the same time, one notes that when melodic invention is our focus, the earliest of these efforts contains tunes as fine as any the composer ever fashioned.
Pushkin's elegiac and highly sensual poem "Oh, do not sing to me, fair maiden" has been set by virtually every Russian composer save Tchaikovsky. Borodin, Glinka, Gliere, and Cui serve this poem well, but it is Rachmaninoff's version that has remained in the song reper?toire from the moment of its premiere. The composer employs an exotic, eastern palette of color and haunting melody. The piano plays the
role of the maiden's voice, a voice that cannot be silenced or ignored despite the singer's des?perate pleading. When the song ends, little has changed; this emmigrant will be tormented for?ever by the Georgian maiden. "Sumerki" (Twilight) is one of Rachmaninoff's most mod?est songs. Relatively brief, generally contained, it paints the picture of solitude and commun?ion with the night in a very personal way. It is useful in any group of Slavic songs to find examples of simplicity whenever possible, as the emotions in most of this repertoire are normally at the boiling point. Loneliness is a Russian translation of part of a French poem. A more shocking example of dread of the dark, fear of an intruder, palpable terror could not be found. A clock strikes midnight in the piano part, the house is desperate are the final measures for both singer and pianist here! "Muza" (The Muse) is seldom performed, and is also unusual as Rachmaninoff was rarely attracted to texts dealing with classical antiquity. Pushkin's poem, however, personalizes the experience and so clearly calls out for a musical setting that the composer could not ignore this text. Modal harmonies and unmeasured melod?ic gestures are used here to create the music of the ancient world, but it is then filtered through a romantic 20th-century scrim. The ecstatic moment when the Muse begins to play for her pupil is particularly memorable. "What happiness!" evokes from Rachmaninoff the most brilliant of finales. Operatic vocal writing and virtuosic piano figurations adorn these pages; caution seems thrown to the four winds; rapture has rarely been portrayed quite so completely!
Antonin Dvorak plays a similar role to Sibelius for audiences today. He is almost single-hand?edly responsible for introducing music from his native Czech culture to western concert audi?ences in much the same way Sibelius did for Finland a half-century later. The reader will recall that this is discussed earlier in these pro?gram notes. Works for solo voice cannot be considered a large part of Dvorak's output, but even if the songs are easily eclipsed by the sym-
phonies and the string concerti, they provide the most nationalistic sound bites available; moreover, they demonstrate the enormous quo?tient of folk-like material inherent in almost all Czech compositions. The reader will note that "folk-like" is not at all the same as "folk." This is an important distinction when it comes to Brahms' Hungarian Dances, Schubert's handler, and certainly to tonight's group of Gypsy Songs, Op. 55. Unlike Kodaly, Ravel, or Bartok who carefully collected authentic folk melodies, found ways to notate them properly, and later harmo?nized them, Dvorak's genius lay in composing music which is reminiscent of folk music, easily mistaken for it, and yet fashioned by a sophisti?cated hand intent on bringing the Western world's concept of Gypsy music to the concert hall. Dvorak achieved this not only with these seven gypsy songs, but also with his Moravian duets, which, for the entire world, sound like authentic examples of unsophisticated utter?ances. Dvorak is certainly not unique in this: Brahms did this with innumerable Lieder which sound like German folksongs, Liszt with his many Hungarian rhapsodies, and even in America with folk-like writing from Carlisle Floyd and Aaron Copland.
Miss Mattila sings this cycle in Czech, but the world premiere was, curiously enough, in German. The composer was obliged to take Heyduk's verses, have them translated for the German tenor who first performed them, and then have them translated back into Czech for subsequent performances. Contemporary per?formances are heard in both of these tongues plus the vernacular of virtually every country, but tonight we hear them as Dvorak himself imagined them. The original order of the seven songs has also been slightly altered this evening by the performers, to avoid presenting the only two slow songs adjacent to each other.
Six of these songs are in strophic form -the most typical form one encounters in folk music. The piano part, however, is always changing: triangles give way to zithers and tam?bourines, slow dancing accelerates to whirling, unisons become harmonized, legato changes to staccato under the repeated melodies in the
voice part. Only the fifth song, "Wide Sleeves and Wide Trousers," is cast differently, being in ABA form. The themes expressed within the cycle are common to all works describing gypsy life: joy and pain, and experiencing both with equal enthusiasm; the bonds of community for people who possess little save their songs, dances and spirit; the connection to immemo?rial traditions (gypsies believe they are descend?ed from the ancient Egyptians); family and the warmth and security of continuity; and most importantly -the credo expressed in the final song: freedom above all things.
On a purely personal note -and I know writers of program notes should not depart from anonymity or objectivity, but I do so anyway! -please allow me to say how happy I am to welcome Karita Mattila to my town, to my school, to our celebrated, "new" Hill Auditorium. This evening marks her first appearance in Ann Arbor, and I am thrilled and honored to be sharing that experience with her.
Program note by Martin Katz.
Karita Mattila is one of today's most exciting lyric dramatic sopranos. She sings in all the major opera houses and major festivals of the world in repertoire that encompasses Mozart, Strauss, Tchaikovsky, Verdi, Puccini, and Wagner. Her affinity with the dramatic side of opera has produced marvelous results when working with fine stage directors such as Luc Bondy in his highly acclaimed Don Carlos. Similar results are the outcome of collabora?tions with Lev Dodin in his productions of Elektra for the Salzburg Easter Festival and Pique Dame at the Opera Bastille; Peter Stein for his production of Simon Boccanegra in Salzburg; Robert Carsen in his production of Lohengrin at the Bastille; and Jiirgen Flimm for his Fidelio in New York.
Ms. Mattila sings regularly with the world's great conductors including Abbado, Davis, Gergiev, Haitink, Levine, Pappano, Salonen,
Karita Mattila
Sawallisch, and Dohnanyi and has many recordings to her name on the Philips, EMI, Sony, DG, and Ondine labels. Her 40th birthday concert, performed for nearly 12,000 people in Helsinki, has been released on CD by Ondine.
Engagements this season include her debut in the role of Salome at the Bastille Opera in Paris and at the Metropolitan Opera, New York, Katya Kabanova in Helsinki, the Brahms Requiem with the Munich Philharmonic under James Levine, Arabella for the Royal Opera, Covent Garden, and recitals and concerts in Europe, the US, and Canada. Future engage?ments include Katya Kabanova at the Metropolitan Opera, Don Giovanni and Fidelio in Chicago, and Amelia in Un Ballo in Maschera for the Royal Opera, Covent Garden.
In 2003 Ms. Mattila was awarded one of France's highest cultural honors, the Chevalier des Arts et des Lettres. In 2001 the New York Times chose Karita Mattila as the best singer of the year for her performance in Fidelio at the Metropolitan Opera; in the same year she was nominated for the Laurence Olivier Award "Outstanding achievement in Opera" for both Jenufa and Lisa in Pique Dame at the Royal Opera House. In 1997, she was nominated for the Laurence Olivier Award for her perform?ance of Elisabeth in Don Carlos at the Royal
Opera House and was awarded the Evening Standard Ballet, Opera, and Classical Music Awards for "Outstanding performance of the year" in this same production. The Acade'mie du Disque Lyrique awarded the Francois Reichenbach Prize Orphee du Lyrique when Don Carlos was originally shown at the Chatelet in Paris. In 1998, the Decca recording of Die Meistersinger von Nurnberg, in which Ms. Mattila sings the role of Eva, won "Best Opera Recording of the Year" at the Grammy ceremony in New York.
Tonight's recital marks Karita Manila's UMS debut.
Martin Katz must surely be consid?ered the dean of collaborative pianists," said the Los Angeles Times, and Musical America was similarly convinced, creating a new award expressly for him: "Accompanist of the Year." One of the world's busiest collaborators, he has been in constant demand by the world's most celebrated vocal soloists for more than 35 years. In addition to Ms. Mattila, he is pleased to partner Frederica von Stade, David Daniels, Kiri Te Kanawa, Kathleen Battle, Sylvia McNair, and Jose Carreras, to name just a few. Season after season, the world's musical capitals figure prominently in his schedule. Throughout his long career he has been fortunate to collaborate with some of the world's most esteemed voices: Marilyn Home, Renata Tebaldi, Cesare Siepi, Evelyn Lear, Katia Ricciarelli, Tatiana Troyanos,
Nicolai Gedda, Regine Crespin, Grace Bumbry, Monserrat Caballe, and many others have invited him to share the stage in recitals on five con?tinents.
