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UMS Concert Program, Saturday Oct. 02 To 13: University Musical Society: Fall 2004 - Saturday Oct. 02 To 13 --

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Rights Held By
University Musical Society
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Season: FALL 2004
University Of Michigan, Ann Arbor

university musical society
fall 04
University of Michigan Ann Arbor
2 5 Letters from the Presidents Letter from the Chair
UMS leadership 6 12 13 Corporate LeadersFoundations UMS Board of DirectorsSenate Advisory Committee UMS StaffTeacher Advisory Committee
UMS services 15 16 19 General Information Tickets
UMSannals 21 22 23 UMS History UMS Choral Union Venues & Burton Memorial Tower
UMSexperience 27 30 33 126th UMS Season UMS Education Programs UMS Preferred Restaurant & Business Program
UMSsupport 35 35 37 39 48 Advisory Committee Sponsorship & Advertising Internships & College Work-StudyUshers Support UMS Advertisers
Front Covr Mikhail Baryshnikov in Forbidden Christmas or The Doctor and The Patient IMichal Daniel). Whirling Dervishes of Damascus. Yuri Temirkanov. Measha Brueggergosman (Lome Bridgeman)
Back Cover Laurie Anderson. The Bad Plus IMarcelo Krasilcicl. Akira Kasai IHideyo Tanaka and Takahiro Hachikubol. Trie Elephant Vanishes [Robbie Jack)
The University of Michigan joins the University Musical Society (UMS) in welcoming you to its 200405 season. We are proud of the wonderful partnership between our two organizations and of the role
of the University as co-sponsor of several educa?tional events connected to this season's calendar. These jointly sponsored events are wonderful opportunities for University of Michigan stu?dents and faculty to learn about the creative process and the sources of inspira-
tion that motivate artists and scholars.
We are delighted to be working with UMS again to help sponsor educational activities throughout the 200405 season. Some highlights of our fall educational co-presentations include some of the great artists UMS will present this season, such as Ravi Shankar, Paul Taylor Dance Company, and Akira Kasai, along with remark?able productions of Forbidden Christmas or The Doctor and Tlie Patient with Mikhail Baryshnikov, and Complicite's The Elephant Vanishes, which has received extraordinary reviews at Lincoln Center.
Last year, we were honored to welcome UMS back to Hill Auditorium for their 125th anniversary season. Seeing the magnificent Hill Auditorium for the first time was an amazing experience. Watching the national coverage of the re-opening of Hill and hearing hundreds of stories about its astonishing artistic legacy and
rich history with UMS made me appreciate all the more how important both the University and UMS has become in the cultural life of our country. We have another great example of the marvelous opportunities our University and UMS can provide to our community in the production of The Elephant Vanishes in October this production will only be seen in New York, Paris, London, and Ann Arbor!
This year, we have also launched our ambi?tious capital campaign for the future of the University of Michigan, titled The Michigan Difference. One of the areas we have highlight?ed for support is the arts. We provide experi?ences, both in the classroom and throughout our museums and theaters, to stimulate creativ?ity, engage tomorrow's performers and artisans, and showcase the world from diverse points of view. I hope you will join me and many others in moving our University to even greater levels of excellence and aspiration.
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 UMS during this exhilarating 200405 season, and we share the goal of mak?ing our co-presentations academic and cultural events that benefit the university community and the broadest possible constituency.
Mary Sue Coleman
President, University of Michigan
Thank you for attending this UMS per?formance. We hope we'll see you at other UMS events throughout our 126th season. For a list of performances, visit page 27 in this program book or check out our website at
UMS is able to bring you world-class per?formances because we have a lot of help from our partners. There are the artists' managers around the world -the people artists and ensembles retain to manage their careers -with whom we negotiate the terms of the artists' engagements on the UMS season. Then there are our venue partners, the institutions that own the places we rent for our performances, includ?ing the University of Michigan, Eastern Michigan University, Michigan Theater, and St. Francis of Assisi Catholic Church. Other arts organizations, some across the globe, collabo?rate with UMS to present performances, com?mission new work, and create new productions. The men and women of the Local 395 of the International Alliance of Theatrical Stage Employees (IATSE) do an outstanding job unloading the trucks, constructing the sets, set?ting the stage, and doing everything else neces?sary to assure a smooth production before, during, and after a given performance. Our media partners help us spread the word about our events, and our corporate, foundation, and government partners contribute the additional financial support we need to balance the budget.
Our most important partner, however, is you. Without your attendance at our events we would have no reason to bring the artists to our community, and without the additional finan?cial support many of you provide through your UMS membership, we wouldn't be able to afford them. Thank you for all of your support.
There are a variety of other partners with whom we serve young people throughout the region, enrich our performances with educa?tional programming, deepen our links to the community, promote our events, develop new audiences, and inform and enlighten our staff. These include area public and private K-12 schools; colleges, institutes, and centers at the University of Michigan; other area colleges and universities; and community organizations like Neutral Zone, The Links, Inc., and ACCESS.
A special word about ACCESS, the Arab Community Center for Economic and Social Services. UMS began a relationship in the late
(l-r) Ken Fischer, Congressman John Dingell. and ACCESS Executive Director Ismael Ahmed.
1990s with ACCESS, an award-winning Dearborn-based community organization that serves the region's large Arab American com?munity. After getting to know one another and developing a relationship of trust and respect, UMS and ACCESS wrote a proposal in June 2001 for funds to plan and carry out a three-week residency featuring Palestinian-American composer and musician Simon Shaheen. It would include performances, visits to the schools, workshops on Arabic music for area musicians, artists' interviews, and educational sessions. The project would also include ACCESS providing Arab immersion experiences for UMS staff and UMS providing production workshops for ACCESS staff. When 911 occurred, we agreed that the project was more important than ever since its objectives also included our respective audiences gaining a greater understanding and appreciation of the diverse cultures of the Arab world. The project took place in December and January of last season, culminating in a January 31 concert at the Michigan Theater by Simon Shaheen, his group Qantara, and leading Arab musicians from southeastern Michigan, that included the world premiere of Shaheen's Arboresque. The successful project led to our planning this sea-
son's Arab World Music Festival, which is co-presented by ACCESS and UMS and supported by a distinguished Honorary Committee and by foundation grants and corporate sponsorships. For UMS, ACCESS has become an exemplary partner as we've sought to build our relation?ship based on the principles of communication, cooperation, vulnerability, and reciprocity.
It's wonderful to have you with us for this performance. I hope that we'll see you at some of the Arab World Music Festival concerts and other UMS performances throughout the season. 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
I am so pleased to welcome you to the 200405 UMS season. It promises to be as exciting as always. This year we are bringing The New York Philharmonic, a semi-staged concert performance of
A Midsummer Nights Dream with the Orchestra of the Age of Enlightenment con?ceived for the concert hall by Tim Carroll of Shakespeare's Globe Theatre, a five-concert Arab World Music Festival, vocalist Audra McDonald,
and terrific theater and jazz among the 50 pre?sentations you will find in your UMS season program.
UMS is undertaking its largest fundraising campaign ever, which is incorporated within the $2.5 billion Michigan Difference Campaign of the University of Michigan. UMS's campaign goal is $25 million, to be achieved by the end of 2008. The campaign's objective is to assure that
UMS will continue to be one of the most dis?tinctive presenting organizations in the country by securing its financial future. I invite you to join us in achieving this important objective. There are many ways to participate, and gifts at all levels are welcomed. For more information, please call the UMS Development Office at 734.647.1178.
I wish to thank all of our UMS members whose financial support over and above their ticket purchases helps us fulfill our mission of presentation, education, and creation at the highest level. Their names are listed beginning on page 39 of this program book. And a special thanks to our corporate sponsors whom we recognize on the next few pages.
Enjoy the performance!
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 brilliant people. In order to get people with world-class talent 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 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."
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."
David C. Sharp
Publisher, The Ann Arbor News "The people at The Ann Arbor News are pleased and honored to partner with and support many community organizations, like the University Musical Society, that as a whole create one of the most vibrant, diverse, and interesting cities throughout this region."
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 200405 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 community that sustains our business. We are proud to support 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 community's commitment to and appreciation for artistic expression in its many forms."
Len Niehoff
Shareholder, Butzel Long
"UMS has achieved an international reputation for excellence in presentation, education, and most recently creation 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 togeth?er. 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."
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 season. They need your support-more than ever--to continue their outstanding pro?gramming and educational workshops."
Yousif Ghafari
Chairman, The Ghafari Companies "The Ghafari Companies are pleased to support the University Musical Society and its multicultural pro?gramming. We are especially pleased to be part of the Arab World Music Festival."
Mohamad Issa
Director, Issa Foundation
"The Issa Foundation is sponsored by the Issa family, which has been established in Ann Arbor for the last 30 years, and is involved in local property management as well as area public schools. The Issa Foundation is devoted to the sharing and acceptance of culture in an effort to change stereotypes and promote peace. UMS has done an outstanding job bringing diversity into the music and talent of its performers."
Erin R. Boeve
Director of Sales, Kensington Court Ann Arbor 'The Kensington Court Ann Arbor is a proud supporter and sponsor of the University Musical Society. The dedication to education through the arts is a priceless gift that continually enriches our community."
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 superior and diverse cultural events, which for 125 years, has brought inspiration and enrichment to our lives and to 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."
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 backgrounds. How thrilling to see children's faces, experiencing their first performance as only UMS can present."
Nicholas C. Matters
Assistant Vice President, TIAA-CREF Individual and Institutional Services, Inc.
"TIAA-CREF is proud to be associated with one of the best universities 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 U-M-Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational and artistic entertainment."
Yasuhiko "Yas" Ichihashi
President, Toyota Technical Center, USA Inc. "Toyota Technical Center is proud to support UMS, an organization with a long and rich history of serving diverse audiences through a wide variety of arts program?ming. In particular, TTC supports UMS presentations of global performing arts -programs that help broaden audiences' interest in and understanding of world cultures and celebrate the diversity within our community."
FOUNDATION AND GOVERNMENT SUPPORT UMS gratefully acknowledges the support of the following foundations and government agencies.
S100.000 and above 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
The Japan Foundation
SI 0,000-49,999
Chamber Music America
Maxine and Stuart Frankel Foundation
National Endowment for the Arts
$1,000-9,999 Akers Foundation Altria Group, Inc. Arts Midwest Cairn Foundation Heartland Arts Fund The Lebensfeld Foundation Martin Family Foundation Mid-America Arts Alliance The Molloy Foundation Montague Foundation THE MOSAIC FOUNDATION
(of R. and P. Heydon) National Dance Project of the New England
Foundation for the Arts Sarns Ann Arbor Fund Vibrant of Ann Arbor
UNIVERSITY MUSICAL SOCIETY of the University of Michigan
Prudence L. Rosenthal,
Chair Clayton E. 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 Deborah S. Herbert
Carl W. 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 A. Douglas Rothwell Judy Dow Rumelhart Maya Savarino John J. H. Schwarz Erik H. Serr Cheryl L. Soper James C. Stanley Karen Wolff
(former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Lee C. Bollinger Janice Stevens Botsford Paul C. Boylan Carl A. Brauer Allen P. Britton William M. Broucek Barbara Everitt Bryant Letitia J. Byrd Leon S. Cohan Jill A. Corr Peter B. Corr Jon Cosovich Douglas Crary Ronald M. Cresswell
Robert F. DiRomualdo James J. Duderstadt David Featherman Robben W. Fleming David J. Flowers Beverley B. Geltner William S. Hann Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Kay Hunt Alice Davis Irani Stuart A. Isaac Thomas E. Kauper David B. Kennedy Richard L. Kennedy Thomas C. Kinnear F. Bruce Kulp
Leo A. Legatski Earl Lewis Patrick B. Long Helen B. Love Judythe H. Maugh Paul W. McCracken Rebecca McGowan Shirley C. Neuman Len Niehoff Joe E. O'Neal John D. Paul John Psarouthakis Rossi Ray-Taylor Gail W. Rector John W. Reed Richard H. Rogel Ann Schriber Daniel H. Schurz Harold T. Shapiro
George I. Shirley John O. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A. Solis Peter Sparling Lois U. Stegeman Edward D. Surovell James L. Telfer Susan B. Ullrich Eileen Lappin Weiser Gilbert Whitaker B. Joseph White Marina v.N. Whitman Iva M. Wilson
Raquel Agranoff, Chair Norma Davis, Vice Chair Louise Townley, Past Chair Lois Baru, Secretary Lori Director, Treasurer
Barbara Bach Tracey Baetzel Paulett M. Banks Milli Baranowski Kathleen Bcnton Mimi Bogdasarian Jennifer Boyce Mary Breakey
Jeannine Buchanan Victoria Buckler Heather Byrne Laura Caplan Cheryl Cassidy Nita Cox
H. Michael Endres Nancy Ferrario Anne Glendon Alvia Golden Ingrid Gregg Kathy Hentschel Phyllis Herzig Meg Kennedy Shaw
Anne Kloack Jean Kluge Kathy UDronka Jill Lippman Stephanie Lord Judy Mac
Morrinc Maltman Mary Matthews Joann McNamara Candice Mitchell Danica Peterson Lisa Psarouthakis Wendy Moy Ransom Theresa Ann Reid
Swanna Saltiel ]eri Sawall Penny Schreiber Suzanne Schroeder Aliza Shevrin Alida Silverman Maryanne Telese Mary Vandewiele Dody Viola Enid Wasserman Wendy Woods Mary Kate Zelenock
Kenneth C. Fischer, President Elizabeth E. Jahn, Assistant to the
President John B. Kennard, Jr., Director of
Patricia Hayes, Senior Accountant John Peckham, Information Systems
Manager Alicia Schuster, Gift Processor
Choral Union
Jerry Blackstone, Conductor and
Music Director
Jason Harris, Assistant Conductor Steven Lorenz, Assistant Conductor Kathleen Operhall, Chorus Manager Jean Schneider, Accompanist Donald Bryant, Conductor Emeritus
Susan McClanahan, Director Lisa Michiko Murray, Manager of
Foundation and Government
Grants M. Joanne Navarre, Manager of the
Annual Fund and Membership Marnie Reid, Manager of Individual
Support Lisa Rozek, Assistant to the Director
of Development Shelly Soenen, Manager of Corporate
Support Cindy Straub, Advisory Committee
and Events Coordinator
EducationAudience Development
Ben Johnson, Director Rowyn Baker, Youth Education
Manager Bree Doody, Education and Audience
Development Manager William P. Maddix, Education
MarketingPublic Relations
Sara Billmann, Director Susan Bozell, Marketing Manager Nicole Manvel, Promotion Coordinator
Michael J. Kondziolka, Director Emily Avers, Production Operations
Jeffrey Beyersdorf, Technical Manager Suzanne Dernay, Front-of-House
Coordinator Susan A. Hamilton, Artist Services
Coordinator Mark Jacobson, Programming
Manager Douglas C. Witney, Interim
Production Director Bruce Oshaben, Dennis Carter,
Brian Roddy, Head Ushers
Ticket Services
Nicole Paoletti, Manager
Sally A. Cushing, Associate
Jennifer Graf, Assistant Ticket Services
Alexis Pelletier, Assistant John M. Steele, Assistant
Kara Alfano Nicole Blair Stephan Bobalik Bridget Briley Patrick Chu Elizabeth Crabtree Bethany Heinrich Rachel Hooey Cortney Kellogg Lena Kim Ryan Lundin Natalie Malotke Brianna McClellan Erika Nelson Fred Peterbark Omari Rush Sean Walls Amy Weatherford
Kristen Armstrong David Wilson
President Emeritus
Gail W. Rector
Fran Ampey Lori Atwood Robin Bailey loe Batts Kathleen Baxter Gretchen Baxtresser Elaine Bennett Lynda Berg Gail Bohner Ann Marie Borders
David Borgsdorf Sigrid Bower Susan Buchan Diana Clarke Wendy Day Jacqueline Dudley Susan Filipiak Lori Fithian Jennifer Ginther Brenda Gluth
Barb Grabbe Joan Grissing Carroll Hart Susan Hoover Linda Jones Rosalie Koenig Sue Kohfeldt Laura Machida Christine Maxey-Reeves Patty Meador
Don Packard Michelle Peet Wendy Raymond Katie Ryan Kathy Schmidt Debra Sipas-Roe Tulani Smith Julie Taylor Dan Tolly Barbara Wallgren
UMS services
GENERAL INFORMATION 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, Hill Auditorium, Power Center, 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, Lydia Mendelssohn Theatre, Power Center, or Rackham Auditorium please call University Productions at 734.763.5213. For items lost at St. Francis of Assisi Catholic Church or Michigan Theater 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 0405 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
Refreshments are available in the lobby during intermissions at events in the Power Center, in the lower lobby of Hill Auditorium, and in the Michigan Theater. Refreshments 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 ushers will seat them. UMS staff works with the artists to determine when late seating will be the least disruptive to the artists and other concertgoers.
