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UMS Concert Program, Sunday Nov. 14 To Dec. 11: University Musical Society: Fall 2004 - Sunday Nov. 14 To Dec. 11 --

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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
university musical society
I O I U4 University of Michigan Ann Arbor
UMS leadership
UMS services
2 Letters from the Presidents
5 Letter from the Chair
6 Corporate LeadersFoundations
12 UMS Board of DirectorsSenate Advisory Committee
13 UMS StaffTeacher Advisory Committee
15 General Information
16 Tickets
21 UMS History
22 UMS Choral Union
23 Venues & Burton Memorial Tower
27 126th UMS Season
30 UMS Education Programs
33 UMS Preferred Restaurant & Business Program
35 Advisory Committee
35 Sponsorship & Advertising
37 Internships & College Work-StudyUshers
39 Support
48 UMS Advertisers
Front Cover Mikhail Baryshnikov in Forbidden Christmas or The Doctor and The Patient (Michal Daniell. Whirling Dervishes of Damascus. Yuri Temirkanov. Measha Brueggergosman (Lome Bridgeman)
Back Coven Laurie Anderson. The Bad Plus IMarcelo Krasilcicl. Akira Kasai IHideyo Tanaka and Takahiro Hachikubol. The 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 Night's 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, TCF Bank
"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. Mattera
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.
SI00,000 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 lanice Stevens Botsford Paul C. Boylan Carl A. Brauer Allen P. Britton William M. Broucek Barbara Everitt Bryant Letitia J. Byrd Leon S. Cohan Jill A. Corr Peter B. Corr Jon Cosovich Douglas Crary Ronald M. Cresswell
Robert F. DiRomualdo lames J. Duderstadt David Featherman Robben W. Fleming David J. Flowers Beverley B. Geltner William S. Hann Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Kay Hunt Alice Davis Irani Stuart A. Isaac Thomas E. Kauper David B. Kennedy Richard L. Kennedy Thomas C. Kinnear F. Bruce Kulp
Leo A. Legatski Earl Lewis Patrick B. Long Helen B. Love ludythe 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 Benton Mimi Bogdasarian Jennifer Boyce Mary Breakey
leannine 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 LaDronka Jill Lippman Stephanie Lord Imlv Mac
Morrine Maltzman Mary Matthews Joann McNamara Candice Mitchell Danica Peterson Lisa Psarouthakis Wendy Moy Ransom Theresa Ann Reid
Swanna Saltiel Jeri 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
ProductionProgramming 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 Hi i.him.i 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 Joe 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 lones 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
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 of Gerontius, 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.
Rfter 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 water to UMS artists backstage at the Power Center throughout the 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.
vf7 s of the University of Michigan, Ann Arbor
Fall 2004
Event Program Book
Sunday, November 14 Saturday, December 11, 2004
General Information
Children of all ages are welcome at UMS Family and Youth Performances. Parents are encour?aged not to bring children under the age of 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.
The Whirling Dervishes of Damascus 3
Sheikh Hamza Chakour and the Al-Kindi Ensemble
Sunday, November 14, 8:00 pm Michigan Theater
Measha Brueggergosman 7
Tuesday, November 23, 8:00 pm Lydia Mendelssohn Theatre
Handel's Messiah 17
Saturday, December 4, 8:00 pm Sunday, December 5, 2:00 pm Hill Auditorium
Anne Sofie von Otter 35
Home for the Holidays
Saturday, December 11, 8:00 pm Hill Auditorium
Last season, UMS undertook a massive market research effort to understand how we can better serve you, our audiences. The incredible loyalty of UMS audiences was demonstrated by the extraordinary 38 response rate from 3,000 households that were mailed extensive surveys. In addition, we dis?tributed a smaller survey at 17 concerts last spring. Although we are continuing to analyze the data collected from this study, we thought you might be interested in some of the highlights:
77 have a U-M affiliation, as facultystaff, stu?dents, parents of U-M grads, andor alumni
UMS audiences are interested in a variety of presentations. For example, 49 of theater sub?scribers also attend the Choral Union Series, and 73 subscribe to at least one other UMS series.
58 have visited, and 36 of those visiting have purchased UMS tickets online
Perhaps most interesting were the attitudes and perceptions of UMS audiences:
25 of UMS audiences "agreed a lot" that they seek out new ideas and performers that are unfamiliar to them. Your trust is what allows us to program unusual, but ultimately incredibly exciting, work such as last month's The Elephant Vanishes.
Top reasons for donating: "because UMS is an important community resource that I want to support" (76) and "to ensure access to the finest international artists" (71)
UMS is perceived as significantly more inviting than intimidating and slightly more adventurous
than traditional. On the "seriousfun" continuum, you put us exactly in the middle, telling us that different people attend UMS events for different reasons.