Mr. Katz is a native of Los Angeles, where he began piano studies at the
Martin Katz
age of five. He attended the University of Southern California as a scholarship student and studied the specialized field of accompany?ing with its pioneering teacher, Gwendolyn Koldofsky. While yet a student, he was given the unique opportunity of accompanying the master classes and lessons of such luminaries as Lotte Lehmann, Jascha Heifetz, Pierre Bernac, and Gregor Piatigorsky. Following his formal educa?tion, he held the position of pianist for the US Army Chorus in Washington, DC, for three years, before moving to New York where his busy international career began in earnest in 1969.
In the last 10 years, Mr. Katz has also added conducting to his skills, and has been pleased to accompany his soloists on the podium for Houston, Washington DC, Tokyo, Miami, and New Haven orchestras as well as the BBC in London. His ever-increasing repertoire as an opera conductor has been demonstrated at the Music Academy of the West and the Opera Theatre at the University of Michigan. Drawing on his experience with baroque and bel canto
repertoire as an accompanist and coach, he has prepared editions of operas by Handel and Rossini, which have been presented by the Metropolitan, Houston Grand Opera, and the National Arts Centre in Ottowa.
The professional profile of Martin Katz is completed with his commitment to teaching. For the past 17 years, Ann Arbor has been his home, where he is chair of the School of Music's program in accompanying and cham?ber music, and where he takes an active part in operative productions. He has been a pivotal figure in the training of countless young artists, both singers and pianists, who are working all over the world. The University has recognized this important work, making him the first Arthur Schnabel Professor of Music. Mr. Katz is also in constant demand as a guest teacher in such important venues as the Merola Program of San Francisco Opera, the Steans Institute at Ravinia Festival, and Tanglewood Music Center.
Tonight's recital marks Martin Katz's 28th appearance under VMS auspices.
UMS and Borders, Inc.
Cassandra Wilson and Peter Cincotti
Friday Evening, April 23, 2004 at 8:00 Hill Auditorium Ann Arbor
Tonight's program will be announced by the artists from the stage and will contain one intermission.
68th Performance of the 125th Annual Season
Tenth Annual Jazz Series
The photographing or sound recording of this concert or possession of any device for such pho?tographing or sound recording is prohibited.
This performance is sponsored by Borders, Inc.
Additional support provided by media sponsors WEMU 89.1 FM, WDET 101.9 FM, and Metro Times.
Special thanks to the U-M School of Music Jazz Studies Program for their involvement in this residency.
The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
Ms. Wilson and Mr. Cincotti appear by arrangement with Ted Kurland Associates.
Large print programs are available upon request.
Vocalist, producer, and songwriter Cassandra Wilson is recognized as a jazz singer for a new generation. Her distinctive style and daring aesthetic have earned her wide recognition, including chart-topping albums, a Grammy, and countless media accolades, such as Time Magazine's 2001 pick for "America's Best Singer."
In her new album on Blue Note Records, Glamoured, Ms. Wilson presents her trademark mix of first-rate originals and adventurous cov?ers of other songwriters' works, picking materi?al by Muddy Waters, Bob Dylan, Sting, Abbey Lincoln, and Willie Nelson. Such eclectic tastes come naturally to Ms. Wilson, who began her musical career in Jackson, Mississippi. "Down
South," she explains, "musicians have to play jazz, they have to integrate the blues, rhythm and blues, and they have to know a little coun?try. The lines are blurred sometimes, because that's what everybody wants to hear."
For Glamoured (her 14th album as a leader) Ms. Wilson began in one direction, returning to her hometown in Mississippi, and then finished the record in New York, collaborating with the multi-faceted producer, guitarist, and composer Fabrizio Sotti.
Ms. Wilson assembled a top-notch band for the Mississippi sessions, including longtime cohorts guitarist Brandon Ross and percussion?ist Jeffrey Haynes as well as harmonica player Gregoire Maret, bassists Reginald Veal and Calvin Jones, and drummer Herlin Riley. The
numbers produced during those dates included two Wilson originals.
Following her intuition, Ms. Wilson booked additional stu?dio time in New York City with Fabrizio Sotti on board. "I've worked with a lot of singers," Mr. Sotti says, "but with Cassandra, she brought much more. She's got the whole package -she's a total musi?cian."
Tonight's performance marks Cassandra Wilson's second appearance under UMS aus?pices. Ms. Wilson appeared as vocal soloist in Wynton Marsalis' Blood on the Fields in February 1997.
Cassandra Wilson
Concord Records recording artist Peter Cincotti, the 20-year-old popjazz pianist, vocalist, composer, and arranger, has been making incred?ible strides since the release of his self-titled debut CD in March 2003. Produced by the legendary Grammy Award-winning Phil Ramone, the CD reached No. 1 on Billboard Magazine's Traditional Jazz Chart, where it remains a top seller and ranks No. 3 in overall jazz album sales for 2003.
Mr. Cincotti started tinkering with a toy piano his grandmother gave him at an early age. By the age of nine he was composing and in his mid-teens he took up singing. He soon became a quadruple threat: pianist, singer, composer, and arranger. While still in high
school, Mr. Cincotti played in jazz clubs throughout Manhattan, participated in the National Grammy Band, was honored in the John Lennon Songwriting Contest, and was invited to perform at the White House. He also won a coveted award at the Montreux 2000 Jazz Festival in Switzerland for his piano rendition of Dizzy Gillespie's "A Night in Tunisia."
Peter Cincotti has per?formed at such prestigious venues as Carnegie Hall, the Newport, Monterey, Montreux, and Montreal Jazz Festivals, as well as at the top concert halls and jazz clubs around the world.
Mr. Cincotti makes his cin?ematic debut in the feature film, Spider-Man 2, scheduled for release in July 2004 and will appear as Bobby Darin's arranger and close friend, Dick Behrke, in the upcoming Kevin Spacey film Beyond the Sea,
based on the life of Bobby Darin, which is cur?rently in production. Spacey directs and stars as Darin.
Despite such critical accolades and world?wide media exposure, Peter Cincotti humbly sums up his dizzy rise to stardom: "I'm so grateful that I am able to play for people who want to listen. There is so much to learn, and there's so much I want to do, and I can only hope I have the opportunity to do it all."
Tonight's performance marks Peter Cincotti's UMS debut.
Peter Cincotti
Rossetti String Quartet
Timothy Fain, Violin Henry Gronnier, Violin
Thomas Diener, Viola Eric Gaenslen, Cello
Jean-Yves Thibaudet, Piano
Saturday Evening, April 24, 2004 at 8:00 Rackham Auditorium Ann Arbor
WolfgangAmadeus Mozart String Quartet in G Major, K. 387
Allegro vivace assai Menuetto: Allegretto Andante cantabile Molto allegro
Claude Debussy
String Quartet in g minor. Op. 10
Anime et tres decide'
Assez vif et bien rhythm
Andantino doucement expressif
Tres modere-Tres movement et avec passion
Cesar Franck
Quintet for Piano and Strings in f minor
Molto moderato quasi lento -Allegro Lento, con molto sentimento Allegro non troppo, ma con fuoco
Mr. Thibaudet
69th Performance of the 125th Annual Season
41st Annual Chamber Arts Series
The photographing or sound recording of this concert or possession of any device for such photo?graphing or sound record?ing is prohibited.
This performance is supported by Ann and Clayton Wilhite. Additional support provided by media sponsor WGTE 91.3 FM.
Rossetti String Quartet appears by arrangement with Colbert Artists Management, Inc.
Mr. Thibaudet appears by arrangement with J. F. Mastroianni Associates, Inc.
Large print programs are available upon request.