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 retums 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 person) at least 48 hours prior to the perform?ance. You may fax a photocopy of your torn tick?ets 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 unforget?table 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 cele?bration, or just friends enjoying each other's company. The many advantages to booking as a group include:
reserving tickets before tickets 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 e-mail
Discounted Student Tickets
Since 1990, students have purchased over 150,000 tickets and have saved more than $2 million through special UMS student programs! UMS's commitment to affordable student tickets has permitted thousands to see some of the most important, impressive, and influential artists from around the world. For the 0405 season, students may purchase discounted tickets to UMS events in three ways:
1. Each semester, UMS holds a Half-Price Student Ticket Sale, at which students can pur?chase tickets for any event for 50 off the pub?lished price. This extremely popular event draws hundreds of students every fall. Be sure to get there early as some performances have limited numbers of tickets available.
2. Students may purchase up to two Rush Tickets for $10 the day of the performance at the UMS Ticket Office, or are entitled to 50 off at the door, subject to availability.
3. Students may purchase the UMS Student Card, a pre-paid punch card that allows students to pay up front ($50 for 5 punches, $100 for 11 punches) and use the card to purchase Rush Tickets during the 0405 season. With the UMS Student Card, students can buy Rush Tickets up to two weeks in advance, subject to availability.
Gift Certificates
Looking for that per?fect meaningful gift that speaks volumes about your taste
Tired of giving flowers, ties or jewelry Give a UMS Gift Certificate! Available in any amount and redeemable for any of more than 70 events throughout our season, wrapped and delivered with your personal message, the UMS Gift Certificate is ideal for weddings, birthdays, Christmas, Hanukkah, Mother's and Father's Days, or even as a housewarming present when new friends move to town.
UMS Gift Certificates are valid for 12 months from the date of purchase and do not expire at the end of the season.
oin the thousands of savvy people who log onto each month!
Why should you log onto
Last season, UMS launched a new web site, with more information for your use:
Tickets. Forget about waiting in long ticket lines. Order your tickets to UMS performances online. You can find out your specific seat loca?tion 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.
Maps, Directions, and Parking. To help 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. A list of all UMS per?formances, educational events, and other activi?ties 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 audio record?ings and view video clips and interviews 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. Archived 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 a commitment to Presenta?tion, Education, and the Creation of new work, the University Musical Society (UMS) serves Michigan audiences by bringing to our com?munity 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 community has placed UMS in a league of internationally recognized performing arts presenters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, bal?anced by a commitment to dynamic and cre?ative visions of where the performing arts will take us in this new millennium. Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation 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 mem?bers also belonged to the University, the University Musical Society was established in December 1880. UMS included the Choral Union and University Orchestra, and through-
out the year presented a series of concerts fea?turing 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 theater. Through educational endeavors, com-
Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
missioning of new works, youth programs, artist residencies, and other collaborative proj?ects, UMS has maintained its reputation for quality, artistic distinction and innovation. UMS now hosts over 70 performances and more than 150 educational events each season. UMS has flourished with the support of a gen?erous community that this year gathers in six different Ann Arbor venues.
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 performances 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 chorus has joined the DSO in Orchestra Hall and at Meadow Brook for sub?scription performances 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'
Participation in the Choral Union remains open to all by audition. Members share one common passion--a love of the choral art.
Ein deutsches Requiem, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
In 1995, the Choral Union began accepting invitations to appear with other major regional orchestras, and soon added Britten's War Requiem, Elgar's The Dream ofGerontius, the Berlioz Requiem, and other masterworks to its repertoire. During the 199697 season, the Choral Union again expanded its scope to include performances with the Grand Rapids Symphony, joining with them in a rare presen?tation of Mahler's Symphony No. 8 (Symphony of a Thousand).
Led by newly appointed Conductor and Music Director Jerry Blackstone, the 200405 season includes a return engagement with the DSO (Orff's Carmina Burana, to be presented
in Orchestra Hall in Detroit in September), Handel's Messiah with the Ann Arbor Symphony (returning to Hill Auditorium this December), and Haydn's Creation (with the Ann Arbor Symphony in Hill Auditorium in April 2005).
The culmination and highlight of the Choral Union's 200304 season was a rare per?formance and recording of William Bolcom's Songs of Innocence and of Experience in Hill Auditorium in April 2004 under the baton of Leonard Slatkin. Naxos plans to release a three-disc set of this recording this October, featuring the Choral Union and U-M School of Music ensembles. Other noted performances included Verdi's Requiem with the DSO and the Choral Union's 125th series of annual performances of Handel's Messiah in December.
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 information about membership in the UMS Choral Union, e-mail or call 734.763.8997.
Hill Auditorium
Ofter an 18-month $38.6-million dollar renovation overseen by Albert Kahn Associates, Inc. and historic preservation archi?tects Quinn EvansArchitects, Hill Auditorium has re-opened. Originally built in 1913, reno?vations have updated Hill's infrastructure 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 barrier-free ramp and loading dock, and improvements 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 3,575.
Power Center
The Power Center for the Performing Arts grew out of 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 was 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 "a new theater" was men?tioned. The Powers were immediately interest?ed, realizing that state and federal governments
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 achieved the seem?ingly contradictory combination of providing a soaring interior space with a unique level of intimacy. Architectural features included 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 presently features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes (Arabesque) by Pablo Picasso.
The Power Center seats approximately 1,400 people.
Arbor Springs Water Company is generously providing complimentary mler to UMS artists backstage at the Power Center throughout Ihe 0405 season.
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 strong?ly in the importance of the study of human his?tory 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 ambitious 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 performing 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.
Lydia Mendelssohn Theatre
Notwithstanding an isolated effort to estab?lish a chamber music series by faculty and students in 1938, UMS recently began present?ing artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theater as part of the 100th May Festival's Cabaret Ball. This season the superlative Mendelssohn Theatre hosts UMS's return of the Song Recital series and continues to serve as the venue of choice for select chamber jazz performances.
Michigan Theater
The historic Michigan Theater opened January 5, 1928 at the peak of the vaude?villemovie 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 addi?tion, which also included expanded restroom facilities 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 dedicat?ed 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 dedi?cation, 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 contem?plation of sacred a cappella choral music and early music ensembles.
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 fourth year of the merger of the UMS Ticket Office and the University Productions Ticket Office. Due to this 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 N. University Avenue. The UMS Ticket Office phone number and mailing address remains the same.

? of the University of Michigan, Ann Arbor
Fall 2004
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 three to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS perform?ance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use dis?cretion 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 interest 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. Thank you for your help.
Saturday, October 2 through Wednesday, October 13, 2004
An Evening with Dave Brubeck 5
Saturday, October 2, 8:00 pm Hill Auditorium
Laurie Anderson 9
The End of the Moon
Sunday, October 3, 4:00 pm Power Center
Paul Taylor Dance Company
Friday, October 8, 8:00 pm 13
Saturday, October 9, 1:00 pm 17
(One-Hour Family Performance)
Saturday, October 9, 8:00 pm 19
Power Center
Akira Kasai 29
Pollen Revolution
Wednesday, October 13, 8:00 pm Power Center
During the fall of 1999,1, an eager graduate student from Roseville, Michigan, sat in the Power Center for the most amazing theatrical production I had ever experienced. The movement, the sound, the video, the characters of Laurie Anderson's Songs and Stories for Moby Dick overcame me. I was moved, haunted, excited, and alive! When the performance ended, I moved downstairs for a discussion with the artist. Audience members shared their experiences and brought new understandings of the work and the medium to others. Here was an engaged community!
The following week, still excited by the piece, I received a wonderful message from the University Musical Society thanking me for attending the performance and inviting me to upcoming events I might enjoy. Impressed with the personal attention, I brought the piece into my graduate Marketing course for discussion. I remember sharing how perfect my entire experience was with UMS. As a new patron coming to a new community for the first time,
everything from my ticket purchasing experience and the amazing production to the follow-up a week later was welcoming and of the highest quality.
This October marks five years from my first experience with UMS, the return of Laurie Anderson with another stunning production, and the begin?ning of my third season as the Ticket Services Manager for the University Musical Society. Over the past two years, I have remained impressed with UMS's level of quality in production, education, and service.
I am proud to be a part of such a passionate group of people who are dedicated to providing you, our patrons, with world-class performances and the best service possible. Our ticket office team is made up of five terrific professionals and 15 student employees who work daily to service your needs. Please call us at 734.764.2538 if there is anything we can do to improve your UMS experience.
Thank you and enjoy the performance!
Nicole Paoletti
UMS Ticket Services Manager
UMS EdUCQtionQl EVentS through Wednesday, October 13,2004
All UMS educational activities are free, open to the public, and take place in Ann Arbor unless other?wise noted. Please visit for complete details and updates. For more information, contact the UMS Education Department at 734.647.6712 or e-mail
Performing Arts Teacher Workshop ($)
Punch's Progress:
A Brief History of the Puppet Theater
Lecturer: Larry Baranski, Curator, Detroit Institute of Arts
Explore the evolution of puppetry from its first appearances in ancient religious rituals to avant-garde theatrical works of the 21st centu?ry. Puppetry has been documented in virtually every epoch, and in many instances survived as living tradition long after the decline of its indigenous culture. $20 per participant or $10 for students with valid college ID. For more information, call 734.615.0122 or e-mail A collaboration with the Ann Arbor Public Schools and Washtenaw Intermediate School District.
Monday, October 4, 4:30-7:30 pm, Washtenaw Intermediate School District, 1819 S. Wagner
Paul Taylor Dance Company
Performing Arts Teacher Workshop ($)
Paul Taylor Dance Company: Dance is Art, Music and Storytelling
Led by Susan Filipiak, Director, Swing City Dance Studio
This teacher workshop will explore the techniques and artistry of modern dance in preparation for the Paul Taylor Dance Company youth perform?ance. Susan will introduce engaging lesson plans that delve into aspects of dance perform?ance--how a dancer is an artist, a musician, an athlete, a poet and a storyteller. These lesson plans will lead even the non-dancer (student and teacher alike) to experience what the pro?fessional dancer experiences on stage, creating
an even greater appreciation of the artistry of dance. $20 per participant or $10 for students with valid college ID. This workshop is free to teachers bringing their students to the Paul Taylor Dance Company youth performance. For more information, call 734.615.0122 or e-mail Monday, September 27, 4:30-7:30 pm, Washtenaw Intermediate School District, 1819 S. Wagner
Study Club
Paul Taylor Dance Company
Led by Beth Genne, U-M Professor of Dance History (Residential College) and Art History Paul Taylor is celebrating his 50th anniversary, and UMS is celebrating his important legacy in the field of modern dance. This study club, led by noted Dance Historian Beth Genne and open to the public, is an essential primer to repertoire that will be featured in Paul Taylor's Ann Arbor performances. Wednesday, October 6, 7:00-8:30 pm, Ann Arbor District Library, Malletts Creek Branch, 3090 East Eisenhower Parkway (east of Stone School Road)
Round Table Discussion
Performing Taylor
Julie Tice, Principal Dancer, Paul Taylor Dance Company; Beth Genne, U-M Dance Historian; Angela Kane, Head of Dance Studies, University of Surrey
U-M Alum and PTDC principal dancer Julie Tice will lead a Taylor repertoire class with the U-M Department of Dance (for observation only). After the master class, she will be joined by leading authorities on Paul Taylor's work to discuss the art of performing Taylor's technique, choreography, and style.
UMS Educational Events, continual.
A collaboration with the U-M Department of Dance.
Thursday, October 7, 4:30-7:30 pm, U-M Dance Building, Betty Pease Theatre, Second Floor, 1310 N. University Ct., Behind CCRB, off Observatory Road
Keynote Lecture
The World of Paul Taylor
Angela Kane, Head of Dance Studies, University of Surrey
Angela Kane is the world's leading expert on the choreography of Paul Taylor. Her forthcom?ing book, Paul Taylor: A-Z (Alchemy to Zunch), will be published by University of Michigan Press in 2005. As well as working at the University of Surrey, England, she is also a noted dance critic for the Dancing Times of London. Through video examples, her lecture will focus on an in-depth analysis of Taylor's choreography, focusing on his masterworks. Saturday, October 9, 4:00-6:00 pm, Rackham Building, Fourth Floor Amphitheater, 815 East Washington St.
PaulTrylor's Eventide
Akira Kasai
UMS Artist Interview
Interviewed by Ben Johnson, UMS Director of Education and Audience Development A public interview of Akira Kasai, one of the world's leading contemporary butoh masters. A collaboration with the U-M Department of Dance, Center for Japanese Studies, and International Institute. Monday, October 11, 7 pm, School of Social Work, International Institute, Room 1636, First Floor, 1080 S. University
Butoh Master Class
Led by Akira Kasai
A butoh master class led by one of the world's
leading butoh masters.
To register, please call 734.647.6712 or e-mail
Tuesday, October 12, 2:00-4:00 pm, Dance
Gallery Studio, 815 Wildt Street
Community Reception
Join us at a community reception for Akira Kasai. Hosted by the U-M Center for Japanese Studies, International Institute.
Wednesday, October 13, post-performance, Michigan League, Vandenberg Room, Second Floor, 911 North University
An Evening with Dave Brubeck
Dave Brubeck, Piano
Bobby Militello, Saxophone, Flute, Reeds
Michael Moore, Bass
Randy Jones, Percussion
Friday Evening, October 2, 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.
1'ourth Performance of the 126th Annual Season
11th Annual Jazz Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Special thanks to Randall and Mary Pittman for their continued and generous support of the University Musical Society, both personally and through Forest Health Services.
Media partnership for this performance provided by WEMU 89.1 FM, WDET 101.9 FM, and Michigan ChronicleFront Page.
The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
Dave Brubeck is a National Endowment for the Arts Jazz Master and is presented through the NEA Jazz Masters on Tour program. Matching funds provided by Chamber Music America through a generous grant from the Doris Duke Charitable Foundation. This presentation is also made possible by JazzNet, a program of the Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation.
Dave Brubeck Quartet appears by arrangement with Sutton Artists Corporation Agency.
Large print programs are available upon request.
Forest Health Services presents the 1 lth Annual Jazz Series
The youngest of three brothers, Dave Brubeck was born in Concord, CA in December 1920. By the time he was in his early teens, he was already performing professionally. Brubeck initially entered college as a pre-med student with the idea of becoming a veterinari?an and working on his father's cattle ranch, but after working his way through school as a jazz pianist in local clubs, he changed his major to music. After graduation, he entered the Army, where he served under Patton in Europe from 1942-1946, and ultimately became one of America's greatest musical icons.
After his discharge from the Army, Brubeck returned to California, where he studied com?position with the renowned French composer Darius Milhaud, who encouraged Brubeck to pursue a career as both a pianist and a compos?er. During his studies with Milhaud, he and several other students formed an octet, whose early recordings were immediately hailed for their innovation.
Brubeck later went on to form his own trio, and, in 1949, the Trio cut its first album in San Francisco. This album won "Best Small Combo" awards in both the Critics' and Readers' polls in Down Beat magazine. In 1951, the ensemble welcomed saxophonist Paul Desmond and
Dove Brubeck
became the Brubeck Quartet. It is the unique harmonic style, as well as the daring improvised contrapuntal choruses employed by Brubeck and Desmond that led to the launch of what later became known as "West Coast" or "cool" jazz.
By 1954, after continued critical acclaim, Brubeck's popularity was such that his picture appeared on the cover of Time, and his record?ings were being played throughout the world. In 1958 the State Department sent the Quartet on a three-month tour of countries behind the Iron Curtain and the Middle East. Subsequent world tours by the Quartet, including several more for the State Department, have made Dave Brubeck one of America's foremost good?will ambassadors. In 1988 he entertained world leaders at the Reagan-Gorbachev summit in Moscow. He has performed for eight US presi?dents, princes, kings, heads of state, and Pope John Paul II.