Finally, a note on satisfaction levels. On a scale of 1 (poor) to 5 (excellent) you ranked us:
4.5 for overall ticket office service, with friendli?ness at 4.7
4.3 for quality of program notes and helpfulness of ushers
3.4 for cost of parking and 3.1 for availability of parking. As many of you know, we do not con?trol our own parking situation, but we will be continuing to work with the appropriate people at the University to try to improve this situation.
People often wonder why we gather demographic data such as age, household income, and educational status. The main reason for doing so is that it helps to benchmark us against other comparable organi?zations and the population at large. As UMS applies for funding for specific programs and initiatives, the grantors want to know more about our audiences and how they have changed or will change as part of the programs for which we are seeking funding.
We take every comment seriously and appreci?ate your ongoing feedback on how we can better serve you.
Sara Billmann
UMS Director of Marketing and Public Relations
The Whirling Dervishes of Damascus with Sheikh Hamza Chakour and the Al-Kind Ensemble
Sheikh Hamza Chakour, Chant
Julien Jalal Eddine Weiss, Oriental Zither (qanun), Artistic Director
Ziyad Kadi Amin, Reed Flute (ney)
Muhammad Qadri Dalai, Lute (oud)
Adel Shams el-Din, Percussion (riqq)
Suleyman Al-Khichn and Abdallah Chakour, Choir (Munshiddin)
Dervishes (Mawlawi)
Hatem al-Jamal Ahmad al-Khatib
Maher al-Jamal Hicham al-Khatib
Program Sunday Evening, November 14, 2004 at 8:00
Michigan Theater Ann Arbor
Sufi Liturgy of the Great Ummayad Mosque
(Great Mosque of Damascus)
Tonight's program does not contain an intermission.
27th Performance of the 126th Annual Season
Arab World Music Festival
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is made possible in part by Western Union. Presented with support from the Whitney Fund.
This performance is co-presented with the Arab Community Center for Economic and Social Services (ACCESS). Special thanks to Ismael Ahmed, Executive Director of ACCESS, for participating in this collaboration.
Media partnership for this performance provided by Michigan RadioMichigan Television and Arab American News.
Special thanks to Dr. Naji Arwashan, Honorary Consul General of Syria, for his assistance and support of tonight's performance.
The Whirling Dervishes of Damascus and Sheikh Hamza Chakour and the Al-Kindi Ensemble appear by arrangement with Zamzama Productions.
Large print programs are available upon request.
he Great Master Junayd was asked why the Sufis felt such powerful emotions in their spirit and the urge to move their body when listening to sacred music. He replied:
When God asked the souls in the spirit world, at the moment of the First Covenant, 'Am I not your Lord,' the gentle sweetness of the divine words penetrated each soul forever, so that whenever one of them hears music now, the memory of this sweetness is stirred within him causing him to move.
In the early-ninth century, when the Muslim mystics organized their Sufi brother?hoods or orders, they adopted music as a sup?port for meditation, as a means of access to the state of grace or ecstasy, or quite simply as "soul food," in other words, something that give new vigor to a body and soul tired by the rigors of the ascetic life. In Sufism, the satna (literally meaning "listening") denotes the tradition of listening in spiritual fashion to music, chanting, and songs of various forms, all ritualized to a greater or lesser degree.
The very meaning of the world sama sug?gests that it is the act of listening that is spiritu?al; the music or poetry does not necessarily need to be religious in content. The major pre?occupation of the Muslim mystics was to give the ecstasy a tangible content and the music a true meaning.
The Sufi mystic brotherhood known as Mawlawiyya (whirling dervishes) was founded at Konya (Anatolia) by the great Persian poet Jalal al-Din al-Rumi (1207-1273). Although we primarily associate this ritual with Turkey, local traditions of this art form have been in exis?tence in Syria, Egypt, and Iraq since the 16th century. The brotherhood survived in these regions even after the 1925 dissolution of all Sufi fraternities in Turkey and following the suicide of the great master 'Abd al-Halim Thsel?bi Bashi.
Damascus, one of the principal centers of Islam, is the former capital of the Ummayyad dynasty and a pivotal stage in the pilgrimage to
Mecca. In their meeting-places there {takiyya or zdwiya), the Malawian adopted the suites (Wasla), modes (maqdm), and rhythms of the capitol. Their specialized ritual was not allowed to be performed in the mosques, where musical instruments are either completely forbidden or only allowed in the form of percussion instru?ments.
Certain great mosques, such as the Umayyad Mosque (also known as the Great Mosque of Damascus) possess a specific vocal repertory. The sacred suites are known there as nawba-s, a term reserved for secular suites by the former inhabitants of Andalusia and the Maghribi.
Generally accompanied by a male-voice choir {bitdna), the reciters (munshid) work into the samd (sacred concert) extracts from the repertoire of the Great Mosque, the naming of God (dhikr-s) and extracts from the Birth of the Prophet (mawlid). Their expressivity (hiss) is fundamentally serene, always subtly inventive, and rigorously organized rhythmically in order to progressively lead the assembly into a trance (inkhitdf) or a state of meditation (ta'ammul), a choice which depends on each individual fraternity.