String Quartet in G Major, K. 387
Wolfgang Amadeus Mozart
Born January 27, 1756 in Salzburg, Austria
Died December 5, 1791 in Vienna
The Quartet in G Major (K. 387) is the first in the series of six quartets dedicated to Mozart's friend and teacher, Joseph Haydn, hence their somewhat confusing title: Mozart's "Haydn Quartets." It is apparent from the opening phrase that Mozart had attained the rarefied realm of pure quartet writing. As Dunhilll notes, "It is not a harmonized melody: the thought itself is a four-part thought." This is the essence of what Mozart learned from Haydn, but as a master from a master, not merely an imitator. Nowhere in this flawless quartet is there any evidence of the "long and laborious study" Mozart spoke of in the letter in which he dedicated these works to Haydn. However, examination of the manuscript now in the British Museum has shown that in all of Mozart's "Haydn" quartets there are far more changes, revisions, and new beginnings than in most of his other works.
The development section of the first move?ment is so filled with felicitous ideas there is no need for any novelty in their recapitulation, nor for any coda. As in the Quartet in A Major, the middle movements are transposed. The minuet is a miniature sonata allegro form, delicious in its wittiness, the first theme containing a bizarre dynamic treatment of ascending and descending chromatic lines. The finale, a remarkable achievement in musical architec?ture, opens fugally with a four-note subject closely akin to the one used in the finale of the Jupiter Symphony. The simply harmonized lilt?ing dance that follows provides an ideal foil.
String Quartet in g minor, Op. 10
Claude Debussy
Born August 22, 1862 in
Saint-Germain-en-Laye, France Died March 25, 1918 in Paris
Debussy called this work his "first" string quar?tet, but there was never a second. He also pub?lished it with an opus number (Op. 10), although he never gave any of his other works opus numbers. Maybe his insistence on these classical trappings reflects a bow to tradition as he embraced the most venerable genre of chamber music. Commentators have pointed out the many debts Debussy owed to predeces?sors ranging from Grieg to Franck and Chausson. But Debussy's quartet also speaks with the confidence of a young man who, at 30, is ready to assume the mantle of his elders.
The idea of using the same theme in most oi all the movements of a composition comes, without a doubt, from Franck, but Debussy's theme is of a different vintage. Instead of rely?ing on chromaticism as heavily as Franck did, the younger composer turned to one of the medieval church modes, Phrygian, and harmo?nized it with chords that sounded quite modern in the 1890s. Debussy's take on sonata form in the first movement is most interesting: he visits an extremely wide range of tonalities as he sub?jects his contrasting themes to development on a large scale. This makes the effect of the return to the opening g minor all the more powerful.
The second movement is based on a close variant of the first movement's main theme. The melody is played by the viola and is accom?panied by the other instruments in pizzicato (plucking the strings). Subsequently it appears in the first violin, in slow motion and in an expressive style. Finally, the theme is restated in an asymmetrical meter as all four instruments play it pizzicato.
In the third movement, the players put on their mutes for a lyrical "Andantino" that was inspired by Russian models, especially the Notturno from Borodin's String Quartet in D Major which Debussy probably heard during
the time he spent in Russia as a teenager, serv?ing as house pianist to Nadezhda von Meek. (This is the same Mme von Meek who was Tchaikovsky's "Beloved Friend," entirely by cor?respondence.) Debussy's slow movement is cast in ABA form with a more animated middle sec?tion reaching a passionate climax, after which the opening section returns.
This was the only movement in which the quartet's motto theme did not appear. It returns in the dreamlike slow introduction to the finale and undergoes many further transformations without following any classical form. The tempo speeds up, slows down again and even?tually becomes "Tres anime." At the end, the tonality changes -in a traditional gesture -from g minor to G Major, before an even faster coda closes this remarkable movement, Debussy's first masterpiece.
The quartet was first performed by the Ysaye Quartet at a concert of the Societe Nationale. The audience was baffled and bewildered at first, but it soon warmed to the new work which received many repeat performances over the next years and before long was firmly estab?lished as a modern classic.
Quintet for Piano and Strings in f minor
Cesar Franck
Born December 10, 1822 in Liege, Belgium
Died November 8, 1890 in Paris
Throughout his life, Cesar Franck had a rather difficult relationship with the world surround?ing him. He had been a resident of Paris since his teens, yet the French were reluctant to accept him as one of their own because he was born just beyond the border, in the Walloon district of what in 1830 became the Kingdom of Belgium. (He was a French speaker of partially German descent.) His father's attempts to turn him into a child prodigy failed, and the young Franck had to endure considerable hardship before he found his niche in the musical life of the French capital. That niche was, and
remained, that of an organist; Franck was much admired at the console of the church of Sainte-Clotilde and as a professor of organ at the Conservatoire -but few people took him seri?ously as a composer until shortly before his death (that is, few outside his devoted circle of students and followers who, it must be said, included some of the greatest talents of the new generation, including Henri Duparc, Vincent d'Indy, and Ernest Chausson). It was during the last decade of his life that he wrote the series of masterworks for which he is mostly remem?bered today: the Violin Sonata, the String Quartet, the Symphony in d minor -and the Piano Quintet, which marks the beginning of Franck's golden years.
Franck was 57 when he completed his Piano Quintet. It was the first piece of chamber music he had written in 30 years, and its tempestuous, hyper-romantic mood contrasted markedly with Franck's earlier work, which had been mostly sacred. The choice of medium is explained by the recent launching of the Societe Nationale de Musique, which set as its goal to promote chamber music, which had been neg?lected in France in favor of opera. As for the mood, the likely explanation is Franck's infatu?ation with his student Augusta Holmes, a beau?tiful and gifted woman 25 years his junior.
The novelties of the work were not lost on the audience of the first performance. "The lovers of the classics [were] shocked by the expressive force and violence of the Quintet," writes Leon Vallas in his 1951 biography. Others, to the contrary, appreciated "the glow?ing beauty of the new score," sensitive to the "unexpected and overwhelming display of a musical passion hitherto unsuspected." The premiere left some unpleasant memories: the piano part was played by Camille Saint-Saens, who was Franck's rival and had little affinity for the emotional intensity of the piece. When the performance was finished, Saint-Saens left the stage rather abruptly, leaving the manuscript (which had been dedicated to him) on the piano in a gesture everyone interpreted as very ill mannered. Another person who was appalled by the new work was Franck's wife Felicite, who
had no doubts about the inspiration behind it.
Franck based nearly all of his mature works on musical ideas that recur in all the move?ments -a technique he had learned primarily from Franz Liszt, though he developed it in an entirely personal manner. In the Quintet, the recurrent theme is first heard as the secondary subject of the first movement; there, it is played tenero ma con passione (tenderly but with pas?sion). At the end of the movement, this theme becomes much more animated. Halfway through the second movement, the piano plays it in a dreamy, lyrical fashion. Finally, it plays a crucial role in the third movement, just before the end.
In each of the three movements, other, con?trasting materials precede this motto. The slow introduction to the first movement presents two opposite characters: a powerful dramatic statement in the strings, and a gently undulat?ing melody in the piano. When the tempo increases to allegro, all five players begin to share the same music, a passionate motif in dotted rhythm derived from the earlier string theme. The first appearance of what will be the recurrent melody is a response to that motif-a resolution of the conflict, as it were. One of the most striking features of this melody is its extensive use of chromatic half-steps, and Franck develops this aspect thoroughly. The pervasive chromaticism undermines tonal sta?bility and creates a great deal of additional ten?sion that is present even in the subdued final measures of the "Allegro."
The second movement is intimately lyrical throughout; the motto is quoted exactly halfway through. It functions as a bridge between the two main sections of the move?ment, the second of which contains a triple-for?tissimo outburst that, however, quickly dissi?pates into the extremely tender music of the final measures.
The main melody of the fiery finale emerges only gradually from the background of an excited accompaniment figure. The four string instruments play this melody in unison, rising from piano to fortissimo. A second and later a third theme are added and developed as sonata
form requires, but the defining moment arrives only later. The motto returns one final time to crown the entire composition, ushering in the vigorous and extremely tense concluding meas?ures.