Dave Brubeck has played, toured, and recorded with the greatest jazz legends of his time, including Duke Ellington, Charlie Parker, and Dizzy Gillespie. He has also recorded with the New York Philharmonic conducted by Leonard Bernstein. He celebrated his 80th birthday with the London Symphony perform?ing an all-Brubeck program that featured him along with four of his sons and Bobby Militello as soloists.
Dave Brubeck is the recipient of numerous honors and awards, including a star on the Hollywood Walk of Fame, numerous awards from trade magazines, Down Beat Hall of Fame, and the American Eagle Award from the National Music Council. In 1996 he was induct?ed into the International Jazz Hall of Fame. He has also been cited by the French government for his contribution to the arts. He has recently received awards from the Music Educators National Conference, the National Music Teachers Association, and Columbia University Teachers College. He is the recipient of six hon?orary doctorates from American universities, as well as from the University of Duisburg in Germany, and Nottingham University in England.
Brubeck was named an NEA Jazz Master 1999, and this concert is part of the NEA's 50-state Jazz Masters Tour, a two-year initiative featuring many of the 73 legends of American music who have attained Jazz Master status since the program's founding in 1982.
This evening's performance marks Dave Brubeck's third appearance under UMS auspices. Mr. Brubeck made his UMS debut in January 1974 at Hill Auditorium.
When British-born percussionist Randy Jones first came to the US, he received immediate critical recognition. Starting his career as a drummer at the age of 16 with an English rock and roll group, Jones became a serious member of the jazz scene when he received the opportu?nity to play with the Maynard Ferguson Big Band, which was then based in England. He has played with such jazz greats as Chet Baker and Harry James, and has been a member of the Dave Brubeck Quartet since 1978. He has recorded extensively with the Quartet, and has played in tours and TV productions with the Quartet throughout North America, Europe, and Japan. Jones is noted for his versatile style, capable of swinging a big band, or dynamically weaving intricate patterns in the Quartet's odd time signatures. Also a lover of classical music, his solos reflect his interest in melodic form and compositional structure.
This evening's performance marks Randy Jones' second appearance under UMS auspices.
Bobby Militello is a multi-faceted musician who plays alto, tenor and soprano saxophones; flute; alto flute; piccolo; and clarinet. He has been on the Brubeck "team" since 1982, appear?ing in choral and symphonic concerts as well as numerous jazz concerts, festivals, and television shows. A native of Buffalo, Militello toured with the Maynard Ferguson Band from 1975-1979. He has appeared a number of times with the Buffalo Philharmonic and has recorded TV and film scores in Hollywood. Militello has led and recorded his own groups as well, with a range of styles including latin, blues, and R&B.
This evening's performance marks Bobby Militello's UMS debut.
The most recent addition to the Dave Brubeck Quartet is bassist Michael Moore, an acknowl?edged master of the instrument and a leader in his own duo and trio that feature the bass as a solo instrument. After studying bass at the Cincinnati College Conservatory of Music with members of the Cincinnati Symphony and New York Philharmonic, Moore moved to New York and immediately became an important player in that city's jazz scene. He has played with many of jazz's greatest performers, including Marian McPartland, Bill Evans, Stan Getz, and Chet Baker. The New York Times has described him as "one of the most consistently brilliant bassists in recent history." Also an active educa?tor, Moore is an adjunct faculty member at William Patterson College and Long Island University.
This evening's performance marks Michael Moore's UMS debut.
The End of the Moon
Conceived and Performed by
Laurie Anderson
Lighting Designed by Jennifer Tipton
Sound Designed by Jody Elff
Worldwide Tour Representation Pomegranate Arts
Sunday Afternoon, October 3, 2004 at 4:00 Power Center Ann Arbor
Fifth Performance of the 126th Annual Season
Seventh Annual New Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Media partnership provided by WEMU 89.1 FM, WDET 101.9 FM, and Metro Times.
Commissioned in part by: BITE '05 Barbican Lpjjdon; Cal Performances, University of California, Berkeley, CA; University of Florida Performing Arts, Gainesville, FL; Society for the Performing Arts, Houston, TX; and Auditorium Parco della Musica, Roma.
For more information on Laurie Anderson, please visit
Large print programs are available upon request.
Laurie Anderson is one of today's leading performance artists. Known primarily for her multimedia presen?tations, she has cast herself in roles as varied as visual artist, composer, poet, photographer, filmmaker, electronics whiz, vocalist, and instrumentalist.
O Superman launched Anderson's recording career in 1980, rising to number two on the British pop charts and subsequently appearing on Big Science, the first of her seven albums on the Warner Brothers label. A deluxe box set of her Warner Brothers output, Talk Normal, was released in the fall of 2000 on RhinoWarner Archives. In 2001, Anderson released her first record for Nonesuch Records, entitled Life on a String, which was followed by Live in New York, recorded at Town Hall in New York City in September 2001.
Anderson has toured internationally numerous times with shows ranging from simple spoken word performances to elaborate multimedia events. Major works include United States I-V (1983), Empty Places (1990), The Nerve Bible (1995), and Songs and Stories for Moby Dick, a multimedia stage performance based on the novel by Herman Melville, co-commissioned by UMS. In the fall of 2001, Anderson toured the US and Europe with a three-person band, performing music from Life on a String. She has also presented many solo works, her most recent being Happiness, which premiered in 2001 and was presented in Hill Auditorium in February 2002.
Anderson has published six books, the most recent of which is Laurie Anderson by RoseLee Goldberg (Abrams, 2000), a retrospective of her visual work. Text from Anderson's solo performances appears in the book Extreme Exposure, edited by Jo Bonney. She has also written the "New York" entry for the Encyclopedia Britannica.
Laurie Anderson's visual work has been presented in major museums throughout the US and Europe. In 2003, The Musee Art Contemporain of Lyon in France produced a touring retrospective of her work, entitled The Record of the Time: Sound in the Work of Laurie
Anderson. It will continue to tour through 2005. As a visual artist, Anderson is represented by the Sean Kelly Gallery in New York.
As a composer, Anderson has contributed music to films by Wim Wenders and Jonathan Demme; dance pieces by Bill T. Jones, Trisha Brown, Molissa Fenley, and a score for Robert LePage's theater production, Far Side of the Moon, which will be presented by UMS in Ann Arbor in March 2005. She has created pieces for National Public Radio, The BBC, and Expo 92 in Seville. In 1997 she curated the two-week Meltdown Festival at Royal Festival Hall in London. Her orchestral work Songs for A.E. premiered at Carnegie Hall in February 2000, played by the American Composers Orchestra, conducted by Dennis Russell Davies.
Recognized worldwide as a groundbreaking leader in the use of technology in the arts, Anderson collaborated with Interval Research Corporation, a research and development labo?ratory founded by Paul Allen and David Liddle, in the exploration of new creative tools, includ?ing the Talking Stick. She created the introduc?tion sequence for the first segment of the PBS special Art 21, a series about Art in the 21st century. Her awards include the 2001 Tenco Prize for Songwriting in San Remo, Italy, and the 2001 Deutsche Schallplatten prize for Life On A String.
In 2002, Anderson was appointed the first artist-in-residence of NASA. She was also recently part of the team that created the opening cere?mony for the Olympic Games in Athens. Other current projects include a commission to create a series of audio-visual installations and a high-definition film for the World Expo 2005 in Japan and a series of programs for French radio. She will premiere her new score 0 at the Opera Gamier in Paris in December. Her next project will involve a series of long walks. Anderson lives in New York City.
This afternoon's performance marks Laurie Anderson's fifth appearance under UMS auspices. Ms. Anderson made her UMS debut in September 1999 in presentations oSongs and Stories for Moby Dick at the Power Center.
For Laurie Anderson: NS Electric Violin Design Lighting Design Sound Design Production Manager Press Representation
Ned Steinberger
Jennifer Tipton
fody Elff
Bill Berger
Annie Ohayon Media Relations
Annie Ohayon and Jason Fox
Special Thanks: Bert Ulrich, Rande Brown, Ned Steinberger, Michael Morris, Cheryl Kaplan, Karin Berg, Guy Lesser, Linda Brumbach, Timothy Ferris, Dennis Overbye, Jill Dombrowski, Alisa Regas, Annie Ohayon. And, as always, Lou Reed.
Worldwide Tour Representation for The End of the Moon: Pomegranate Arts, New York, NY e-mail:
Associate Director Business Manager Company Manager Administrative Assistant
Linda Brumbach Alisa E. Regas Kaleb Kilkenny Jim Woodard Kelly Kivland
For more information on Pomegranate Arts and Laurie Anderson's The End of the Moon tour, please visit
Paul Taylor Dance Company
Patrick Corbin Lisa Viola Richard Chen See Silvia Nevjinsky
Andy LeBeau Heather Berest Michael Trusnovec Annmaria Mazzini
Orion Duckstein Amy Young Robert Kleinendorst
Julie Tice James Samson Michelle Fleet
Parisa Khobdeh Sean Mahoney Nathaniel Keuter
Artistic Director Paul Taylor
Rehearsal Director Bettie de Jong
Principal Lighting Designer Jennifer Tipton
Executive Director Wallace Chappell
Principal Set and Costume Designer Santo Loquasto
General Manager John Tomlinson
Friday Evening, October 8, 2004 at 8:00 pm Power Center Ann Arbor
Choreography by Paul Taylor Cloven Kingdom (1976)
Eventide (1997)
Promethean Fire (2002)
Sixth Performance of the 126th Annual Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Support for these performances provided by Altria Group, Inc.
Media partnership provided by Detroit Jewish News, Metro Parent, and Michigan RadioMichigan Television.
MetLife Foundation is proud to sponsor the Paul Taylor Dance Company's 200405 National Tour.
Additional tour support is provided by the National Endowment for the Arts, the New York State Council on the Arts, a State Agency, and the Board of Directors and donors of the Paul Taylor Dance Foundation, Inc.
These performances are presented in association with the Paul Taylor Dance Foundation, Inc.
Large print programs are available upon request.
Cloven Kingdom
"Man is a social animal." Spinoza
Music Arcangelo Corelli, Henry Cowell and Malloy Miller
Combined by John Herbert McDowell
Choreography Paul Taylor
Women's Costumes Scott Barrie
Headpieces John Rawlings
Lighting Jennifer Tipton
Men's Formalwear courtesy of After Six
Premiere performance: 1976
Dancers Lisa Viola Silvia Nevjinsky Heather Berest Annmaria Mazzini
Orion Duckstein Amy Young Robert Kleinendorst Julie Tice Michelle Fleet Parisa Khobdeh Sean Mahoney Nathaniel Keuter
Production made possible by a contribution from the National Endowment for the Arts.
Photo: Lois Greenfield
Music Ralph Vaughan Williams, Suite for Viola and Orchestra
and Hymn-Tune Prelude, No.l
Choreography Paul Taylor Set and Costumes Santo Loquasto Lighting Jennifer Tipton
Premiere performance: 1997
Dancers Patrick Corbin Lisa Viola Richard Chen See
Silvia Nevjinsky Andy LeBeau Heather Berest Amy Young Robert Kleinendorst Julie Tice James Samson
Prelude Ms. Viola and Mr. Chen See, Ms. Young and Mr. LeBeau,
Ms. Nevjinsky and Mr. Samson, Ms. Tice and Mr. Kleinendorst
Carol Ms. Berest and Mr. Corbin
Christmas Dance Ms. Young and Mr. LeBeau
Ballad Ms. Tice and Mr. Kleinendorst
Moto Perpetuo Ms. Viola and Mr. Chen See
Musette Ms. Berest and Mr. Corbin
Prelude full ensemble
Original Production made possible by a contribution from The Eleanor Naylor Dana Charitable Trust, Carole K. Newman, the National Endowment for the Arts, and the New York State Council on the Arts, a State Agency.
Preservation made possible by generous contributions to the Paul Taylor Repertory Preservation Project, with major support from the Foundations of the Milken Families and the National Endowment for the Arts.
Promethean Fire
fire "that can thy light relume" William Shakespeare
J.S. Bach, Toccata and Fugue in d minor, Prelude in e-flat minor, and Chorale Prelude, BWV 680
Choreography Paul Taylor
Costumes Santo Loquasto
Lighting Jennifer Tipton
Premiere performance: 2002
Lisa Viola Michael Trusnovec
Richard Chen See Silvia Nevjinsky Andy LeBeau Heather Berest
Annmaria Mazzini Orion Duckstein Amy Young
Robert Kleinendorst Julie Tice James Samson
Michelle Fleet Parisa Khobdeh Sean Mahoney Nathaniel Keuter
Commissioned by the American Dance Festival through The Doris Duke Awards for New Work and Samuel H. Scripps.
Production also made possible with major support from Elise Jaffe and Jeffrey Brown, and generous contributions to the Paul Taylor New Works Fund.
Please turn to page 23 for complete biographical information on the Paul Taylor Dance Company.
Paul Taylor Dance Company
Patrick Corbin Lisa Viola Richard Chen See Silvia Nevjinsky
Andy LeBeau Heather Berest Michael Trusnovec Annmaria Mazzini
Orion Duckstein Amy Young Robert Kleinendorst
Julie Tice James Samson Michelle Fleet
Parisa Khobdeh Sean Mahoney Nathaniel Keuter
Artistic Director Paul Taylor
Rehearsal Director Bettie de Jong
Principal Lighting Designer Jennifer Tipton
Executive Director Wallace Chappell
Principal Set and Costume Designer Santo Loquasto
General Manager John Tomlinson
Saturday Afternoon, October 9, 2004 at 1:00 pm (One-Hour Family Performance) Power Center Ann Arbor
Choreography by Paul Taylor Arden Court (1981)
Dante Variations (2004)
Seventh Performance of the 126th Annual Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Support for these performances provided by Altria Group, Inc.
Media partnership provided by Detroit Jewish News, Metro Parent, and Michigan RadioMichigan Television.
MetLife Foundation is proud to sponsor the Paul Taylor Dance Company's 200405 National Tour.
Additional tour support is provided by the National Endowment for the Arts, the New York State Council on the Arts, a State Agency, and the Board of Directors and donors of the Paul Taylor Dance Foundation, Inc.
These performances are presented in association with the Paul Taylor Dance Foundation, Inc.
Large print programs are available upon request.
Arden Court
Please turn to page 20 for complete program information on Arden Court.
Dante Variations
Please turn to page 21 for complete program information on Dante Variations.
Please turn to page 23 for complete biographical information on the Paul Taylor Dance Company.
Photo: Beatrix Schiller
Paul Taylor Dance Company
Patrick Corbin Lisa Viola Richard Chen See Silvia Nevjinsky
Andy LeBeau Heather Berest Michael Trusnovec Annmaria Mazzini
Orion Duckstein Amy Young Robert Kleinendorst
Julie Tice James Samson Michelle Fleet
Parisa Khobdeh Sean Mahoney Nathaniel Keuter
Artistic Director Paul Taylor
Rehearsal Director Bettie de Jong
Principal Lighting Designer Principal Set and Costume Designer
Jennifer Tipton
Executive Director Wallace Chappell
Santo Loquasto
General Manager John Tomlinson
Saturday Evening, October 9, 2004 at 8:00 pm Power Center Ann Arbor
Choreography by Paul Taylor Arden Court (1981)
Dante Variations (2004)
Le Sacre du Printemps (The Rehearsal) (1981)
Eighth Performance of the 126th Annual Season
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Support for these performances provided by Altria Group, Inc.
Media partnership provided by Detroit Jewish News, Metro Parent, and Michigan RadioMichigan Television.
MetLife Foundation is proud to sponsor the Paul Taylor Dance Company's 200405 National Tour.
Additional tour support is provided by the National Endowment for the Arts, the New York State Council on the Arts, a State Agency, and the Board of Directors and donors of the Paul Taylor Dance Foundation, Inc.
These performances are presented in association with the Paul Taylor Dance Foundation, Inc.
Large print programs are available upon request.
Arden Court
Music William Boyce, excerpts from Symphonies Nos. 1, 3, 5, 7, 8
Choreography Paul Taylor Set and Costumes Gene Moore Lighting Jennifer Tipton
Premiere performance: 1981
Dancers Patrick Corbin Richard Chen See Andy LeBeau
Heather Berest Michael Trusnovec Annmaria Mazzini Orion Duckstein Amy Young Nathaniel Keuter
Production made possible by contributions from the National Endowment for the Arts, the Mobil Foundation, Inc., and the New York State Council on the Arts, a State Agency.
Dante Variations
"These are the nearly soulless whose lives concluded neither blame nor praise." Dante's Inferno, Canto HI
Gyorgy Ligeti, Musica ricercata adapted for barrel organ
Paul Taylor
Santo Loquasto
Jennifer Tipton
Premiere performance: 2004
Lisa Viola Silvia Nevjinsky Michael Trusnovec Annmaria Mazzini Robert Kleinendorst Julie Tice James Samson Michelle Fleet Parisa Khobdeh Sean Mahoney
full ensemble
Ms. Nevjinsky and ensemble men
Ms. Mazzini
Mr. Kleinendorst
Ms. Fleet and cast
Ms. Tice
Ms. Viola
Mr. Trusnovec
Ms. Viola and Mr. Trusnovec
Ms. Tice, Mr. Samson, Ms. Fleet
full ensemble
Commissioned by San Francisco Performances, the Rudolf Nureyev Dance Foundation,
Hancher Auditorium-The University of Iowa, and the Carlsen Center at Johnson County Community
This work was also made possible by the Doris Duke Fund for Dance of the National Dance Project, a program of the New England Foundation for the Arts, and the National Endowment for the Arts.
Additional funding was provided by Altria Group, Inc. and generous contributions to the Paul Taylor New Works Fund.
Le Sacre du Printemps (The Rehearsal)
Music Igor Stravinsky, Le Sacre du Printemps (The Rehearsal), arrangement for two pianos
Choreography Paul Taylor Set and Costumes John Rawlings Lighting Jennifer Tipton
Premiere performance: 1980 Dancers Lisa Viola Silvia Nevjinsky
Heather Berest Michael Trusnovec Robert Kleinendorst Julie Tice
Amy Young Michelle Fleet Parisa Khobdeh
Andy LeBeau Orion Duckstein Sean Mahoney
A Dance Company full ensemble
Rehearsal Mistress Ms. Berest
The Girl Ms. Viola
The Private Eye Mr. Trusnovec
The Crook Mr. Kleinendorst
His Mistress Ms. Nevjinsky
His Stooge Ms. Tice
and Policemen Mr. LeBeau, Mr. Duckstein, Mr. Mahoney
Bar Dancers Ms. Young, Ms. Fleet, Ms. Khobdeh
Original production made possible, in part, by contributions from the National Endowment for the Arts, and the New York State Council on the Arts, a State Agency.
Preservation made possible by generous contributions to the Paul Taylor Repertory Preservation Project, with major support from the Foundations of the Milken Families and the National Endowment for the Arts
Le Sacre du Printemps (The Reheasal) was revived during the Chase Celebration of American Dance in San Francisco presented by San Francisco Performances, the Yerba Buena Center for the Arts, with major funding from The Chase Manhattan Bank and the Lila Wallace Reader's Digest Arts Partners Program, which is administered by the Association of Performance Arts Presenters.
He has been called a genius, a legend, and a cultural icon. Time names him "the reigning master of mod?ern dance," and the New York Daily News declares him "the best choreographer in the world." But Paul Taylor considers himself, above all, a reporter whose job it is to observe us and record his impressions. As prolific as ever after 50 years, he recently completed his 121st dance.
Paul Taylor grew up near Washington, DC. He was a swimmer and a student of art at Syracuse University in the late 1940s until he discovered dance, which he then studied at Juilliard. By 1954 he had assembled a small company of dancers and presented his own choreography. A commanding performer, he joined the Martha Graham Dance Company in 1955 for the first of seven seasons as a soloist while continuing to make dances for his own troupe. In 1959 he danced with New York City Ballet as guest artist in George Balanchine's Episodes. Having created the masterful 3 Epitaphs in 1956, he captivated dancegoers in 1962 with his virile grace in the landmark Aureole. After retiring as a performer in 1975, Mr. Taylor devoted himself fully to choreogra?phy, and classics poured forth including Esplanade, Cloven Kingdom, Airs, Arden Court, Lost, Found and Lost, Last Look, Roses, Musical Offering, Company B, Piazzolla Caldera, and Promethean Fire.
In 1960, Mr. Taylor's Company made its first international tour to Spoleto, Italy; it has per?formed in more than 450 cities in over 60 countries. In 1966 the Paul Taylor Dance Foundation was established to help bring Mr. Taylor's works to the largest possible audience, facilitate his ability to make new dances, and preserve his growing repertoire.
Mr. Taylor is the recipient of many awards and honors. He was awarded the National Medal of Arts by President Clinton in 1993. In 1992 he received an Emmy Award for Speaking in Tongues, produced by WNETNew York the previous year. He was a recipient of the 1992 Kennedy Center Honors "for enhancing the lives of people around the world and enriching
the culture of our nation." In 1995 he was named one of 50 prominent Americans hon?ored in recognition of their outstanding achievement by the Library of Congress's Office of Scholarly Programs.
Mr. Taylor was elected to knighthood by the French government as Chevalier de l'Ordre des Arts et des Lettres in 1969 and has since been elevated to the ranks of Offkier (1984) and Commandeur (1990). In January 2000 he was awarded France's highest honor, the Legion d'Honneur, for exceptional contributions to French culture. He is the recipient of three Guggenheim Fellowships and has received hon?orary Doctor of Fine Arts degrees from California Institute of the Arts, Connecticut College, Duke University, Juilliard, Skidmore College, the State University of New York at Purchase, and Syracuse University. Awards for lifetime achievement include a MacArthur Foundation Fellowship and the Samuel H. Scripps American Dance Festival Award. Other awards include the New York State Governor's Arts Award and the New York City Mayor's Award of Honor for Art and Culture. In 1989, Mr. Taylor was elected one of ten honorary American members of the American Academy and Institute of Arts and Letters.
Since 1968, when Aureole first entered the repertory of the Royal Danish Ballet, more than
Paul Tpylor
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75 companies worldwide have licensed Mr. Taylor's works for performance.
In 1993 Mr. Taylor formed Taylor 2, a com?pany of six dancers who bring many of the choreographer's masterworks to smaller venues around the world. Taylor 2 also teaches the Taylor style in schools, workplaces, and at community gatherings.
Paul Taylor's autobiography, Private Domain, originally published by Alfred A. Knopf and re-released by the University of Pittsburgh Press, was nominated by the National Book Critics Circle as the most distinguished biography of 1987. Mr. Taylor and his Company are the sub?ject of Dancemaker, Matthew Diamond's award-winning, Oscar-nominated film, hailed by Time as "perhaps the best dance documen?tary ever."
Pt 50, the Paul Taylor Dance Company is one of the world's most sought-after dance troupes. It has toured extensively under the aegis of the US Department of State and has appeared in more than 450 cities in over 60 countries. The Company participated in a "Cultural Capitals of the World Tour" in celebration of the new millennium, and has made notable multi-week tours throughout India and the People's Republic of China. In the US, the Paul Taylor Dance Company has annual engagements in Boston, Durham, New York, and San Francisco, the Company's West Coast home through 2007. The Taylor Company has appeared on PBS's Dance In America nine times, including the 1991 Emmy Award-winning Speaking in Tongues and The Wrecker's Ball, nominated for an Emmy Award in 1997. In January 2004 Dance in America aired Acts of Ardor, which included Black Tuesday and Promethean Fire. Those works were taped dur?ing the Company's 2003 engagement in Edinburgh, part of a seven-city tour of the United Kingdom that earned the Company awards from the Manchester Evening News and the Critics Circle, as well as an Olivier Award
nomination in the category of "Best New Dance." Dancemaker, the feature-length docu?mentary about Mr. Taylor and the Paul Taylor Dance Company, was nominated for an Academy Award.
On March 24, 2004 the Paul Taylor Dance Foundation launched a celebration of the Paul Taylor Dance Company's 50th Anniversary and 50 years of creativity by Mr. Taylor. The cele?bration will feature a Golden Quartet of four new dances, a 50-state tour by the Paul Taylor Dance Company andor Taylor 2, and an expanded three-week New York City season with a gala celebration.
This weekend's performances mark the Paul Taylor Dance Company's 13th, 14th, and 15th appearances under UMS auspices. The PTDC made its UMS debut in October 1964 as the opening evening-length component of a three-day UMS Chamber Dance Festival held at Rackham Auditorium. This October marks the 40th anniversary of UMS's debut presentation of Paul Taylor and the Paul Taylor Dance Company.
Bettie de Jong {Rehearsal Director) was born in Sumatra, Indonesia, and moved to Holland in 1946, where she continued her early training in dance and mime. Her first professional engagement was with the Netherlands Pantomime Company. After coming to New York City to study at the Martha Graham School, she performed with the Graham Company, the Pearl Lang Company, John Butler and Lucas Hoving, and was seen on CBS-TV with Rudolf Nureyev in a duet choreographed by Paul Taylor. Ms. de Jong has been with the Taylor Company for over 40 years, having joined in 1962. Noted for her strong stage pres?ence and long line, she was Mr. Taylor's favorite dancing partner and, as Rehearsal Director, has been his right arm for the past 29 years.
Patrick Corbin was born and grew up in Potomac, Maryland. He began his dance train?ing under the direction of Bernard Spriggs at the District of Columbia City Ballet in 1977
and continued at the Washington School of Ballet with Mary Day and Alastair Munro and at the School of American Ballet with Stanley Williams and Andre Kramarevski. He danced with ABT II, the Joffrey II Dancers and, from 1985 to 1989, the Joffrey Ballet. He made his debut with the Paul Taylor Dance Company in 1989 and has become one of its most often fea?tured dancers. Mr. Corbin also teaches at The Taylor School.
Lisa Viola was born in San Francisco and grew up in Honolulu, Hawaii, where she received her early training. She continued her ballet studies in New York with David Howard, the Joffrey School, and at the School of American Ballet. She has performed with DanceExpress, Sounddance, EastWest Repertory Dance Ensemble, and with the Rod Rodgers Dance Company. Ms. Viola was a scholarship student at The Taylor School from 1990 until the fall of 1992, when she made her debut with the Paul Taylor Dance Company in Costa Mesa, California.
Richard Chen See is from the island of Jamaica where he studied ballet, modern and Afro-Caribbean dance. He has danced for com?panies in England, Jamaica and the US, includ?ing Northern Ballet Theatre, Oakland Ballet, and Oberlin Dance CompanySan Francisco. Mr. Chen See has worked professionally as a choreographer, children's storyteller, dance teacher, and coach. He is also a kayak instruc?torguide and often works with the physically disabled. His debut with the Paul Taylor Dance Company was at City Center in 1993.
Silvia Nevjinsky was born and raised in Lisbon, Portugal, where she received her early dance training from Rui Horta and at the Ballet Gulbenkian School. From 1984 to 1989 she was a principal dancer with the Lisbon Dance Company, a contemporary repertory company. Since moving to New York in 1989, she danced with the Lar Lubovitch Dance Company for four-and-a-half years, as well as appearing as a
guest artist with several dance companies, including the Eglevsky Ballet, the Empire State Ballet, the New American Ballet Ensemble, and David Storey Dance Works. In addition to per?forming, Ms. Nevjinsky has taught intensive workshops and master classes in Brazil, Europe, and throughout the US. The October 1995 City Center Season marked her debut with the Paul Taylor Dance Company.
Andy LeBeau began dancing with Taylor 2 in 1993 after graduating from the Boston Conservatory with a BFA. While in Boston, he performed with Ballet Theatre of Boston, SpencerColton, Boston Liturgical Dance Company, and The Roxy Dancers. In New York, he has performed with Cortez & Company, Mary Cochran and Thomas Patrick, and pre?sented his own work at The Sylvia and Danny Kaye Playhouse. The 1995 fall tour marked his debut with the Paul Taylor Dance Company.
Heather Berest was born in Manhasset, New York. She began her training with her mother, Olga Berest, and studied with Linda Zoffer and Ali Pourfarrokh. She went on to earn a BFA at the North Carolina School of the Arts and con?tinues to study with Jocelyn Lorenz and Christine Wright. Before joining the Taylor Company, Ms. Berest danced with Neo Labos Dance Theatre, Momix, Peter Pucci, Robert Wood Dance ASC, and Martita Goshen. The 1996 season marked her debut with the Paul Taylor Dance Company.
Michael Trusnovec grew up in Yaphank, New York, and started dancing at age six. In 1992, he was honored by the National Foundation for Advancement in the Arts and named a Presidential Scholar in the Arts. He furthered his dance training at Southern Methodist University in Dallas, Texas, performing the var?ied works of Humphrey, Graham, Balanchine, and Taylor. After receiving his BFA in dance in 1996, he was invited to join Taylor 2, and has also danced with Cortez & Company. Fall 1998 marked his debut with the Paul Taylor Dance Company.
Annmaria Mazzini began studying with Frances Evers in Allentown, Pennsylvania. After graduating from Southern Methodist University, she came to New York and studied at The Taylor School, and joined Taylor 2 in 1995. She has appeared in the works of Karla Wolfangle, Patrick Corbin, Hernando Cortez, and the reconstructed dances of Isadora Duncan, in addition to creating and perform?ing her own work. She made her debut with the Paul Taylor Dance Company at the 1999 American Dance Festival in Durham, North Carolina.
Orion Duckstein is from Mansfield, Connecticut, where he began dancing after graduating from the University of Connecticut with a BFA in acting. He has danced with the Sung-soo Ahn Pick Up Group, Robert Wood Dance, and in works by Gerald Casel. He toured in the US and Eastern Europe with the Judy Dworin Ensemble, and danced in the Baltimore Opera production of Samson et Dalila, choreographed by Peter Pucci. In addi?tion to dance and theater, he enjoys music and often brings his guitar on tour to play in his spare time. Mr. Duckstein joined Taylor 2 in October 1995. He made his debut with the Paul Taylor Dance Company in October 1999.
Amy Young began her dance training at age ten in her hometown of Federal Way, Washington. She spent her senior year of high school studying at the Interlochen Arts Academy in Michigan prior to entering The Juilliard School in New York, where she earned a BFA in 1996. She joined Taylor 2 in August of that year. Ms. Young enjoys teaching and working with chil?dren. She has been on the faculty of Alaska Dance Theatre in Anchorage, Perry-Mansfield Performing Arts Camp, and Metropolitan Ballet of Tacoma. Ms. Young made her debut with the Paul Taylor Dance Company at the Paris Opera House in January 2000.
Robert Kleinendorst is originally from Roseville, Minnesota. He graduated from Luther College in 1995 with a BA in voice and
dance. After moving to New York, he danced with the Gail Gilbert Dance Ensemble and Cortez & Co. Mr. Kleinendorst has also per?formed with Anna Sokolow's Players Projects at The Kennedy Center in Washington, DC. Having studied at The Taylor School since 1996, he joined Taylor 2 in August 1998. Mr. Kleinendorst joined the Paul Taylor Dance Company in Fall 2000.
Julie Tice was born and raised in Petersburg, Illinois, where she began her dance training and grew up dancing with the Springfield Ballet Company. She continued her training at the University of Michigan where she earned a BFA in dance with honors. There, she performed works by Bill DeYoung, Peter Sparling, Martha Graham, and Paul Taylor. In New York, Ms. Tice has performed with various choreogra?phers as well as choreographed and performed her own work. She became a scholarship stu?dent at The Taylor School in January 1999 and joined Taylor 2 in the summer of that year. Fall 2000 marked Ms. Tice's debut with the Paul Taylor Dance Company.
James Samson is a native of Jefferson City, Missouri. He received a BFA in Dance and a minor in Business from Southwest Missouri State University. He went on to study as a scholarship student with the David Parsons New Arts Festival, the Alvin Ailey Summer Intensive, and the Pilobolus Intensive Workshop. James has danced for Charleston Ballet Theatre, Omaha Theatre Company Ballet, Omega Dance Company, New England Ballet and Connecticut Ballet. He joined the Paul Taylor Dance Company in March 2001.
Michelle Fleet grew up in the Bronx and began her dance training at age four. She attended Ballet Hispanico of New York during her high school training at Talent Unlimited H.S. There she was a member of The Ballet Hispanico Jr. Company. Ms. Fleet continued on to Purchase College, where in 1999 she received her BFA in Dance. She has performed in works by Bill T. Jones, Merce Cunningham, Kevin
Wynn, and Carlo Menotti. Ms. Fleet joined Taylor 2 in summer 1999. She made her debut with the Paul Taylor Dance Company in September 2002.