Program notes by Peter Laki.
hen the members of the Rossetti String Quartet first came togeth?er, the choice of the 19th century Pre-Raphaelite painter Dante Gabriel Rossetti as its namesake seemed entirely appropriate. With a focus on a return to naturalism and his use of life-like color, the painter's work is particularly close to the ideals of the quartet members. All four are unified by a love of the string quartet literature and its presentation in a natural and personal style. Their repertoire is firmly based in the classic and romantic string quartet literature and extends well into contemporary repertoire. After a summer of performances at the Vail Valley Music Festival and the Cooperstown Chamber Music Festival as well as return visits to Caramoor and Maverick Concerts in Woodstock, New York, the quartet's current season includes a concert in the opening season of Carnegie Hall's new Zankel Hall; two visits (master classes and concert) to the Carlsen Center in Overland Park, Kansas, as Guest Quartet-in-Residence; and performances at the University of Cincinnati and University of Michigan in Ann Arbor; the El Paso Pro Musica Series; and the Casals Festival in San Juan, Puerto Rico.
In recent seasons, the Rossetti String Quartet toured throughout the US and were named Quartet in Residence by the Carlsen Center in Kansas. They appeared at Caramoor, also as Quartet in Residence; returned to Maverick Concerts; and gave three concerts at the Sainte-Chapelle in Paris. The Quartet made its London debut in 2001 on the South Bank's Chamber Music Series in the Queen Elizabeth Hall and in Berlin on the International Chamber Music
Rossetti String Quartet
Series at the Konzerthaus. Among their North American engagements was its New York debut at the 92nd Street Y, a concert at the Library of Congress with pianist Jean-Yves Thibaudet, and in several venues with pianist Katia Skanavi. They performed live on National Public Radio's Performance Today from Washington, DC, and in 2001 and 2002 were Quartet-in-Residence at the Ventura Chamber Music Festival in California, joined by guest artists Paula Robison and Pepe Romero.
Tonight's performance marks the Rossetti String Quartet's UMS debut.
Jean-Yves Thibaudet
Acclaimed by the press as "one of the great pianists of our time," Jean-Yves Thibaudet is held in high esteem by the world's foremost con?ductors and orchestras for his versa?tility, depth, and sophisticated musicality. His poetically strong interpretations, along with his extensive vocabulary of luminous colors and passionate sound, referred to as the "Thibaudet style," have helped him to forge an international career in both the performance and recording arenas. A respected collaborator, he is sought out by many pre-eminent singers of today and is a popular figure at international music festi?vals.
Mr. Thibaudet's current season includes orchestral, recital, and chamber music perform?ances throughout the world. US highlights include the San Francisco Symphony's opening gala; with The Philadelphia Orchestra at Philadelphia's Kimmel Center and New York's Carnegie Hall; and with the National Symphony Orchestra at the Kennedy Center.
An accomplished performer who is equally at home with chamber music and recitals as he is with orchestral repertoire, Mr. Thibaudet is
in great demand as a collaborator. He currently performs and records with such talents as Renee Fleming, Cecilia Bartoli, Angelika Kirchschlager, Yuri Bashmet, and the Rossetti String Quartet.
An award winning, Grammy nominated, exclusive recording artist for Decca with over 30 recordings, Mr. Thibaudet's newest release is the 5-CD box-set Satie: The Complete Solo Piano Music. Additional recent recordings include The Magic of Satie (Fall 2002); a CD of the Mendelssohn Piano Concerti with the Leipzig Gewandhaus Orchestra, Herbert Blomstedt conducting; and a collection of arias entitled Night Songs, his first collaborative recording with soprano Renee Fleming featur?ing works by Faure, Debussy, Marx, Strauss, and Rachmaninoff.
Of French and German heritage, Jean-Yves Thibaudet was born in Lyon, France, where he began his piano studies at age five and made his first public appearance at age seven. At age 12, Mr. Thibaudet entered the Paris Conservatory where he studied with Aldo Ciccolini and Lucette Descaves, a friend and collaborator of Ravel. At age 15 he won the premier Prix du Conservatoire, and three years later won the Young Concert Artists Auditions in New York. In 2001, the Republic of France awarded Mr. Thibaudet the Chevalier de l'Ordre des Arts et des Lettres. In 2002, Jean-Yves was awarded the Premio Pegasus from the Spoleto Festival for his artistic achievements and his longstanding involvement with the festival.
Tonight's performance marks Jean-Yves T}iibaudet's second appearance under UMS aus?pices. Mr. Thibaudet made his UMS debut in recital in March 1998.
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 Fri 30 Emerson String Quartet Sat 31 Simon Shaheen and Qantara
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
Sun 8 Michigan Chamber Players (free admission)
Thur 12 Hilary Hahn, violin
Sat 14 Canadian Brass Valentine's Day Concert
Thur-Sat 19-21 Children of Uganda
Fri 20 Cecilia Bartoli, mezzo-soprano, and
Orchestra of the Age of Enlightenment
Thur-Sun 4-7 Guthrie Theater: Othello
Fri-Sat 12-13 Merce Cunningham Dance Company
Sun 14 Kronos Quartet
Fri 19 An Evening with Ornette Coleman
Sat 20 Israel Philharmonic and Pinchas Zukerman, violin
Sun 21 Takacs Quartet
Thur 25 The Tallis Scholars
Sat 27 Jazz at Lincoln Center's Afro-Latin Jazz Orchestra
Thur 1 Lang Lang, piano
Fri-Sat 2-3 Lyon Opera Ballet: Philippe Decoufle's Tricodex
Sat 3 Lyon Opera Ballet One-Hour Family Performance
Thur 8 William Bolcom's Songs of Innocence and of Experience
Thur 15 Alfred Brendel, piano
Fri 16 Girls Choir of Harlem
Sat 17 Orchestra Baobab Dance Party
Sun 18 Shoghaken Ensemble
Thur 22 Karita Mattila, soprano
Fri 23 ADDED EVENT! Cassandra Wilson and Peter Cincotti
Sat 24 DATE CHANGE! Rossetti String Quartet with Jean-Yves Thibaudet, piano
Sat 15 Ford Honors Program: Sweet Honey in the Rock
Considered one of the top performing arts educational programs in the country, UMS strives to illuminate the performing arts through education and community engagement, offering audiences a multitude of opportunities to make con?nections and deepen their understanding of the arts.
UMS Community Education Program
The following activities enlighten and inform audiences about the artists, art forms, ideas, and cultures presented by UMS. Details about specific 0304 educational activities will be announced one month prior to the event. For more information about adult education or community events, please visit the website at, e-mail, or call 734.647.6712. Join the UMS E-Mail Club for regular reminders about educational events.
Artist Interviews
These in-depth interviews engage the leading art-makers of our time in conversations about their body of work, their upcoming perform?ance, and the process of creating work for the world stage.
Master Classes
Master classes are unique opportunities to see, hear, and feel the creation of an art form. Through participation andor observation, individuals gain insight into the process of art making and training.
Study Clubs
Led by local experts and educators, UMS Study Clubs offer audiences the opportunity to gain deeper understanding of a particular text, artist, or art form. The study clubs are designed to give the audience a greater appreciation of a specific subject matter within the context of the performance prior to attending the show.
PREPs and Lectures
Pre-performance talks (PREPs) and lectures prepare audiences for upcoming performances.
Meet the Artists
Immediately following many performances, UMS engages the artist and audience in conver?sation about the themes and meanings within the performance, as well as the creative process.
Artists-in-Residence Many artists remain in Michigan beyond their performances for short periods to deepen the connection to communities throughout the region. Artists teach, create, and meet with community groups, university units, and schools while in residence. For the 0304 sea?son, major residencies include Simon Shaheen, Children of Uganda, Merce Cunningham, and Ornette Coleman.
UMS has a special commitment to educat?ing the next generation. A number of programs are offered for K-12 students, educators, and families to further develop understanding and exposure to the arts. For information about the Youth, Teen, and Family Education Program, visit the website at, e-mail, or call 734.615.0122.
Youth Performance Series
Designed to enhance the K-12 curriculum, UMS Youth Performances cover the full spec?trum of world-class dance, music, and theater. Schools attending youth performances receive UMS's nationally recognized study materials that connect the performance to the classroom curriculum. Remaining events in the 0304 Youth Performance Series include:
Regina Carter and Quartet
Simon Shaheen and Qantara
Children of Uganda
Guthrie Theater: Shakespeare's Othello
{Clare Venables Youth Performance)
Girls Choir of Harlem
Educators who wish to be added to the youth performance mailing list should call 734.615.0122 or e-mail,
Primary supporters of the Youth Education Program are:
A complete listing of Education Program supporters are listed at
Teacher Workshop Series
As part of UMS's ongoing effort to incorporate the arts into the classroom, local and national arts educators lead in-depth teacher workshops designed to increase educators' facility to teach through and about the arts. UMS is in partner?ship with the Ann Arbor Public Schools as part of the Kennedy Center's Partners in Education Program. This year's Kennedy Center workshop series will feature a return engagement by noted workshop leader Sean Layne, who will lead two sessions:
Preparing for Collaboration: Theater Games and Activities that Promote Team-Building and Foster Creative and Critical Thinking
Moments in Time: Bringing Timelines to Life Through Drama
Workshops focusing on UMS Youth Performances are:
Arts Advocacy: You Make the Difference led by Lynda Berg
Music of the Arab World: An Introduction led by Simon Shaheen
Behind the Scenes: Children of Uganda led by Alexis Hefley and Frank Katoola
For information or to register for a workshop, please call 734.615.0122 or e-mail
Special Discounts for Teachers and Students to Public Performances
UMS offers group discounts to schools attend?ing evening and weekend performances not offered through our Youth Education Program. Please call the Group Sales Coordinator at 734.763.3100 for more information.
UMS Teen Ticket
UMS offers area teens the opportunity to attend performances at significantly reduced prices. For more information on how to access this program, call 734.615.0122 or e-mail
The Kennedy Center Partnership
UMS and the Ann Arbor Public Schools are members of the Kennedy Center Partners in Education Program. Selected because of its demonstrated commitment to the improve?ment of education in and through the arts, the partnership team participates in collaborative efforts to make the arts integral to education and creates professional development opportu?nities for educators.
Family Programming and Ann Arbor Family Days
These one-hour or full-length performances and activities are designed especially for children and families. UMS provides child-friendly, informa?tional materials prior to family performances.
Wild Swan Theater's The Firebird
Children of Uganda
Lyon Opera Ballet
Ann Arbor Family Days Saturday, April 3 and Sunday, April 4, 2004. Many Ann Arbor organi?zations are joining together to offer families a day of performances, master classes, workshop, and demonstrations. Watch for more informa?tion on Ann Arbor Family Days in January 2004.
Volunteers Needed
The UMS Advisory Committee provides important volunteer assistance and financial support for these exceptional educational pro?grams. Please call 734.936.6837 for information about volunteering for UMS Education and Audience Development events.
UMS Preferred Restaurant and Business Program
Join us in thanking these fine area restaurants and businesses for their generous support of UMS:
Amadeus Restaurant
122 East Washington -
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 lackson 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 page.
Presenter's Circle
J $25,000 Soloist ($150)
For information about this very special membership group, call the Development Office at 734.647.1175.
G S10,000-S24,999 Maestro ($150)
Virtuoso benefits, plus:
Opportunity to be a concert or supporting sponsor for a selected performance
? $7,500-59,999 Virtuoso ($150)
Concertmaster benefits, plus:
Guest of UMS Board at a special thank-you event
? $5,000-$7,499 Concertmaster ($150) ? Producer benefits, plus:
Opportunity to be a concert sponsor or supporting sponsor for a selected performance
Opportunity to meet artist backstage as guest of UMS president
? $3,500-$4,999 Producer ($150)
Leader benefits, plus:
Opportunity to be a supporting sponsor for a selected performance
Complimentary valet parking for Choral Union Series performances at UM venues
Invitation to selected Audience Development youth performances
LJ S2.500-S3.499 Leader ($85)
Principal benefits, plus:
Opportunity to purchase prime seats up to 48 hours before performance (subject to availability)
Complimentary parking passes for all UMS concerts at UM venues
J S1,000-$2,499 Principal ($55)
Benefactor benefits, plus:
Ten complimentary one-night parking passes for UMS concerts
Priority subscription handling
Invitation to all Presenters Circle events
J S500-S999 Benefactor
Associate benefits, plus:
Invitation to one working rehearsal (subject to artist approval)
Half-price tickets to selected performances
J S25O-S499 Associate
Advocate benefits, plus:
Listing in UMS Program
? S100-5249 Advocate
UMS Card, providing discounts at Ann Arbor restaurants, music stores and shops
Advance notice of performances
Advance ticket sales
Denotes non-tax deductible portion ofg'ft-
Please check your desired giving level above and complete the form below or become a member online at www.
(Print names exactly as you wish them to appear in UMS listings.)
Day Phone_____________________________________Eve Phone_______________________________________E-mail___________________________
Comments or Questions
Please make checks payable to University Musical Society
Gifts of $50 or more may be charged to: G VISA ? MasterCard ? Discover G American Express
Account _________________________________________________________________________________________________Expiration Date________
G I do not wish to receive non-deductible benefits, thereby increasing the deductibility of my contributions.
Q My company will match this gift. Matching gift form enclosed.
Send gifts to: University Musical Society, 881 N. University, Ann Arbor, MI 48109-1011
UMS volunteers are an integral part of the success of our organization. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome you to the UMS family and involve you in our exciting programming and activities. We rely on volunteers for a vast array of activi?ties, including staffing the education residency activities, assisting in artist services and mailings, escorting students for our popular youth per?formances and a host of other projects. Call 734.936.6837 to request more information.
The 58-member UMS Advisory Committee serves an important role within UMS. From ushering for our popular Youth Performances to coordinating annual flindraising events, such as the Ford Honors Program gala and "Delicious Experiences" dinners, to marketing Bravo!, UMS's award-winning cookbook, the Committee brings vital volunteer assistance and financial support to our ever-expanding educational programs. If you would like to become involved with this dynamic group, please call 734.647.8009.
When you advertise in the UMS program book you gain season-long visibility among ticket-buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to performance experience. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book.
As a UMS corporate sponsor, your organization comes to the attention of an educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treas?ures, and also receive numerous benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
? Enhancing corporate image
? Cultivating clients
? Developing business-to-business relationships
Targeting messages to specific demographic groups
? Making highly visible links with arts and education programs
? Recognizing employees
? Showing appreciation for loyal customers
For more information, call 734.647.1176.
Internships & College Work-Study
Internships with UMS provide experience in performing arts administration, marketing, ticket sales, programming, production and arts education. Semesterand year-long unpaid internships are available in many of UMS's departments. For more information, please call 734.615.1444.
Students working for UMS as part of the College Work-Study program gain valuable experience in all facets of arts management including concert promotion and marketing, ticket sales, fundraising, arts education, arts programming and production. If you are a University of Michigan student who receives work-study financial aid and who is interested in working at UMS, please call 734.615.1444.
Without the dedicated service of UMS's Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing pro?gram books and providing that personal touch which sets UMS events above others.
The UMS Usher Corps comprises over 300 individuals who volunteer their time to make your concert-going experience more pleasant and efficient. The all-volunteer group attends an orientation and training session each fall or winter. Ushers are responsible for working at every UMS performance in a specific venue for the entire concert season.
If you would like information about becoming a UMS volunteer usher, call the UMS usher hotline at 734.913.9696 or e-mail
This performance--and all of UMS's nationally recognized artistic and educational programs--would not be possible without the generous support of the community. UMS gratefully acknowledges the following individ?uals, businesses, foundations and government agencies -and those who wish to remain anonymous-and extends its deepest gratitude for their support. This list includes current donors as of December 1, 2003. Every effort has been made to ensure its accuracy. Please call 734.647.1175 with any errors or omissions.