Parisa Khobdeh is a native of Piano, Texas, where she began her dance training under Gilles Tanguay and Kathy Chamberlain. While a student at Southern Methodist University, she trained at The Taylor School, Martha Graham School of Contemporary Dance, and American Dance Festival. She has appeared in works by, Agnes de Mille, Judith Jamison, and Donald McKayle. As a member of Triptych, a three-member collaborative dance company, she has created her own choreography. She also recently created works to benefit local and national human rights organizations. After earning her BFA from SMU, Ms. Khobdeh joined the Paul Taylor Dance Company in the summer of 2003.
Sean Mahoney was born and raised in Bensalem, Pennsylvania. At age 12 he began training with Fred Knecht, attending Princeton
Ppomethepn Fire
Ballet School on scholarship. He became an apprentice at American Repertory Ballet (ARB) and latter was a featured dancer with the com?pany. After graduating high school in 1993, he was chosen as one of the first members of Taylor 2. Mr. Mahoney danced with Parsons Dance Company for two years. He is married to his ARB dance partner, Peggy Pettway. Mr. Mahoney rejoined Taylor 2 in the summer of 2002. His debut with the Paul Taylor Dance Company was at City Center in 2004.
Nathaniel Keuter was born in Menlo Park, California. He is the son of modern dancers Cliff Keuter and Elina Mooney. He received a BA in Musical Theater from the University of Northern Colorado, where he had the opportu?nity to work with several guest artists including Jolea Maffei and Cliff Keuter. He has been on work-study with The Taylor School for one year. He made his debut with the Taylor Company during the 2004 City Center engagement.
Photo: Lois Greenfield
Paul Taylor Dance Foundation, Inc.
Board Of Directors
Paul Taylor, Chairman and Artistic Director
Norton Belknap, President
Carole K. Newman, Vice President
Robert E. Aberlin, Vice President
Elise laffe, Vice President and Treasurer
Marjorie S. Isaac, Secretary
Wallace Chappell, Executive Director
Sally Brayley Bliss
Joan C. Bowman
Ellen Kristin Buchanan
Sally A. Carlson
RoAnn Costin
James H. Duffy
Cecile Engel
Armand B. Erpf
Roger A. Goldman
Irene M. Hunter
Barbara Shattuck Kohn
Wilfred Koplowitz
Melinda Asman Krasting
Lee Manning-Vogelstein
Yvonne Richer
LeRoy Rubin
Timothy T. Scott
Samuel Scripps
William A. Shutzer
C.F. Stone III
Andrea Travaglia
Christine Wisner
Paul Taylor, Artistic Director
Bettie de Jong, Rehearsal Director Jennifer Tipton, Principal Lighting Designer Santo Loquasto, Principal Set & Costume Designer Tom Patrick, Rehearsal Director, Taylor 2
Wallace Chappell, Executive Director
John Tomlinson, General Manager
Edson Womble, Director of Finance and Administration
Alan Olshan, Director of Marketing
Deborah Flanagan, Director of Development
Thomas Ward, Company Manager
Holden Kellerhals, Operations Manager
Emily Regas, Development Associate, Individual Giving
Kris Lentini, Development Associate, Institutional Giving
Sarah Seely, Office Manager
Steve Carlino, Production Stage Manager Agnieszka Kunska, Lighting Supervisor Christine McDowell, Wardrobe Supervisor Mike Paquette, Production Manager, Taylor 2
The Winthrop Group, Inc., Archival Consultant
Lutz & Carr, Auditors
David S. Weiss, M.D., Orthopedic Consultant
Jennifer Lerner & Gary Stromberg. Press Representative
Michael Retsina, Linden Travel Bureau, Travel Agent
The Taylor School
Taylor style and repertory classes are held throughout the year, taught by former and current Taylor Company mem?bers. Additionally, the School offers Summer and Winter Intensives for students from around the world interested in a more in-depth study of Paul Taylor style and choreography.
Taylor 2
Jared Wootan Shanti Guirao
Vernon Gooden Alison Cook
Francisco Graciano Jamie Rae Walker
For more information on the Paul Taylor Dance Company, please visit
Akira Kasai
Pollen Revolution
Contemporary Dance in Japan: New wave in dance and butoh after the 1990s
by Kazuko Kuniyoshi
Over the past 12-13 years, some drastic changes have taken place in the environment surrounding Japanese contemporary dance. A number of small to mid-sized theaters were newly built and opened', various kinds of new dance festivals were organized, and theater facilities began to sponsor their own dance competitions1. The emergence of these new theaters, festivals, and competitions has actively contributed to the advent of new kinds of dance in Japan. Additionally, govern?ment agencies and private corporations in Japan have granted funds in support of form?ing national and international networks of theaters, making it easier for theaters to pro?vide support for individual dance artists. For example, the Japan Contemporary Dance Network (JCDN) recently facilitated the com?munication and partnership between many small theater facilities in Tokyo, Osaka, Yokohama, Kobe, Sapporo, and other cities. JCDN has also encouraged organizers to setup opportunities for interaction between dance artists and audiences, and has organized semi?nars around the topic of audience development, particularly to develop young audiences. They also made efforts to avoid isolating certain regions, not only by including them on touring routes, but also by involving them in commu?nications at the planning stage. In a word, the infrastructure for the flow of information about domestic and international dance theater has been improving, and is contributing to the vitality of the current dance scene in Japan.
This period of rapid change coincides with the period approximately 15 years after the death of Tatsumi Hijikata, the founder of butoh, when there was a significant change in the art form. Some contemporary dancers, such as Saburo Teshigawara, Kim Itoh, and Kota Yamazaki partially overlap the butoh gen?eration, having appeared on the scene in the late 1980s. However, most of the dancers who are in their prime today in the contemporary Japanese dance scene have had little, if any, interaction with butoh. In order to fully understand the current trends in contempo?rary dance in Japan, it is important to ask ourselves, how is butoh, which widely changed the concept of dance in the late-20th century, reflected or not reflected in contemporary dance in Japan today. From its very beginning, butoh was supposed to be a contemporary dance. However, when we examine the word "contemporary" in terms of today's dance market, where the support system is rapidly developing and demanding new forms of dance, we must say that the definition of "con?temporary" has changed much since the initial inception of butoh.
Emergence of Butoh
What is regarded as butoh today is a physical expression born out of Ankoku butoh (Dance of Darkness), which emerged from Japanese contemporary dance after World War II, and became prominent during the 1970s and '80s. When Tatsumi Hijikata (b. 1928 in Akita -d. 1986 in Tokyo) began creating his own works at the end of the 1950s, he aggressively incorporated socially taboo themes of sex and violence into his work, presenting a so-called "rebellion of the human body," breaking the control of modern reasoning and constantly
creating scandals. Hijikata broke away from the control of modern logic by facing the negative side of human beings, an aspect that had not been dealt with before in contemporary dance. He attempted to recapture the concept of the physical body not simply as a tool to convey certain linguistic meaning, but as an entity that owns its own time and space. In other words, Hijikata felt that the physical body demanded a new expression that did not exist before on stage.
He was seen as a heretic in the contemporary dance community in Japan, but went on to develop ankoku butoh at a time when a new movement was happening in the contemporary visual arts world, as well. Hijikata avariciously absorbed these avant-garde trends in the arts world through his interactions with artists in the field of literary and visual arts.
With a series of continuous performances, Shikino tameno 27ban (27 Nights for Four Seasons) presented in 19723, Hijikata made a breakthrough performance and established an art form that would be passed down as his own. In this piece, Hijikata redefined the con?cept of physical body with his view that the human body was a container of enormous memories, from childhood to the moment just before one's death. Techniques such as te-boke (absent minded hands), in which the dancer lets their hands wander anxiously in the air with no practical purpose, and gani mata (bandy legs), in which the body lowers the cen?ter of gravity, both of which were totally unheard of in the history of Western dance, were gradually established as techniques specif?ic to Hijikata's butoh. These techniques were developed mainly by women and were very powerful forms of expression for the lower body. This particular series of works by Hijikata, which seemingly emphasized the geo?graphical climate of Tohoku (Northeastern Japan) were also called Tohoku Kabuki. They were seen as an effort to rediscover the physi-cality of Japanese people, which had been left behind in the process of modernization after
the Meiji restoration. These techniques were labeled as "pre-modern" or "super-modern" and thus were regarded as a criticism to moder?nity. In this way, Hijikata's Tohoku Kabuki can be seen as the beginnings of the post-modern dance movement in Japan.
Looking back at the history of Western-style dance in Japan, various techniques of contem?porary dance were developed from those of German and American contemporary dance, up to this point. It is no exaggeration to say that Japanese contemporary dance has intri?cately evolved, piling up only the Western tech?niques without sufficient understanding of the context behind them. Hijikata, by presenting his ill, withering, old, and emaciated body, made powerful criticism on the existing expression and its context. Hijikata's theory included a paradoxical structure that the expressions are not valid until deconstructing not just the theory of dance, but of human existence itself.
In the 1960s when Hijikata's ankoku butoh was starting to gain attention from a small group of people in Japan, post-modern dance started to catch people's attention in the US. In Japan, such dancers as Bonjin Atsugi and Suzushi Hanayagi, who were influenced heavily by the minimalism of American post-modern dance, brought in this new wind to the dance world. Atsugi, in particular, witnessed the pro?gressive new movement in dance evolving around the Judson Dance Theater in New York City during the mid-1960s. Prior to living in New York City, Atsugi created works based on the dance classics', but after the influence of the Judson Dance Theater, his works began to include more repeated, continuous movements that were carefully selected and inherited as ballet steps or limited simple actions. As a result, the formation and emotional aspects of the sto?rylines were completely shut out, and instead, physical conditions and expressions themselves were vividly presented. Atsugi is in the same generation as Hijikata, but pioneered the post?modern dance movement in Japan with totally different concepts, and his contribution should
really be more widely recognized than it is today. Kazuo Ohno, another butoh artist who sup?ported the art form, was 20-years senior to Hijikata and Atsugi, and had already established a career as a modern dancer, having studied under the schools of German expressionism dance in the 1930s. Ohno met with Hijikata in the 1950s and, although their styles differed greatly, Ohno became an indispensable per?forming partner in many of Hijikata's works. He then disappeared from the performance stage for a while, miraculously returning when he was 70 years old with Admiring La Argentina, a piece dedicated to Spanish master dancer Antonia Merce. Following this comeback, Ohno performed such pieces as Watashino Okasan (My Mother) and Shikai (Dead Sea), directed by Hijikata. After Hijikata's death, Ohno con?tinued to create a number of works with his son, Yoshito Ohno. Today, Kazuo Ohno is 99-years old. As such, he cannot hide the weakness of his aging body, but he still performs as a butoh artist in his wheelchair. Ohno says that to live and to perform butoh need to be experienced with exactly equal weight. He has touched many people world wide with his commitment and determination to dance for as long as he lives.
The Advent of Akira Kasai
Studying under Kazuo Ohno, Akira Kasai came into the Japanese contemporary dance scene in the 1960s. After his encounters with Ohno and Hijikata, Kasai proceeded to create an original butoh world for himself. He founded Tenshi-kan (House of the Angels) in 1971 and, besides creating his own works, has also been earnest in teaching his followers. He is active as a researcher of eurythmics, a movement-art the?ory established by Rudolf Steiner, a German philosopher who also founded the philosophy of anthroposophy. In recent years, Kasai has been actively collaborating with new wave con?temporary dancers, pushing the envelope of the existing concept of butoh to cultivate a new realm of expression.
Before the 1970s, Kasai's butoh had a clear direction of getting close to spiritual existence
by sublimating the physical body and exhaust?ing it with dance. After completing his buloh thesis, Tenshi-ron (Theory of Angels) in 1972, Kasai went to Germany with the purpose of studying Steiner's theories. He stayed in Germany for seven years before returning to Japan, and, in the years following his return, dedicated his efforts to furthering the Steiner research, promoting eurythmics, and perform?ing again in Japan. In the summer of 1996, Kasai conducted a US tour, and, from this time on, his works saw notable changes. Kasai stopped presenting his works as secret cult ritu?als, which was previously the signature of his butoh works. Instead, he began to interact with the outside world by collaborating with other contemporary dance artists in both choreogra?phy and performance.
His dance works became very easy to under?stand, as if he was declaring the new direction for the mainstream audience, going along with the social trend. This change can be clearly seen in his duo work with Kuniko Kisanuki, a con?temporary dance artist, in the work titled, Yes, No, Yes, No which premiered in 1999. Kisanuki is not the kind of dance artist who would make works using existing dance vocabulary. Kasai's encounter with Kisanuki unearthed his secret world of butoh performed as ritual, bringing him out into the light of the main stage of met?ropolitan public theaters. Yes, No, Yes, No was a stunning duo work in which the sharp, gallant, boyish movement of Kisanuki and the inces?sant, unruly, and agitating movement of Kasai crisscrossed with dazzling speed.
In the year 2000, Kasai formed Akira Kasai Dance Unit, and performed with Kisanuki, Ryohei Kondo, Yoko Ando, Naoka Uemura, and others in their 20s and 30s, who were in their prime as dancers and full of energy.' Appearing on stage, his hair blonde and wearing sunglass?es, Kasai danced through the whole piece with astonishing stamina. Usually, someone who performs freestyle can only do so for five min?utes before their movement vocabulary dries out, and ends up becoming repetitive. However, there was no such banal repetition in Kasai's
freestyle. The audience could not predict his next movement at all, and were continuously shocked by his unexpected movement. To my astonishment, all of his movements that, at a glance, seemed like a series of instantaneous improvisational movements were actually cho?reographed to each and every hand and foot movement. All of the musical pieces for the work had strong beats and rhythms and were abstract pieces with no conventional melody. Kasai also actively incorporated elements of street dance, including hip-hop into his pieces. The dashing impetus of the competing struc?ture rejects any room for a story line to be developed by the audience. There is not a moment of stagnation in his work.
In April 2001, Kasai premiered Kafun Kakumei (Pollen Revolution) as part of Theater Trum's solo series. In the opening scene, the audience was astonished by his entrance wear?ing the full costume of the young maiden from Kyokanoko Musume Dojoji, one of the most famous kabuki dance pieces. Kasai presented the complete image of the young maiden, for?midably clad in the costume from Musume Dojoji at the opening of the piece then started to destroy it from inside out. Wearing the kimono and a traditional Japanese wig, Kasai danced frantically to the music of "Dojoji," swinging up the dangling kimono sleeves, flut?tering the bottom of the dragging kimono, slovenly widening the collar, oblivious of the kimono loosening and going out of shape. He danced incessantly with stunning energy and concentration, as if spreading out into all direc?tions infinitely with his elaborate costume. The image did not invoke any semblance of the human body. He danced as if he was smashing his whole body into pieces.
In 2003, Kasai choreographed and directed Ginga Keikaku (Galaxy Plan) and performed with Kim Itoh. It was his peculiar metaphor to derive the story of Cain and Abel from the Old Testament for the structure of the work. Through his works Kasai attempts to derive the spiritual world that has built up the modern society, using various metaphors paradoxically,
reviving it into a form, validating and accepting it for once through his physical body, then, the next moment, destroying its structure from the inside out with enormous impetus. This can be seen as a major characteristic of his recent works.
Development of the New Wave and Kasai
Teshigawara's dance aroused a new awareness for the physicality in dance, including move?ments from everyday motion and mimes to acrobatics, which up until this time, had not been a large part of dance in Japan. Critical dis?cussions regarding body became active in the context of dance. In addition, digital images of bodies through computer assistance, entered into the dance world. It can be said that a new image of the human body was in demand along with the expansion of human perception.
Min Tanaka's works are expressive, intend?ing to present the idea that the body generates its own stories, as opposed to being a tool of telling existing stories, by tracing back the per?ception and memories of one's body. This is the basic stance of butoh works.
There are also groups such as H. Art Chaos, lead by Sakiko Oshima, and Nomado's lead by Nakao Ikemiya, whose works are expressive but have no relation to butoh for their roots. Oshima, in particular, dares to put a physical body in a fantasy world with her bold choreog?raphy matching the spectacular aesthetics of the stage and deriving astonishing concentration from dancer Naoko Shirakawa's performance.
Popular culture, which had then been actively incorporated into contemporary dance, also gave birth to a dance in which the dancer's body reflects the youth culture of contemporary met?ropolitan Japanese society, known as "J-dance." For example, in the works of Nibroll (lead by Mikuni Yanaihara) we see a body which sud?denly snaps and explodes after feeling continu?ous stress and, in contrast, Strange Kinoko Dance Company (lead by Chie Itoh), presents a fluid physicality of happy young girls that flow nimbly and swiftly through daily life.