$25,000 or more Mrs. Gardner Ackley Carl and Isabelle Brauer Hattie McOmber Randall and Mary Pittman Philip and Kathleen Power
Ronnie and Sheila Cresswell
Robert and Pearson Macek
Paul and Ruth McCracken
Tom and Debby McMullen
Mrs. Robert E. Meredith
M. Haskell and Jan Barney Newman
Gilbert Omenn and Martha Darling
Prudence and Amnon Rosenthal
Ann and Clayton Wilhite
Maurice and Linda Binkow
Barbara Everitt Bryant
Thomas and Marilou Capo
Dave and Pat Clyde
Ken and Penny Fischer
Beverley and Gerson Geltner
Don and Judy Dow Rumelhart
Lois and Jack Stegeman
Edward and Natalie Surovell
Marion T. Wirick and James N. Morgan
Michael Allemang
Herb and Carol Amster
Emily W. Bandera, M.D. and Richard H. Shackson
Albert M. and Paula Berriz
Ralph G. Conger
Douglas D. Crary
Pauline and Jay J. De Lay
Molly Dobson
Jack and Alice Dobson
Mr. and Mrs. Thomas C. Evans
Friends of Hill Auditorium
David and Phyllis Herzig
Toni M. Hoover
Robert and Gloria Kerry
Leo and Kathy Legatski
Concertmasurs. 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 James and Nancy Stanley Susan B. Ullrich Dody Viola
Kathy Benton and Robert Brown
Dr. Kathleen G. Charla
Katharine and Jon Cosovich
Mr. and Mrs. George W. Ford
Betty-Ann and Daniel Gilliland
Dr. Sid Gilman and Dr. Carol Barbour
Debbie and Norman Herbert
Keki and Alice Irani
Shirley Y. and Thomas E. Kauper
Lois A. Theis
Marina and Robert Whitman
Bob and Martha Ause
Essel and Menakka Bailey
Raymond and Janet Bernreuter
Edward and Mary Cady
Maurice and Margo Cohen
Mary Sue and Kenneth Coleman
Mr. Michael J. and Dr. Joan S. Crawford
Al Dodds
Jim and Patsy Donahey
David and Jo-Anna Featherman
llene 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
)udy and Roger Maugh
Susan McClanahan and
Bill Zimmerman Eleanor and Peter Pollack lim and Bonnie Recce Barbara A. Anderson and
lohn 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
I fsli and Christopher Ballard
Dr. and Mrs. Robert Bartlett
Astrid B. Beck and David Noel Freedman
Ralph P. Beebe
Patrick and Maureen Belden
Harry and Betty Benford
Ruth Ann and Stuart J. Bergstein
Suzanne A. and Frederick J. Beutler
Joan Aicers Binkow
John Blanklcy and Maureen Foley
Dr. and Mrs. Ronald Bogdasarian
Elizabeth and Giles G. Bole
Howard and Margaret Bond
Sue and Bob Bonficld
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 Bullcn
Laurie Burns
Mr. and Mrs. Richard ], Burstcin
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
fames S. Chen
Janice A. Clark
Mr. and Mrs. John Alden Clark
Leon and Heidi Cohan
Hubert and Ellen Cohen
Nan and Bill Conlin
Jane Wilson Coon and A. Rees Midgley, Jr.
Anne and Howard Cooper
Susan and Arnold Coran
Paul N. Courant and Maria A. Manildi
George and Connie Cress
Kathleen L Crispell and Thomas S. Porter
Julie F. and Peter D. Cummings
Richard J. Cunningham
Roderick and Mary Ann Daanc
Peter and Susan Darrow
Lloyd and Genie Dcthloff
Sieve and Lori Director
Andrzej and Cynthia Dlugosz
Elizabeth A. Doman
John Dryden and Diana Raimi
Martin and Rosalie Edwards
Charles and Julia Eisendrath
Joan and I mil Engcl
Bob and Chris Euritt
Dr. and Mrs. John A. Faulkner
Eric Fcaron and Kathy Cho
Dede and Oscar Feldman
Yi-tsi M. and Albert Fcucrwcrker
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 Gelchrter
Beverly Gcrshowitz
William and Ruth Gilkey
Mr. and Mrs. Clement Gill
Mrs. Cozette T. Grabb
Elizabeth Needham Graham
Susan Smith Gray and Robert Gray
Dr. John and Rcnce M. Gredcn
Jeffrey B. Green
John and Helen Griffith
Girl and Julia Guldberg
Martin D. and Connie D. Harris
Julian and Diane Hoff
Carolyn Houston
Robert M. and Joan F. Howe
Drs. Linda Samuclson and Joel Howell
Dr. H. David and Dolores Humes
Susan and Martin Hurwitz
Stuart and Maureen Isaac
Timothy and (o Wicse 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. 1 .ni.i and David S. Bach
Laurie and Robert LaZebnik
Peter Lee and Clara Hwang
Donald J. and Carolyn Dana Lewis
Allen and Evie Lichter
Carolyn and Paul Lichter
Daniel Little and Bernadette Lintz
Lawrence and Rebecca Lohr
Leslie and Susan Loomans
Mark and Jennifer LoPatin
Richard and Stephanie Lord
Lawrence N. Lup, DDS
John and Cheryl MacKrell
Catherine and Edwin L. Marcus
Nancy and Philip Margolis
Sally and Bill Martin
Chandler and Mary Matthews
Carole Mayer
Ernest and Adele McCarus
Joseph McCune and Georgiana Sanders
Rebecca McGowan and Michael B. Staebler
Ted and Barbara Meadows
Henry D. Messer Carl A. House
Andy and Candice Mitchell
Theresc M. Molloy
Lester and Jeanne Monts
Alan and Sheila Morgan
Jane and Kenneth Moriarty
Melinda and Bob Morris
Brian and Jacqueline Morton
Martin Nculiep and Patricia Pancioli
Donna Parmelee and William Nolting
Marylen and Harold Oberman
Dr. and Mrs. Frederick C. O'Dell
Robert and Elizabeth Oneal
Constance and David Osier
Mitchcl Osman, MD and
Nancy Timmerman William C. Parkinson Dory and John D. Paul
Principals, cont.
Margaret and lack Petersen Elaine and Bertram Pitt Richard and Mary Price Jeanne Raisler and Jon Cohn Donald H. Regan and
Elizabeth Axelson Ray and Ginny Rcilly Bernard E. and Sandra Reisman Kenneth J. Robinson Mr. and Mrs. Irving Rose Doug and Sharon Rothwell Dr. Nathaniel H. Rowe Craig and Jan Ruff Dr. and Mrs. Frank Rugani Alan and Swanna Saltiel John and Rcda Santinga Maya Savarino David and Marcia Schmidt Mccyung and
Charles R. Schmitter Mrs. Richard C. Schneider Rosalie and David Schottenfeld Steve and Jill Schwartz John J. H. Schwarz Erik and Carol Serr Janet and Michael Shatusky Carl P. Simon and Bobbi Low Frances U. and Scott K. Simonds Katharine B. and Philip Soper Lloyd and Ted St. Antoine Victor and Marlene Stoeffler Dr. and Mrs. Stanley Strasius Katharine Terrell and Jan Svejnar Virginia G. Tainsh Jim Toy Joyce A. Urba and
David J. Kinsella Jack and Marilyn van der Velde Elly Wagner Florence S. Wagner Willes and Kathleen Weber Elisc 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 Wisgcrhof II Robert and Betty Wurtz Paul Yhouse Edwin and Signe Young Gerald B. and
Mary Kate Zelenock
Dr. and Mrs. Robert G. Aldrich
Anastasios Alexiou
Christine Webb Alvey
David and Katie Andrea
Dr. and Mrs. Rudi Ansbacher
lanet 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
IcfTrcy Beyersdorf
Sara Billmann and Jeffrey Kuras Jerry and Dody Blackstone Donald and Roberta Blitz Tom and Cathie Bloem Jane Bloom, MD and
William L. Bloom Mr. and Mrs. Richard Boyce Dr. and Mrs. Ralph Bozell Susan Bozell Paul and Anna Bradley Joel Bregman and
Elaine Pomeranz June and Donald R. Brown Morton B. and Raya Brown Trudy and Jonathan Bulkley H. D. Cameron Bruce and (can 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 lohn W. Farah DDS PhD Claudine Farrand and
Daniel Moerman Irene Fast
Sidney and Jean Fine Carol Finerman Clare M. Fingerle John and Karen Fischer Ray and Patricia Fitzgerald Jason I. Fox Dr. Ronald Freedman Harriet and Daniel Fusfeld Otto and Lourdes E. Gago Professor and
Mrs. David M. Gates Drs. Steve Geiringer and
Karen Bantel Jasper Gilbert Paul and Anne Glendon Jack and Kathleen Glezen AU 1.1 G. Golden and
Carroll Smith-Rosenberg William and Sally Goshorn Jenny Graf
Dr. and Mrs. Lazar I. Greenfield Seymour D. Greenstone David and Kay Gugala Ken and Margaret Guirc Don P. Haefner and
Cynthia J. Stewart Mr. and Mrs. Elmer F. Hamel Susan A. Hamilton Clifford and Alice Hart Sivana Heller J. Lawrence and
Jacqueline Stearns Hcnkel Kathy and Rudi Hcntschel Herb and Dee Hildebrandt Mrs. W.A. Hiltner Sun-Chien and Betty Hsiao Mrs.V.C. Hubbs Ann D. Hungerman Thomas and Kathryn Huntzicker Eileen and Saul Hymans lean Jacobson
Mark Jacobson
Elizabeth Jahn
Rebecca S. Jahn
Wallie and Janet Jeffries
Jim and Dale Jerome
Ben M. Johnson
Herbert and Jane M. Kaufer
Dr. and Mrs. Robert P. Kelch
John B. and Joanne Kennard
Emily Kennedy
Dr. David E. and
Heidi Castlcman Klein Hermine R. Klingler Philip and Kathryn Klintworth Michael J. Kondziolka and
MathiasPhilippe Florent Badin Charles and Linda Koopmann Dr. and Mrs. Melvyn Korobkin Bert and Catherine La Du Ted and Wendy Lawrence Mr. John K. Lawrence Julaine E. Le Due Mr. and Mrs. Fernando S. Leon Jacqueline H. Lewis E. Daniel and Kay Long Brigitte and Paul Maassen William Maddix Nicole Manvel Marilyn Mason Micheline Maynard Griff and Pat McDonald Bernice and Herman Merte Leo and Sally Miedler Myrna and Newell Miller Lisa Murray and Mike Gatti Gerry and Joanne Navarre Edward Nelson Eulalie Nohrden Kathleen I. Operhall Marysia OstaBn and
George Smillie Nicole Paoletti Ms. Chandrika S. Patel John Peckham Wallace and Barbara Prince Mrs. Gardner C. Quarton Mrs. Joseph S. Radom Ms. Claudia Rast Ms. Rossi Ray-Taylor Molly Resnik and John Martin lay and Machrec Robinson Dr. Susan M. Rose Mrs. Doris E. Rowan Lisa Rozek
James and Adriennc Rudolph Paul and Penny Schreiber Alicia Schuster Terry Shade
Howard and Aliza Shevrin George and Gladys Shirley Pat Shure
Robert and Elaine Sims hnu J. Sklenar Herbert Sloan
Donald C. and Jean M. Smith Gus and Andrea Stager Curt and Gus Stager David and Ann Staiger fames C. Steward Prof. Louis J. and Glennis M. Stout Ellen and leoffrey K. Stross ( IhariottC B. Sundelson Bob and Betsy Teeter Paul and Jane Thielking Elizabeth H.Thicmc Dr. and Mrs. Merlin C. Townley Joan Lowenstcin and
Jonathan Trobe Jeff and Lisa Tulin-Silver Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger Charlotte Van Curler
Raven Wallace Harvey and Robin Wax Lawrence A. Wcis Raoul Wcisman and
Ann Friedman Angela and Lyndon Welch Reverend Francis E. Williams Warren Williams Lawrence and Mary Wise David and April Wright Mayer and loan Zald
Jesus and Benjamin Acosta-Hughes
Michael and Marilyn Agin
Robert Ainsworth
Helen and David Aminoff
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 Barcra
Lois and David Baru
Lourdes Bastos Hansen
Tom and Judith Batay-Csorba
Francis J. and Lindsay Bateman
Mrs. Jere M. Bauer
Gary Beckman and Karla Taylor
Professor and Mrs. Erling
Blondal Bcngtsson Dr. and Mrs. Ronald M. Benson Joan and Rodney Bentz Dr. Rosemary R. Berardi James A. Bergman and
Penelope Hommel Steven . Bernstein and
Maria Herrero Dan and Irene Biber John E. Billi and Sheryl Hirsch Roger and Polly Bookwalter Victoria C. Botek and
William M. Edwards Jim Botsford and
Janice Stevens Botsford William R. Brashear David and Sharon Brooks Dr. Frances E. Bull Susan and Oliver Cameron Valerie and Brent Carey 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 Mcrial Das Art and Lyn Powrie Davidgc John and Jean Debbink Elena and Nicholas Delbanco Elizabeth Dexter Judy and Steve Dobson Thomas and Esther Donahue Cecilia and Allan Drcyfuss Elizabeth Duel)
Associates, cont.
Dr. Alan S. Eiser
Sol and Ituliih Elkin
lanel Fain
Phil and Phyllis Pellin
Stephen and Ellyce Field
Dr. James F. Filgas
Susan FilipiakSwing City
Dance Studio Herschel Fink C. Peter and Bcv A. Fischer Gerald B. and Catherine L. Fischer Dennis Flynn Paula L Bockenstedt and
David A. Fox
Howard and Margaret Fox Betsy Foxman and
Michael Boehnke Lynn A. Freeland Richard and Joann Freethy Dr. Leon and Marcia Friedman Lela J. Fuester
Mr. and Mrs. William Fulton Thomas 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 Maryanna and
Dr. William H. Graves III Bob Green
Ingrid and Sam Gregg [till and Louise Gregory Raymond and Daphne M. Grew Werner H. Grille John and Susan Halloran Tom Hammond Robert and Sonia Harris Naomi Gottlieb Harrison and
Theodore Harrison DDS Paul Hysen and Jeanne Harrison Jeannine and Gary Hayden Henry R. and Lucia Heinold Rose and John Henderson Dr. and Mrs. Keith S. Henley Peter Hinman and Elizabeth Young Louise Hodgson
Mr. and Mrs. William B. Holmes Dr. Ronald and Ann Holz Jane H. Hughes Marilyn C. Hunting Robert B. Ingling David Jahn Ellen C. Johnson Kent and Mary Johnson Paul and Olga Johnson Arthur A. Kaselemas Frank and Patricia Kennedy Donald F. and Mary A. Kiel Rhea Kish
Paul and Dana Kissner Sieve and Shira Klein Laura Klem Jean and Arnold Kluge Thomas and Ruth Knoll John Koselka and Suzanne DeVinc Bert and Gcraldinc Kruse Mrs. David A. Lanius Mr. and Mrs. Henry M. Lapeza Neal and Anne Laurancc Beth and George LaVoie John and Theresa Lee Jim and Cathy Leonard Sue Leong
Myron and Bobbie Levinc Ken and Jane Lieberthal Rod and Robin Little Vi-Cheng and Hsi-Yen Liu Dr. Lennart H. Lofstrom
Naomi E. Lohr Ronald Longhofcr and
Norma McKenna Florence LoPatin Jenifer and Robert Lowry Edward and Barbara Lynn Pamela ). MacKintosh Mclvin and Jean Manis James E. and Barbara Martin Margaret E. McCarthy Margaret and Harris McClamroch James M. Beck and
Robert J. McGranaghan Michael G. McGuire Nancy A. and Robert E. Meader George R. and Brigitte Merz Shirley and Bill Meyers Mr. and Mrs. Eugene Miller Kathryn and Bertley Moberg Mr. and Mrs. William Moeller Olga Ann Moir
William G. and Edith O. Moller. Jr. Thomas and Hcdi Mutford Gavin Eadie and Barbara Murphy Frederick C. Neidhardt and
Germaine Chipault Richard and Susan Nisbett Laura Nitzberg and Thomas Carli Arthur and Lynn Nusbaum Drs. Sujit and Uma Pandit William and Hcdda Panzer Karen M. Park Joyce Phillips
Mr. and Mrs. Frederick R. Pickard Wayne Pickvet and Bruce Barrett Donald and Evonne Plantinga Bill and Diana Pratt Larry and Ann Preuss Lcland and Elizabeth Quackenbush Jim and leva Rasmusscn Anthony L. Reffells and
Elaine A. Bennett Constance O. Rinehart Kathleen Roelofs Roberts Gay and George Rosenwald Mr. Haskcll 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 AJene Smith Carl and Jari Smith Mrs. Robert W. Smith Dr. Elaine R. Soller Hugh and Anne Solomon Yoram and Eliana Sorokin Tom Sparks Jeffrey D. Spindler Allen and Mary Spivey Judy and Paul Spradlin Burnctte Staebler Gary and Diane Stahlc Rick and 11.1 Stevens James L. Stoddard Barbara and Donald Sugerman Brian and Lee Talbot Eva and Sam Taylor Edwin J. Thomas Bctte M. Thompson Nigel and Jane Thompson Claire and Jerry Turcottc Mr. James R. Van Bochove
Hugo and Karla Vandersypen Marie Vogt
Harue and Tsuguyasu Wada Charles R. and
Barbara H. Wallgren Robert D. and Liina M. Wallin Carol Weber lohn Weber Deborah Webster and
George Miller Iris and Fred Whitehouse Leslie Clare Whilficld Professor Steven Whiting Cynthia and Roy Wilbanks Anne Marie and Robert I. Willis Lloyd and Lois Crabtree Beverly and Hadley Wine Charles Witke and Aileen Gatten Charlotte A. Wolfe Richard E. and Muriel Wong Al and Alma Wooll Frances A. Wright Don and Charlotte Wyche MaryGrace and Tom York
Corporate Fund
$100,000 and above Ford Motor Company Fund Forest Health Services
Corporation University of Michigan Pfizer Global Research and
Development: Ann Arbor
$20,000-$49,999 Bank of Ann Arbor Borders Group, Inc. DaimlerChrysler Foundation Kaydon Corporation KeyBank TIAA-CREF
Bank One
Brauer Investment Company CFI Group
Comerica Incorporated DTE Energy Foundation Edward Surovcll Realtors McKinley Associates Sesi Lincoln Mercury Volvo Mazda
$5,000-$9,999 Albert Kahn Associates Ann Arbor Automotive Butzel Long Attorneys Crowne Plaza Elastizcll 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 & 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
UMS gratefully acknowl?edges the support of the following foundations and government agencies:
$100,000 and above Association of Performing
Arts Presenters Arts
Partners Program Community Foundation for
Southeastern Michigan Doris Duke Charitable
Foundation The Ford Foundation JazzNet Michigan Council for Arts
and Cultural Affairs The Power Foundation
Foundation & Government Support, cont.