In contrast, Kim Itoh is another dance artist
who explores a new way of communication with the audience by expressing humor born from the gap between obsessive concentration of perception on stage and the reality of nor?mal, every day life. Condors (lead by Ryohei Kondo) and Idevian Crew (lead by Shigehiro Ide) belong to a group called owarai kei (comi?cal school) and pursue their entertainment line by incorporating mimeography and comedy into their dances, creating a nonsensical world, which defies explanation. The audience is encouraged to just sit back and enjoy the absolute nonsense and the comical dance itself.
All of these so called "J-dance" artists create works incorporating various dance techniques' and ideas. One thing that connects the J-dance artists is that their works reject discussion using established semantics. In order to avoid being consumed into an overall story, J-dance artists construct their works by collecting bits and pieces of unrelated scenes or using a multitude of simple, daily images.
In contrast to the light-hearted and elusive characteristics of J-dance, dancer Mika Kurosawa tries to create her expression as far as possible from the physicality developed under the conventional dance technique. Kurosawa agitates the audience by putting on costumes that invoke the world of gay show dance, or of certain fairy tale characters.
Choreographers Tsuyoshi Shirai and Kaya Ohashi, try to recognize and reconstruct a new sense of body by appealing to various percep?tions. These choreographers use their physical bodies without dance techniques as the tools of exploration, more common in performance art, as they search for the roots of bodily move?ment.
Within the above context of the develop?ment of contemporary Japanese dance, butoh artist Akira Kasai stands in an extremely inter?esting position. As opposed to many of the contemporary dancers creating works based on one's own physical perception (such condition as pleasant or unpleasant, for an example) Kasai sets his physical body in a strictly conceptual
state, not in the state of real world perception, yet creates dance works with the intention to sublimate the physical body.
The history of dance from the modern times to current was lead and inherited by innovative choreographers, buloh being the prime exam?ple. Those who seek the truth with continuous questionings and denials of the existing con?cepts and conventional aesthetics have devel?oped the history of contemporary Japanese dance. Butoh is not simply one certain style of dance. And although we must respect the roots of butoh as it was developed by Tatsumi Hijikata, it would be unwise to take our eyes away from Akira Kasai, as he is just about to roll out the grand new possibilities of butoh for the post-modern age.
O Arts Midwest 2004, Translated by Kyoko Yoshida, edited by Autumn Patterson.
1 Including the opening of Yokohama landmark Hall and Aichi Arts Center in 1993, and Setagaya Public Theatre and New National Theatre, Tokyo in 1997.
2 In 1996, Park Tower Next Dance Festival; in 1999, SoloxDuo Competition; in 2000, Shizuoka Performing Arts Center Choreographers Competition; in 2001, Asahi Performing Arts Award; in 2002, Toyota Choreography Award were initiated respectively.
3 At the Art Theater Shinjuku Bunka in October, 1972.
4 Another name for ballet. Ballet technique based on five foot positions, invented at the Royal Academy of Music in Paris in the 17th century.
5 "Spinning Spiral Shaking Strobe" in 2000.
6 One can learn the basic techniques such as release technique, contact improvisation, butoh, capoeira, etc. by participating in ubiquitous dance workshops.
An Invitation
UMS and the U-M Center for Japanese Studies cordially invite you to tonight's Community Reception with Akira Kasai.
Michigan League Vandenberg Room 911 N. University Avenue, Second Floor Immediately following tonight's performance Free
Akira Kasai
Pollen Revolution
Choreography, Direction and Performance
Technical Director Lighting Technician Sound Engineer Wig Supervisor Costume Supervisor Stage Manager
Production and Company Manager
Associate Production Manager
Akira Kasai
Masaaki Aikawa Lang Craighill Kei Saito Kyoko Yamada Hisako Kasai Kyoko Omori Yoshiko Haraguchi
Junko Hanamitsue Ayako Tsuchiya
Wednesday Evening, October 13, 2004 at 8:00 Power Center Ann Arbor
Ninth Performance of the 126th Annual Season
14th Annual Dance 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 an official event in celebration of the 150th Anniversary of USJapan Relations.
Support provided by the Japan Foundation through the Performing Arts JAPAN program.
Additional support provided by the National Dance Project of the New England Foundation for the Arts, with lead funding from National Endowment for the Arts and Doris Duke Charitable Foundation. Additional funding provided by The Andrew W. Mellon Foundation and The Ford Foundation.
Media partnership provided by Detroit Jewish News and Michigan RadioMichigan Television.
Tour support provided by the Agency for Cultural Affairs, the Government of Japan.
Special thanks to Jane Ozanich, U-M Center for Japanese Studies, U-M Department of Dance, and Dance Gallery Studio for their participation in this residency.
The 2004 North American Tour of Pollen Revolution is produced by MAPPMultiArts Projects & Productions.
Large print programs are available upon request.
Pollen Revolution
What a cruel, tragic, comical world we live in; the boundary between living and dead grow?ing ever closer; the once seem?ingly distant apocalypse sud?denly facing us, like a giant; why must we live in such a chaotic world, like an overturned caul?dron The power of science penetrates deeper and deeper into the sacred realm of human life, rendering us mere artificial beings.
In the dance studio, I am often awestruck when I think about the first creature that came onto land from water. Similar to the challenges it had leaving the safety of its familiar saltwater for land, human beings today seem to be trying to create a completely new environment.
What I am referring to is different from the fact that humans have moved to a virtual world through cyber culture, or have expanded into the universe through space exploration. Rather, we are trying to delve into our own bio-sys?tems, creating life like we breathe air. In that sense, dance might be a "rediscovering of life." Since I premiered Pollen Revolution in April 2001 in Tokyo, the world has changed dramati?cally. The promise of mankind has become void; the result is that one person can destroy the whole world.
Conversely, it may be that a single person can save the world from destruction. As a dancer, I have a premonition that I am able to create infinite life within my body. The first word that came to my mind as I created this piece was "pollen." I felt a touch of shame, since I was not sure if I had the will to choreograph this word, which embodies an image of organic life, or to dance it on stage. Then, the word "revolution" came to me. In the East, "revolution" does not only relate to "social change," but also that fate or destiny, or karma has changed. This change is not caused by technological advances such as gene manipulation, but rather is a fun?damental change brought about by humans exploring their own environment. I thought of combining these two words.
For me, there is no other process than dance that compels one to confront the forces arising from life. Yet dancers want to trim the "gush of life" from their work, similar to actors wanting to avoid the expression of raw emotion. However, as a dancer who deals directly with life, I do not think genetic information is the true essence of life. It is the shadow of life, or just another phenomenon of life. Life is not to be manipulated. Our informationalized bodies are both beautiful and horrid I offer up this body through dance as an eternal sacrifice.
-Akira Kasai
Rkira Kasai {Choreographer and Performer) studied modern dance and classical ballet but completely changed course upon meeting Kazuo Ohno in 1963. Kasai spent the next two decades studying and dancing with the founders of butoh Kazuo Ohno and Tatsumi Hijikata as well as performing many of his own solos throughout Japan. In 1971, Kasai established Tenshi-Kan, an institute for butoh and esoteric studies in Tokyo, and contin?ued to create work and perform throughout Japan. In 1979, Kasai stopped dancing and left for Stuttgart, Germany, to study the principles of Rudolf Steiner's eurythmics. After graduating from the Eurythmeum in 1983, Kasai returned to Japan in 1985 and began teaching eurythmics in various cities in Japan. His performances in the 1980s include a number of eurythmics works. In 1991, he re-opened Tenshi-kan as a four-year school for eurythmics. At the same time, Kasai began to create a highly individual and new style of butoh, which he debuted in 1994 with the work, Seraphita. Since then, he has created and performed numerous works and recently has been actively collaborating with and choreographing for various artists, including Kasai Kisanuki Company, Ryohei Kondo, Yoko Ando and Naoka Uemura. Since 1999 he has been choreographing Blue Sky Series, an all-female company of five emerging
dancers. His recent performances abroad include Perspective of the Dream: Skill of a Prostitute (Gottengen Germany), My Own Apocalypse (Changmu International Festival, Seoul, Korea), Does a human bring his body to the world of the dead (Cowell Theater, San Francisco), Exusiai (Yerba Buena Center for the Arts, San Francisco), Tenkyu (Rome, Italy), and Tinctiira II (Columbia College, Chicago). Pollen Revolution is Kasai's first solo work since 1995.
Kasai's publications include Tenshi Ron (Essay on Angels) (1972, Gendai Shicho Shinsha), Holy Spirited Butoh (1977, Gendai Shicho Shinsha), Dusk of the Gods (1979, Gendai Shicho Shinsha), and Cosmos Dance Evolution (2004, Gendai Shicho Shinsha).
This evening's performance marks Akira Kasai's UMS debut.
MultiArts Projects & Productions (MAPP) is a NYC-based arts organization dedicated to pro?ducing and sustaining performing artists as they develop multidisciplinary projects that raise questions about the complexities of our time. MAPP works in close collaboration with artists, arts organizations, and other arts profes?sionals to provide a holistic set of production and touring services tailored to the specific nature and needs of each project. MAPP was founded in 1994 by Executive Director, Ann Rosenthal, and since 1998 has been co-directed by Rosenthal and Cathy Zimmerman. MAPP has managed, produced, and toured music, dance and theater projects by more than 40 artists from eight countries.
For further information on the tour of Pollen Revolution please contact MAPPMultiArts Projects & Productions at
JMS experience
September 04 Q lease note that a complete Fri 17 Lincoln Center Jazz Orchestra listing of all UMS Educa-
with Wynton Marsalis tional Pr?grams is conveniently
_. ? d cu i located within the concert pro-Thu 23 Ravi Shankar . , v
gram section of your program
Sum 26 Emerson String Quartet book and is posted on the
UMS website at
Sat 2 An Evening with Dave Brubeck
Sun 3 Laurie Anderson: The End of the Moon
Fri-Sat 8-9 Paul Taylor Dance Company
Sat 9 Paul Taylor Dance Company One-Hour Family Performance
Wed 13 Akira Kasai: Pollen Revolution
Fri 15 Leipzig Gewandhaus Orchestra with Mikhail Pletnev, piano
Sat 16 Marcel Khalife and the Al Mayadine Ensemble
Wed-Sat 20-23 Complicite: The Elephant Vanishes
Wed-Sun 27-31 Rezo Gabriadze: Forbidden Christmas or The Doctor and
The Patient
Thu 4 Le Concert Spirituel
Fri 5 Kopelman Quartet
Tue 9 St. Petersburg Philharmonic
Fri 12 Kremerata Baltica with Gidon Kremer, violin
Sat 13 E.S.T. (Esbjorn Svensson Trio) and The Bad Plus
Sun 14 Ensemble Al-Kindi and the Whirling Dervishes of Damascus
Tue 23 Measha Brueggergosman, soprano
Sat-Sun 4-5 Handel's Messiah
Saf 11 Anne Sofie von Otter, mezzo-soprano

January 05
Wed 12 Sam Shalabi: The Osama Project
Thu 13 Stephanie Blythe, mezzo-soprano
Fri 14 D.J. Spooky: Rebirth of a Nation
Sun-Mon 16-17 Ronald K. BrownEvidence
Wed 26 Lahti Symphony Orchestra with Louis Lortie, piano
Sun 30 Audra McDonald
Sat-Sun 5-6 New York Philharmonic
77iu 10 Netherlands Wind Ensemble
Fn-Sflf 11-12 Rennie Harris Puremovement: Facing Mekka
Sun 13 Michigan Chamber Players (Complimentary Admission)
Fri 18 Soweto Gospel Choir
Saf 19 Jack Dejohnette Latin Project
Swi 20 Takacs Quartet: Complete Bartok String Quartet Cycle
Mon-Wed 21-23 Kodo Drummers
FH 25 A Midsummer Night's Dream: A Semi-Staged Performance
Sat 5 Dan Zanes and Friends Family Performance
Werf 9 Florestan Trio
77iu 10 Fred Hersch Ensemble: Leaves of Grass
Thu-Sun 10-13 Robert Lepage: The Far Side of the Moon
Sflf 12 Oslo Philharmonic with Anne-Sophie Mutter, violin
Sat 19 James Galway, flute and Lady Jeanne Galway, flute
Fri-Saf 1-2 Emio Greco PC
Sat 2 UMS Choral Union: Haydn's Creation
Fri 8 Trio Mediaeval
Sflf 9 Malouma
Sun 10 Songs of the Sufi Brotherhood
Wed 13 Chamber Orchestra of Philadelphia with Ignat Solzhenitsyn, piano
77im 14 La Capella Reial de Catalunya and Le Concert des Nations
Wed 20 Felicity Lott, soprano and Angelika Kirchschlager, mezzo-soprano
I7 21 John Scofield Trio and Brad Mehldau Trio
Thu 28 Jerusalem Quartet
Sat 14 Ford Honors Program: Artist to be Announced
UMS's Education and Audience Development Program deepens the relationship between audiences and art, and raises awareness of the impact the performing arts can have on our community. The program creates and presents the highest quality arts education experience to a broad spectrum of community constituencies, proceeding in the spirit of partnership and collaboration.
The UMS Education and Audience Develop?ment Department coordinates dozens of events with over 100 partners that reach more than 50,000 people annually. It oversees a dynamic, comprehensive program encompassing com?munity receptions; artist interviews; workshops; in-school visits; master classes; lectures; youth, teen, and family programs; educator profes?sional development; curriculum development; and much more.
UMS Community Education Program
Details about educational events are posted at one month before the per?formance date. To receive information and e-mail reminders about UMS educational events, join the UMS E-Mail Club at For immediate information, e-mail, or call the numbers listed below.
UMS Partnership Program
If you represent an organization that would like to work in collaboration with UMS to create education events or attend performances and community receptions, please call 734.764.6179.
African American Arts Advocacy Committee -The NETWORK
If you are interested in networking with the African American community and supporting African American artistry and performance, please call 734.764.6179.
Arab World Festival Honorary Committee
If you would like to be involved in the upcom?ing Arab World Music Festival and support Arab World programming, education, and community building, please call 734.764.6179.
Educational Programs
UMS hosts a wide variety of educational opportunities that provide context and inform audiences about the artists, art forms, and cul?tures we present. For more information about this program, please call 734.647.6712 or e-mail Events include:
PREPs pre-performance lectures
Meet the Artists post-performance artist interviews
Artist Interviews public dialogues with performing artists
Master Classes interactive workshops PanelsSymposia expert-led, university-based presentations
Study Clubs in-depth adult education related to a specific art form
Artist-in-Residence artists teach, create, and meet with community groups, university units, and schools.
UMS Youth, Teen, and Family Education
UMS has one of the largest K-12 arts educa?tion initiatives in the State of Michigan. For more information, or to become involved, please call 734.615.0122 or e-mail
200405 Youth Performance Series
These daytime performances serve pre-K through high school students. The 0405 series features special youth performances by:
Lincoln Center Jazz Orchestra with Wynton Marsalis
Paul Taylor Dance Company
DJ Spooky: Rebirth of Nation Sphinx Competition
Rennie Harris Puremovement
Dan Zanes and Friends
Teacher Workshop Series
UMS offers two types of K-12 Educator Workshops: Performing Arts Workshops and (Kennedy Center Workshops. Both types focus !on teaching educators techniques for incorpo?rating the arts into classroom instruction. This year's Kennedy Center Workshop Series will feature a return engagement by noted instructor Sean Layne who will be leading two sessions:
Preparing for Collaboration: Theater Games and Activities that Promote Team-Building and Foster Creative and Critical Thinking
r Acting Right: Drama as a Classroom Management Strategy
Michelle Valeri, a singer, songwriter, and chil?dren's entertainer, will lead a workshop entitled:
Story Songs for the Young Child

Workshops focusing on UMS Youth Perform?ances are:
Paul Taylor Dance Company: Dance is Art, Music, and Storytelling led by Susan Filipiak
Punch's Progress: A Brief History of the Puppet Theater led by Lawrence Baranski
Arts Advocacy: You Make the Difference led by Lynda Berg
Race, Identity and Art: Getting Beyond the Discomfort of Talking About "Normal" led by Marguerite Vanden Wyngaard and Rowyn Baker
Facing Mekka: Hip Hop in Academic and Theatrical Context led by Mark Bamuthi Joseph and members of Rennie Harris Puremovement
Malouma: The Culture, Dance, and Music of Mauritania led by Ibrahima Niang, African Cultural Ambassador, and Mame Lo Mor and Fatou Lo, members of the local Mauritanian community
K-12 Arts Curriculum Materials
UMS educational materials are available online at no charge to all educators. All materials are designed to connect with curriculum via the Michigan State Benchmarks and Standards.