The Wallace Foundation The Whitney Fund
$50,000-$99,999 Anonymous
National Endowment for the Arts
SW,000-$49,999 Continental Harmony
51,000-59,999 Akers Foundation Altria Group, Inc. Arts Midwest Cairn Foundation Heartland Arts Fund The Lebensfeld Foundation Martin Family Foundation Marine and Stuart Frankel
Mid-America Arts Alliance The Molloy Foundation Montague Foundation THE MOSAIC FOUNDA?TION (of R. and P. Heydon)
Sarns Ann Arbor Fund Vibrant of Ann Arbor
Tribute Gifts
Contributions have been received in honor andor memory of the following individuals:
H. Gardner Ackley
Herb and Carol 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. Bcvcrley B. Geltner
Michael Gowing
Lila Green
Werner Grilk
Elizabeth E. Kennedy
Ted Kennedy, r.
Dr. Gloria Kerry
Alexandra Lofstrom
loyce Malm
Frederick N. McOmbcr
Evelyn P. Navarre
Phil and Kathy Power
Gwen and Emerson Powrie
Prof. Robert Putnam
Ruth Putnam
Mrs. Gail Rector
Steffi Reiss
Pruc Rosenthal
Margaret E. Rothstein
Eric H. Rothstein
Nona R. Schneider
Ruth E. Schopmeyer
Prof. Wolfgang Stolper
Diana Stone Peters Peter C. Tainsh Dr. Isaac Thomas III Clare Venables Francis V.Viola III Horace Warren Donald Whiting Peter Holderness Woods Barbara E. Young Elizabeth Yhouse
Burton Tower Society
The Burton Tower Society recognizes and honors those very special friends who have included UMS in their estate plans. UMS is grateful for this important support, which will continue the great traditions of artistic excellence, educational opportunities and community partnerships in future years.
Carol and Herb Amster
Dr. and Mrs. David G. Anderson
Mr. Neil P. Anderson
Catherine S. Arcure
Mr. Hilbert Beyer
Elizabeth Bishop
Mr. and Mrs. Pal E. Borondy
Carl and Isabcllc Brauer
Barbara Evcritt Bryant
Joanne A. Cage
Pat and George Chatas
Mr. .ind Mrs. John Alden Clark
Douglas D. Crary
H. Michael and Judith L Endres
Beverley and Gerson Geltner
John and Martha Hicks
Mr. and Mrs. Richard Ives
Marilyn Jeffs
Thomas C. and
Constance M. Kinnear Charlotte McGeoch Michael G. McGuire Dr. Eva Mueller Lcn 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. Wdlard L Rodgers Prudence and Amnon Rosenthal Mr. Haskell Rothstein Irma J. Skelnar Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wetzel Mr. and Mrs. Ronald G. Zoliars
Endowed Funds
The future success of the University Musical Society is secured in part by income
from UMS's endowment. UMS extends its deepest appreciation to the many donors who have established andor contributed to the following funds. H. Gardner Ackley
Endowment Fund Herbert S. and Carol Amster
Fund Catherine S. Arcure
Endowment Fund Carl and Isabelle Brauer
Endowment Fund Choral Union Fund Hal and Ann Davis
Endowment Fund Ottmar Eberbach Funds Epstein Endowment Fund JazzNet Endowment Fund William R. Kinney
Endowment Fund NEA Matching Fund Palmer Endowment Fund Mary R. Romig-deYoung
Music Appreciation Fund Charles A. Sink Memorial Fund Catherine S. ArcureHerbert
E. Sloan Endowment Fund University Musical Society
Endowment Fund
In-Kind Gifts
A-l Rentals, Inc.
Raquel and Bernard Agranoff
Alexandra's in Kerrytown
Amadeus Cafc
Ann Arbor Automotive
Ann Arbor Art Center
Ann Arbor Women's City Club
Arbor Brewing Co.
Ashley Mews
Avanli 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 Bolsford
Susan Bozell
Tana Breiner
Barbara Everitt Bryant
By the Pound
Cafe Marie
Margot Campos
Cappellos Hair Salon
Coach Me Fit
Bill and Nan Conlin
M.C. Conroy
Hugh and Elly Cooper
Cousins Heritage Inn
Roderick and Mary Ann Daanc
D'Amato's Italian Restaurant
David Smith Photography
Peter and Norma Davis
Robert Dcrkacz
The Display Group
Dough Boys Bakery
The Earle
Eastover Natural Nail Care
(Catherine and Damian Farrell
Ken and Penny Fischer
Food Art
Sara Frank
The Gandy Dancer
Bcvcrley and Gerson Gellner
Great Harvest Bread Company
Linda and Richard Greene
Nina Hauser
John's Pack & Ship
Steve and Mercy Kaslc
Cindy Kellerman
Kerrytown Bistro
Kilwin's Chocolate Shoppe
King's Keyboard House
Kinko's Copies
Laky's Salon
Ray Lance
George and Beth Lavoic
Leopold Bros. Of Ann Arbor
Richard LeSueur
Carl Lutkehaus
Doni Lystra
Mainstrcct Ventures
Ernest and Icanne Merlanti
John Metzger
Michael Susanne Salon
Michigan Car Services, Inc. and
Airport Sedan, LTD Moc Sport Shops Inc. Robert and Melinda Morris Joanne Navarre Nicola's Books, Little Professor
Book Co.
Paesano's Restaurant Pfizer Global Research and
Development: Ann Arbor
Laboratories Preview Properties Produce Station Randy Parrish Fine Framing Red Hawk Bar & Grill Regrets Only Rightside Cellar Ritz Camera One Hour Photo Don and Judy Dow Rumelhart Safa Salon and Day Spa Salon Vertigo Rosalyn Sarvar Maya Savarino Penny and Paul Schreiber Shaman Drum Bookshop Lorctta Skcwes Dr. Elaine R. Sollcr Maureen Stocffler STUDIOsixtccn Two Sisters Gourmet Van Bovens
Washington Street Gallery Whole Foods Weber's Restaurant Zanzibar

Download PDF