Teen Tickets and Breakin' Curfew
As part of UMS's teen initiative, teens may attend public UMS performances at a special discount. Visit to download a special Teen Ticket coupon. Breakin' Curfew is an annual event showcasing teen talent, pre?sented in collaboration with Neutral Zone.
Family Programming and Ann Arbor Family Days
UMS offers reduced-priced, one-hour, family friendly performances and workshops. Ann Arbor Family Days features special family pro?gramming from numerous Ann Arbor cultural organizations. For more information, please call 734.615.0122.
UMS Teacher Advisory Committee
This group is comprised of educators, school administrators, and K-12 arts education advo?cates who advise and assist UMS in determin?ing K-12 programming, policy, and professional development. To join, please call 734.615.4077 or e-mail
UMS is a partner with the Ann Arbor Public Schools and the Washtenaw Intermediate School district as part of the Kennedy Center: Partners in Education program. UMS also participates in the Ann Arbor Public School's
Partners in Excellence program.
The UMS Youth Education Program was designated as a "Best Practice" program by ArtServe Michigan and the Dana Foundation.
Join us in thanking these fine area restaurants and businesses for their generous support of UMS:
American Spoon
539 East Liberty 997.7185
Bella Ciao Trattoria
118 West Liberty995.2107
The Blue Nile Restaurant
221 East Washington 998.4746
The Earle
121 West Washington 994.0211
The Earle Uptown
300 South Thayer 994.0222
Great Harvest Bread Company 2220 South Main 996.8890
King's Keyboard House
Fast Starlium fif
Laky's Salon
512 South Main668.8812
Michigan Car Services, Inc.
30270 Spain Court, Romulus 800.561.5157
Paesano's Restaurant 3411 Washtenaw 971.0484
Pen in Hand
207 South Fourth 662.7276
Red Hawk Bar & Grill 316 South State 994.4004
Schakolad Chocolate Factory
110 East Washington 213.1700
Weber's Restaurant and Hotel
3050 Jackson Avenue 769.2500
216 South State994.7777
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. 647.8009 or visit UMS online at
Cast Yourself in a Starring ple
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exciting programs described in this program book are made possible by the generous support of UMS donors--dedicated friends who value the arts in our community and step forward each year to pro?vide financial support. Ticket rev?enue covers only 56 of the costs associated with presenting our sea?son of vibrant performances and related educational programs. UMS donors--through their generous annual contributions--help make up the difference. In return, they receive a wide variety of exciting benefits, including the opportunity to purchase tickets prior to public sale.
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Opportunity to meet artist backstage as guest of UMS president
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Complimentary valet parking for Choral Union Series performances at UM venues
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Send gifts to: University Musical Society, 881 N. University, Ann Arbor, MI 48109-1011
UMS support
UMS Volunteers are an integral part of the success of our organization. There are many areas in which vol?unteers can lend their expertise and enthusiasm. We would like to wel?come you to the UMS family and involve you in our exciting programming and activities. We rely on volunteers for a vast array of activities, including staffing educational residency activi?ties, assisting in artist services and mailings, escorting students for our popular youth per?formances, and a host of other projects. Please call 734.936.6837 to request more information.
The 53-member UMS Advisory Committee serves an important role within UMS. From ushering for our popular Youth Performances to coordinating annual fundraising events, such as the Ford Honors Program gala and "Delicious Experiences" dinners, to marketing Bravo!, UMS's award-winning cookbook, the Committee brings vital volunteer assistance and financial support to our ever-expanding educational programs. If you would like to become involved with this dynamic group, please call 734.647.8009.
When you advertise in the UMS program book you gain season-long visibility among ticket buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to the 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, please 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 are 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 apart from others.
The UMS Usher Corps is comprised of over 400 individuals who volunteer their time to make your concert-going experience more pleas?ant and efficient. Orientation and training ses?sions are held each fall and winter, and are open to anyone 18 years of age or older. Ushers may commit to work all UMS performances in a spe?cific venue or sign up to substitute for various performances throughout the 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
The artistic presentations and educational programs that UMS brings to the community each season are sup?ported by generous gifts from individuals, businesses, founda?tions, and government agencies. On the following pages, we have listed those who have chosen to make a difference for UMS by supporting us with an annual gift to operations or endowment. This list includes current donors as of August 2, 2004. Every effort has been made to ensure its accuracy. Please call 734.647.1175 with any errors or omissions.
$25,000 or more
Randall and Mary Pittman Philip and Kathleen Power
Carl and Isabelle Brauer
Ralph G. Conger
Robert and Pearson Macek
Paul and Ruth McCracken
Tom and Debby McMullen
Mrs. Robert E. Meredith
Prudence and Amnon Rosenthal
Joe and Yvonne Sesi
Ann and Clayton Wilhite
Maurice and Linda Binkow
Pauline De Lay
Toni M. Hoover
Edward and Natalie Surovell
Michael Allemang
Herb and Carol Amster
Emily W. Bandera, M.D. and Richard H. Shackson
June Bennett
Kathy Benton and Robert Brown
Albert M. and Paula Berriz
Barbara Everitt Bryant
Thomas and Marilou Capo
Dave and Pat Clyde
Douglas D. Crary
Jack and Alice Dobson
Molly Dobson
Mr. and Mrs. Thomas C. Evans
Ken and Penny Fischer
Ilene H. Forsyth
Friends of Hill Auditorium
David and Phyllis Herzig
David and Sally Kennedy
Robert and Gloria Kerry
Conccrttuasters, com.
Leo and Kathy Legatski Dr. and Mrs.
Richard H. Lineback Charlotte McGeoch Julia S. Morris Charles H. Nave Gilbert Omenn and
Martha Darling John Psarouthakis and
Antigoni Kefalogiannis Mr. Gail W. Rector Maria and Rusty Restuccia Richard and Susan Rogel Don and Judy Dow Rumelhart Loretta M. Skewes James and Nancy Stanley Lois and Jack Stegeman Susan B. Ullrich Gerald B. and
Mary Kate Zelenock
$3,500-4,999 Robert and Victoria Buckler Dr. Kathleen G. Charla Katharine and Jon Cosovich Jim and Patsy Donahey Mr. and Mrs. George W. Ford Beverley and Gerson Geltner Betty-Ann and Daniel Gilliland Dr. Sid Gilman and
Dr. Carol Barbour Debbie and Norman Herbert Carl and Charlene Herstein Keki and Alice Irani Susan McClanahan and
Bill Zimmerman M. Haskell and
Jan Barney Newman Lois A. Theis Dody Viola
Marina and Robert Whitman Marion T. Wirick and
James N. Morgan
Bob and Martha Ause
Essel and Menakka Bailey
Karl Bartscht
Raymond and Janet Bemreuter
Suzanne A. and Frederick J.
Beutler Edward and Mary Cady
J. Michael and Patricia Campbell Mary Sue and Kenneth Coleman Lorenzo DiCarlo and
Sally Stegeman DiCarlo Dr. and Mrs. Theodore E.
David and Jo-Anna Featherman John and Esther Floyd Michael and Sara Frank Sue and Carl Gingles Linda and Richard Greene Janet Woods Hoobler Shirley Y. and Thomas E. Kauper Dorian R. Kim
Amy Sheon and Marvin Krislov Jill M. Latta and David S. Bach Marc and Jill Lippman Sally and Bill Martin Judy and Roger Maugh Ernest and Adele McCarus Martin Neuliep and Patricia
Virginia and Gordon Nordby Mrs. Charles Overberger (Betty) Dory and John D. Paul Eleanor and Peter Pollack Jim and Bonnie Reece John and Dot Reed Barbara A. Anderson and
John H. Romani Alan and Swanna Saltiel Sue Schroeder Edward and Jane Schulak Helen L. Siedel Don and Carol Van Curler Karl and Karen Weick B. Joseph and Mary White
Dr. and Mrs. Gerald Abrams Mrs. Gardner Ackley lini and Barbara Adams Bernard and Raquel Agranoff Dr. and Mrs. David G. Anderson Rebecca Gepner Annis and
Michael Annis Jonathan W. T. Ayers Laurence R. and Barbara K. Baker Dr. and Mrs. Robert Bartlett Bradford and Lydia Bates Astrid B. Beck and
David Noel Freedman Frederick W. Becker Ralph P. Beebe Patrick and Maureen Belden Ruth Ann and Stuart J. Bergstein Philip C. Berry
loan Akers Binkow Elizabeth and Giles G. Bole Howard and Margaret Bond Sue and Bob Bonfield Charles and Linda Borgsdorf Laurence and Grace Boxer Dr. and Mrs. Ralph Bozell Dale and Nancy Briggs k.inninc and Robert Buchanan Lawrence and Valerie Bullen Laurie Bums Letitia J. Byrd Amy and Jim Byrne Barbara and Albert Cain Jean W. Campbell Jean and Bruce Carlson Carolyn M. Carty and
Thomas H. Haug Janet and Bill Cassebaum Anne Chase
Don and Betts Chisholm Leon Cohan
Hubert and Ellen Cohen Cynthia and Jeffrey Colton Jim and Connie Cook Jane Wilson Coon and
A. Rees Midgley, Jr. Anne and Howard Cooper Susan and Arnold Coran Paul N. Courant and
Mart.i A. Manildi Julie F. and Peter D. Cummings Richard J. Cunningham Peter and Susan Darrow Lloyd and Genie Dethloff Steve and Lori Director Andrzej and Cynthia Dlugosz Al Dodds
Elizabeth A. Doman John Dryden and Diana Raimi Martin and Rosalie Edwards Charles and Julia Eisendrath Joan and Emil Engel Dr. and Mrs. John A. Faulkner Eric Fearon and Kathy Cho Yi-tsi M. and Albert Feuerwerker Ray and Patricia Fitzgerald Bob and Sally Fleming James and Anne Ford Marilyn G. Gallatin Kenneth J. Robinson Marilyn Tsao and Steve Gao Thomas and Barbara Gelehrter William and Ruth Gilkey Mr. and Mrs. Clement Gill Paul and Anne Glendon Cozette Grabb Elizabeth Needham Graham Jeffrey B. Green John and Helen Griffith
Principals, cont.
Martin D. and Connie D. Harris Julian and Diane Hoff Carolyn Houston Raymond and Monica Howe Robert M. and loan F. Howe Drs. Linda Samuelson and
Joel Howell
Dr. H. David and Dolores Humes John and Patricia Huntington Thomas and Kathryn Huntzicker Susan and Martin Hurwitz Timothy and Jo Wiese Johnson Robert L. and Beatrice H. Kahn Dr. and Mrs. Robert P. Kelch James and Patricia Kennedy Connie and Tom Kinnear Diane Kirkpatrick Philip and Kathryn Klintworth Carolyn and Jim Knake Charles and Linda Koopmann Samuel and Marilyn Krimm Michael and Barbara Kusisto Marilyn and Dale Larson Ted and Wendy Lawrence Peter Lee and Clara Hwang Donald J. and Carolyn Dana Lewis Carolyn and Paul Lichter Evie and Allen Lichter Lawrence and Rebecca Lohr Leslie and Susan Loomans Mark and Jennifer LoPatin Richard and Stephanie Lord John and Cheryl MacKrell Jeff Mason and Janet Netz Natalie Matovinovic Joseph McCune and
Georgiana Sanders Rebecca McGowan and
Michael B. Staebler Ted and Barbara Meadows Leo and Sally Miedler Candy and Andrew Mitchell Lester and Jeanne Monts Alan and Sheila Morgan Jane and Kenneth Moriarty Melinda and Bob Morris Edward Nelson
Dr. and Mrs. Frederick C. O'Dell William C. Parkinson Margaret and Jack Petersen Elaine and Bertram Pitt Mrs. Gardner C. Quarton Donald H. Regan and
Elizabeth Axelson Kenneth J. Robinson Rosalie and Martin Edwards Patrick and Margaret Ross Craig and Jan Ruff Nancy and Frank Rugani Dick and Norma Sams
Maya Savarino
Meeyung and Charles R. Schmitter
Mrs. Richard C. Schneider
Ann and Thomas J. Schriber
John J. H. Schwarz
Erik and Carol Serr
Janet and Michael Shatusky
J. Barry and Barbara M. Sloat
Kate and Philip Soper
Lloyd and Ted St. Antoine
Gus and Andrea Stager
Michael and Jeannette Bittar Stern
Victor and Marlene Stoeffler
Dr. and Mrs. Stanley Strasius
Charlotte B. Sundelson
Katharine and Jan Svejnar
Jim Toy
Joyce A. Urba and David J. Kinsella
Jack and Marilyn van der Velde
Rebecca W. Van Dyke
Florence S. Wagner
Jack Wagoner, M.D.
Raven Wallace
Elise Weisbach
Robert O. and Darragh H. Weisman
Scott Westerman
Roy and )oAn Wetzel
Harry C. White and
Esther R. Redmount Max Wicha and Sheila Crowley Prof, and Mrs. Charles Witke Paul Yhouse Edwin and Signe Young
Thomas and Joann Adler
Dr. and Mrs. Robert G. Aldrich
Anastasios Alexiou
Dr. and Mrs. Rudi Ansbacher
Robert L. Baird
Lisa and lini Baker
M. A. Baranowski
Alex W. and Gloria L. Barends
Norman E. Barnctt
Mason and Helen H.irr
L. S. Berlin
Sara Billmann and Jeffrey Kuras
John Blankley and Maureen Foley
Donald and Roberta Blitz
Tom and Cathie Bloem
Dr. and Mrs. Ronald Bogdasarian
Susan Bozell
Paul and Anna Bradley
Morton B. and Raya Brown
June and Donald R. Brown
Dr. Frances E. Bull
Mr. and Mrs. Richard ). Burstein
H. D. Cameron
Janice A. Clark
Lois and Avern Cohn
Malcolm and Juanita Cox
Sally A. Cushing
Roderick and Mary Ann Daane
Charles and Kathleen Davenport
Judge and Mrs. S.). Elden
Stefan S. and Ruth S. Fajans
Elly and Harvey Falit
Dr. and Mrs. John A. Faulkner
Sidney and Jean Fine
Carol Finerman
Harriet and Daniel Fusfeld
Professor and Mrs. David M. Gates
Drs. Steve Geiringer and Karen Bantel
Beverly Gershowitz
Richard and Cheryl Ginsburg
Alvia G. Golden and
Carroll Smith-Rosenberg Amy and Glenn Gottfried Mrs. Cozette T. Grabb Jenny Graf
Mr. and Mrs. Robert C. Graham Dr. John and Renee M. Greden Sharon and Lazar J. Greenfield Bob and Jane Grover David and Kay Gugala Don P. Haefher and Cynthia J. Stewart Helen C. Hall Yoshiko Hamano Mr. and Mrs. Elmer F. Hamel Susan A. Hamilton Susan Harris Sivana Heller Lee Hess
Mrs. W.A. Hiltner Sun-Chien and Betty Hsiao Mrs. V. C. Hubbs Harry and Ruth Huff Ann D. Hungerman Eileen and Saul Hymans Jean Jacobson
Emily Avers and Mark Jacobson Elizabeth Jahn Rebecca S. Jahn Lester Johns Ben M. Johnson John B. and Joanne Kennard Rhea Kish Michael J. Kondziolka and
Mathias-Philippe Florent Badin Dr. Melvyn and Mrs. Linda Korobkin Bert and Geraldine Kruse Bud and Justine Kulka John K. and Jeanine Lawrence Laurie and Robert LaZcbnik Richard LeSueur Julie M. Loftin E. Daniel and Kay Long Brigitte and Paul Maassen Deborah and Michael Mahoney Nicole Manvel Catherine and Edwin L. Marcus
Benefactors, com.
Ann W. Martin and Russ Larson
Carole Mayer
Micheline Maynard
Griff and Pat McDonald
Bernice and Herman Merte
Henry D. Messer Carl A. House
Kathryn and Bertley Moberg
Cyril Moscow
Todd Mundt
Lisa Murray and Mike Gatti
Gerry and Joanne Navarre
Marylen and Harold Oberman
Robert and Elizabeth Oneal
Kathleen I. Operhall
Nicole Paoletti
John Peckham
Wallace and Barbara Prince
Leland and Elizabeth Quackenbush
Margaret Jane Radin
Mrs. Joseph S. Radom
leanne Raisler and Jon Cohn
Ms. Claudia Rast
Anthony L. Reffells and
Elaine A. Bennett Rudolph and Sue Reichert Marnie Reid
lay and Machree Robinson fonathan and Anala Rodgers Lisa Rozek Alicia Schuster Mrs. Harriet Selin Frances U. and Scott K. Simonds Robert and Elaine Sims Irma J. Sklenar
lames Skupski and Dianne Widzinski Donald C. and lean M. Smith Shelly Soenen and Michael Sprague Dr. Hildreth H. Spencer Neela Sripathi David and Ann Staiger Bert and Vickie Steck Virginia and Eric Stein Maryanne Telese Elizabeth H. Thieme Catherine Thoburn Merlin and Louise Townley William C. Tyler Dr. Sheryl S. Ulin and Dr. Lynn T.
Schachinger Elly Wagner Don and Toni Walker Robert D. and Liina M. Wallin John M. Weber
Deborah Webster and George Miller Raoul Weisman and Ann Friedman Angela and Lyndon Welch Dr. Steven W. Werns Reverend Francis E. Williams Mayer and Joan Zald
Michael and Marilyn Agin
Roger Albin and Nili Tannenbaum
Christine Webb Alvey
Helen and David AminofT
Harlene and Henry Appelman
Mr. and Mrs. Arthur J. Ashe III
Dan and Monica Atkins
Barbara B. Bach
Reg and Pat Baker
Paulctt Banks
Mr. and Mrs. John and Ginny Bareham
David and Monika Barera
Lois and David Baru
Francis J. and Lindsay Bateman
Mrs. Jere M. Bauer
Gary Beckman and Karla Taylor
Professor and Mrs. Erling Blondal
Dr. and Mrs. Ronald M. Benson loan and Rodney Bentz Dr. Rosemary R. Berardi Steven I. Bernstein and Maria Herrero Jack Billi and Sheryl Hirsch llene and William Birge Bob and Sharon Bordeau Victoria C. Botek and William M.
Mr. and Mrs. Richard Boyce C. Paul and Anna Y. Bradley William R. Brashear Sue and Noel Buckner Trudy and Jonathan Bulkley Frank and Kathy Cambria Valerie and Brent Carey lean and Kenneth Casey Tsun and Siu Ying Chang Kwang and Soon Cho Dr. Kyung and Young Cho Reginald and Beverly Ciokajlo Brian and Cheryl Clarkson Dr. and Mrs. Harvey Colbert Theodore and Sandra Cole Wayne and Melinda Colquitt Edward . and Anne M. Comeau Carolyn and L. Thomas Conlin Lloyd and Lois Crabtree Mr. Michael J. and Dr. Joan S. Crawford Merle and Mary Ann Crawford Peter C. and Lindy M. Cubba Mary R. and John G. Curtis Marcia A. Dalbey Sunil and Merial Das Art and Lyn Powrie Davidge Ed and Ellic Davidson Hal and Ann Davis John and Jean Debbink Nicholas and Elena Delbanco Elizabeth Dexter Judy and Steve Dobson Cynthia Dodd Heather and Stuart Dombey Rev. Dr. Timothy J. Dombrowski Thomas and Esther Donahue Cecilia and Allan Dreyruss Elizabeth Ducll Aaron Dworkin
Morgan H. and Sara O. Edwards
Dr. Alan S. Eiser
Dr. Stewart Epstein
John W. Etsweilcr III
Phil and Phyllis Fellin
Dr. James F. Filgas
Susan FilipiakSwing City Dance Studio
Herschel and Adrienne Fink
Paula L. Bockenstedt and David A. Fox
Howard and Margaret Fox
Jason I. Fox
Dr. Ronald Freedman
Lynn A. Freeland
Dr. Leon and Marcia Friedman
Philip and Renee Frost
Lela J. Fuester
Mr. and Mrs. William Fulton
Ms. Patricia Garcia
Tom Gasloli
Deborah and Henry Gcrst
Beth Genne and Allan Gibbard
Paul and Suzanne Gikas
Elmer G. Gilbert and Lois M. Verbrugge
Zita and Wayne Gillis
Maureen and David Ginsburg
Jack and Kathleen Glezen
Enid M. Gosling
Mr. and Mrs. Charles Goss
James W. and Maria J. Gousseff
Helen M. Graves
Mr. and Mrs. Saul A. Green
Ingrid and Sam Gregg
Bill and Louise Gregory
Raymond and Daphne M. Grew
Mark and Susan Griffin
Werner H. Grilk
Ken and Margaret Guire
Michio Peter and Anne Hagiwara
Tom Hammond
Robert and Sonia Harris
Naomi and Theodore Harrison
Henry R. and Lucia Heinold
J. Lawrence and
Jacqueline Stearns Henkel Kathy and Rudi Hentschel Herb and Dee Hildebrandt James Hilton
Peter Hinman and Elizabeth Young Jeffrey and Allison Housncr Mabelle Hsueh Jane H. Hughes Ms. Beverly P. Jahn Marilyn G. lefts Elizabeth Judson Johnson Paul and Olga Johnson Christopher P. and Sharon Johnson Dr. and Mrs. Mark S. Kaminski Olof Karlstrom and Olivia Maynard Arthur A. Kaselemas Herbert and Jane M. Kaufer Allan S. Kaufman, MD Evan Cohen and Deborah Keller-Cohen Frank and Patricia Kennedy Linda Atkins and Thomas Kenney George L. Kenyon and Lucy A. Waskell Mr. and Mrs. Roland Kibler Donald F. and Mary A. Kiel Rhea Kish
Associates, cont.
James and Jane Kister
Steve and Shira Klein
Laura Ktem
Anne Kloack
Joseph and Marilynn Kokoszka
John Koselka
Dr. and Mrs. Gerald Krause
Bert and Geraldine Kruse
Bert and Catherine La Du
Neal and Ann Laurence
John and Theresa Lee
Dcrick and Diane Lcnters
Sue Lcong
Myron and Bobbie Levine
Jacqueline H. Lewis
Daniel Little and Bernadette Lintz
Vi-Cheng and Hsi-Yen Liu
Dr. and Mrs. Lennart H. Lofstrom
Naomi E. Lohr
Ronald Longhofer and Norma McKenna
Florence LoPatin
Judy Mac
Pamela J. MacKintosh
Mark Mahlberg
Claire and Richard MaJvin
Latika Mangrulkar
Melvin and lean Manis
Esther Martin
Chandler and Mary Matthews
Margaret E. McCarthy
Margaret and Harris McClamroch
Peggy McCracken
Michael G. McGuire
Eileen Mclntosh and Charles
Schaldenbrand Joann McNamara Nancy A. and Robert E. Meader Gerlinda S. Melchiori Ph.D. Don and Lee Meyer Robert and Sophie Mordis Ms. Patricia Morgan Frieda H. Morgenstern Mark and Lesley Mozola Thomas and Hedi Mulford Gavin Eadie and Barbara Murphy James G. Nelson and Katherine M.
Sharon and Chuck Newman Laura Nitzberg and Thomas Carli Arthur and Lynn Nusbaum Marysia Ostafin and George Smillie William and Hedda Panzer Karen M. Park Zoe and Joe Pearson Mr. and Mrs. Frederick R. Pickard Donald and Evonne Plantinga Bill and Diana Pratt Jerry and Lorna Prescott Jenny Pruitt
Rebecca Minter and John Rectenwald Molly Rcsnik and John Martin Judith Revells Constance O. Rinehart Kathleen Roelofs Roberts Richard Z. and Edie W. Rosenfeld Mr. Haskcll Rothstein Ms. Roscmarie Rowney
Ina and Terry Sandalow
Robert E. Sanecki
Michael and Kimm Sarosi
Sarah Savarino
Albert J. and Jane L. Sayed
David and Marcia Schmidt
Susan G. Schooner
Paul and Penny Schreiber
Mrs. Harriet Selin
David and Elvera Shappirio
Jean and Thomas Shope
Mrs. Patricia Shure
Aliila and Gene Silverman
Nancy and Brooks Sitterley
Susan and Leonard Skerker
Carl and Jari Smith
Mrs. Robert W. Smith
Arthur and Elizabeth Solomon
James A. Somers
Cheryl Lynn Sopcr
Yoram and Eliana Sorokin
Ralph and Anita Sosin
Jeffrey D. Spindler
Rick and Lia Stevens
Barbara and Bruce Stevenson
James L. Stoddard
Ellen M. Strand and Dennis C. Regan
Donald and Barbara Sugerman
Eva and Sam Taylor
Bruce Thelen
Carol and Jim Thiry
Edwin J. Thomas
Nigel and Jane Thompson
Patricia and Tcrril Tompkins
Joan Lowenstein and Jonathan Trobe
Claire and Jerry Turcotte
Bill and Jewell Tustian
Mr. James R. Van Bochove
Douglas and Andrea Van Houweling
Hugo and Karla Vandersypen
Harue and Tsuguyasu Wada
Keith P. Walker ?
Charles R. and Barbara H. Wallgren
Jo Ann Ward
Lawrence A. Weis
Iris and Fred Whitehouse
Nancy Wiernik and Julie Child
Beverly and Hadley Wine
Lawrence and Mary Wise
Karen Wixson
Charlotte A. Wolfe
Frances A. Wright
David and April Wright
Robert and Betty Wurtz
Don and Charlotte Wyche
Scott Zeleznik and Nancy Bums
Gail and David Zuk
Corporate Fund
$100,000 and above Ford Motor Company Fund Forest Health Services Corporation Pfizer Global Research and Development: Ann Arbor Laboratories
Bank of Ann Arbor
Borders Group, Inc.
DaimlerChrysler Foundation
The Ghafari Companies
Bank One
Brauer Investment Company
CFI Group
Comerica Incorporated
McKinley Associates
Sesi Lincoln Mercury Volvo Mazda
Ann Arbor Automotive
Butzel Long Attorneys
Elastizell Corporation of America
Kensington Court
MASCO Charitable Trust
Miller Canfield Paddock and Stone P.L.C.
National City Bank
Thomas B. McMullen Company
Total Travel Management
$l,000-$4,999 Blue Nile Restaurant Charles Reinhart Company, Realtors Conlin Travel McDonald Investments TCF Bank
. The Taubman Corporation United Bank and Trust
Bennett Optometry
Coffee Express
Edwards Brothers, Inc.
Galamp Corporation
ICM Artists Ltd.
Malloy Lithographing, Inc.
Republic Bancorp
SeloShevel Gallery
Sigma Alpha Iota
Foundation &
$100,000 and above 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
The Japan Foundation
$W,000-$49,999 Chamber Music America Maxine and Stuart Frankel
Foundation National Endowment for
the Arts
$l,000-$9,999 Akcrs Foundation Altria Group, Inc. Arts Midwest Cairn Foundation Heartland Arts Fund The Lebensfeld Foundation Martin Family Foundation Mid-America Arts Alliance The Molloy Foundation Montague Foundation THE MOSAIC FOUNDATION
(of R. and P. Heydon) National Dance Project of the New England Foundation for the Arts 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 Heidi Cohan Robert Bruce Dunlap Alice Kelscy Dunn David Eklund Kenneth C. Fischer Dr. Beverley B. Geltner Michael Gowing Lila Green Werner Grilk Elizabeth E. Kennedy Richard Kennedy Ted Kennedy, Jr. Dr. Gloria Kerry Alexandra Lofstrom Joyce Malm Frederick N. McOmber Evelyn P. Navarre Phil and Kathy Power Gwen and Emerson Powrie Prof. Robert Putnam Ruth Putnam Mrs. Gail Rector Steffi Reiss 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 Charles R. Tieman 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 excel?lence, educational oppor?tunities and community partnerships in future years.
Carol and Herb Amster
Dr. and Mrs. David G.
Mr. Neil P. Anderson Catherine S. Arcure Mr. Hilbert Beyer Linda and Maurice Binkow Elizabeth Bishop Mr. and Mrs. Pal E. Borondy Carl and Isabelle Brauer Barbara Everitt Bryant Joanne A. Cage Pat and George Chatas Mr. and Mrs. John Alden
Douglas D. Crary H. Michael and Judith L.
Beverley and Gerson Geltner John and Martha Hicks Mr. and Mrs. Richard Ives Marilyn Jeffs Thomas C. and
Constance M. Kinnear Charlotte McGeoch Michael G. McGuire Dr. Eva Mueller Len Niehoff M. Haskell and
Ian Barney Newman Dr. and Mrs. Frederick C.
Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael
Mr. and Mrs. lack W. Ricketts Mr.andMrs.WillardL
Rodgers Prudence and
Amnon Roscnthal Mr. Haskell Rothstcin Irma J. Skelnar Herbert Sloan Art and Elizabeth Solomon Roy and loAn Wetzel Ann and Clayton Wilhite Mr. and Mrs. Ronald G.
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 AckJey 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 JazzNct 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.
Acme Mercantile
Raqucl and Bernard Agranoff
Alexandra's in Kerrytown
Amadeus Cafe
Ann Arbor Automotive
Ann Arbor Art Center
Ann Arbor Women's
City Club Arbor Brewing Co. Ashley Mews Avanti Hair Designers BBJ Linens
The Back Alley Gourmet Barnes Ace Hardware Lois and David Baru Baxter's Wine Shop Kathleen Beck Bella Ciao Trattoria Kathy Benton and Bob Brown Bivouac
The Blue Nile Restaurant Bodywise Therapeutic
Mimi and Ron Bogdasarian Borders Books and Music Janice Stevens Botsford Tana Breiner Barbara Everitt Bryant By the Pound
Cafe Marie Margot Campos Cappellos Hair Salon Chelsea Flower Shop Coach Me Fit Bill and Nan Conlin M.C. Conroy Hugh and Elly Cooper Cousins Heritage Inn Roderick and
Mary Ann Daane D'Amato's Italian Restaurant David Smith Photography Peter and Norma Davis Robert Derkacz Sally Stegeman DiCarlo The Display Group Dough Boys Bakery The Earle Restaurant Eastover Natural Nail Care (Catherine and Damian Farrell Ken and Penny Fischer Food Art Sara Frank The Gandy Dancer Bcverley and Gerson Geltner Great Harvest Bread Company Linda and Richard Greene Claire Harding Nina Hauser
Carl and Charlene Herstein John's Pack & Ship
Steve and Mercy Kasle
Cindy Kellerman
Kerrytown Bistro
Kilwin's Chocolate Shoppe
King's Keyboard House
Kinko's Copies
Laky's Salon
Ray Lance
George and Beth Lavoie
Leopold Bros. Of Ann Arbor
Richard LeSueur
Catherine Lilly
Cart Lutkehaus
Doni Lystra
Mainstreet Ventures
Ernest and Jeanne Merlanti
John Metzger
Michael Susanne Salon
Michigan Car Services, Inc.
and Airport Sedan, LTD Moe Sport Shops Inc. Robert and Melinda Morris Music for Little People 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 Sarver
Maya Savarino
Penny and Paul Schreiber
Shaman Drum Bookshop
Loretta Skewes
Dr. Elaine R. Soller
Maureen Stoefflcr
Tom Thompson Flowers
Two Sisters Gourmet
Van Bovens
Washington Street Gallery
Whole Foods
Weber's Restaurant
The "Michigan Difference" makes a difference for ums.
Musical. Society is about the people who attend our performances and who support us. The following people are a few of our dedicated individual supporters who have made a commitment to the future of UMS through a planned gift: Carol and Herb Amster, Maurice and Linda Binkow, Carl and Isabelle Brauer, Barbara Everitt Bryant, Ken and Penny Fischer, Beverley and Gerson Geltner, Thomas and Connie Kinnear, Diane Kirkpatrick, Eva Mueller, M. Haskell and Jan Barney Newman, Prue and Ami Rosenthal, and Ann and Clayton Wilhite.
With a charitable gift to UMS, you can preserve for future generations the quality of our artistic programming and enrich?ing educational events. University of iMichigan's investment professionals will expertly manage your gift and work with you and your financial advisor to help you select the plan that's best for you. Whatever you choose, your gift will make a difference and will continue the world-class standards of the University Musical Society.
Coll 734-647-i 178 to start a conversation with UMS about making a planned gift, or visit the UMS website at

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