If properly embodied, Islam is a reli?gion that preaches a message of clemency and mercy, beauty and harmony. The spiritual power ema?nating from Sheikh Hamza Chakour's song draws us into the mystical tra?dition of Islam embodied in Sufism.
Born in Damascus in 1947, he is a tnuqri (Koran reader) and a munshid (hymnodist). He is the disciple of Said Farhat and Tawfiq al-Munajjid; his task is to assure the continuity of the repertory proper to the Malawian order. Sheikh Hamza Chakour is the choir master of the Munshiddin of the Great Mosque in Damascus and serves at official religious cere?monies in Syria. Sheikh Hamza is an impres?sively large and charismatic figure whose bass, with its richly rounded timbre, has made him
one of the premiere performers of Arabic singing. His art is uncompromisingly sober and introverted, to the exclusion of all affectation. He develops his improvisations within the framework of a centuries-old modal art, where orison blends with dance and prayer with art. The Islam he represents, far from being funda?mentalist, is that of mysticism and happiness in the Faith.
Replying to his soaring, powerful invoca?tions to God, the musicians of the Al-Kindi Ensemble alternate subtle flourishes and arabesques with refined preludes, while the dervishes whirl on stage following an immemo?rial devotional ritual.
This evening's performance marks Sheikh Hamza Chakour's UMS debut.
Founded in 1983 by Julien Jalal Eddine Weiss, the Swiss virtuoso of Arab zither (qdnun), the Al-Kindi Ensemble is currently rated among the foremost ensembles devoted to classical Arab music. Indebted to the musical qualities displayed by its performers and to the high standards of their work, the Al-Kindi Ensemble is steeped in the various musical tra?ditions of the near and middle East.
Mr. Weiss' influence has infused new blood into classical Arab music and his faithful audi?ences are deeply appreciative of the encourage?ment and freedom given to the intuitive genius of the great soloists who form the Al-Kindi Ensemble. Mr. Weiss serves as the qdnun player and the ensemble's artistic director.
Along with singers from Syria and Iraq who are held in the highest esteem, this ensemble presents various repertoires of classical Arab secular and sacred chant, enabling us to redis?cover the riches and refinement of the art of these age-old cultures.
Al-Kindi's concerts and various recordings have become the standards of excellence by which all others of their kind are compared.
This evening's performance marks the Al-Kindi Ensemble's UMS debut.
Julien Jalal Eddine Weiss, a Frenchman of Swiss and Alsatian heritage, was born in Paris in 1953 and converted to the Muslim faith in 1986. He has developed into a virtuoso on the board zither (qdnun) after receiving teaching from masters from all over the Arab world including Egypt, Tunisia, Turkey, Lebanon, Syria, and Iraq. He is both a soloist and accom?panist in his ensemble, the Al-Kindi Ensemble, which he founded in 1983. He travels Europe with his illustrious Oriental vocalists Hussein al-Aczami from Iraq; Sabri Moudallal, Omar Sarmini and Adib Daiykh from Aleppo; Shaykh Hamza Shakur from Damascus; and Lotfi Bushnak from Tunisia.
Ziyad Kadi Amin is a flutist from Damascus, a pupil of Abdelsalam Safar and considered to be the best exponent of the ney (reed flute) in Syria. He has been a member of the Al-Kindi Ensemble for several years and is a member of the ensemble in all of their European touring.
Muhammad Qadri Dalai was born in Aleppo in 1946. He is a peerless master of the Arab lute (the oud) and is extremely well-known in his native country. He carries on the traditional Aleppian style for his instrument, a style ema?nating from the Turkish school, aiming at a smooth, rounded sound. He has an encyclope?dic knowledge of the traditional repertory.
Adel Shams el-Din was born in Cairo in 1950 and currently resides in France. He has been one of the mainstays of the Al-Kindi Ensemble since its formation, and has become indispensa?ble as an accompanist. His total mastery of even the most complex rhythmic cycles have made him a much respected performer on the riqq (tambourine with tiny cymbals). He currently resides in France.
UMS and
Robert and Pearson Macek
Measha Brueggergosman
J. J. Penna, Piano
Cinq melodies populaires grecques
Maurice Ravel Chanson de la marine
ReVeille-toi, perdrix mignonne, Ouvre au matin tes ailes. Trois grains de beauts mon coeur en est brute! Vois le ruban d'or que je t'apporte, Pour le nouer autour de tes cheveux. Si tu veux, ma belle, viens nous marier! Dans nos deux families, tous sont allies!
La-bas, vers l'eglise
La-bas, vers l'eglise, Vers l'6glise Ayio Side'ro, L'eglise, 6 Vierge sainte, L'iglise Ayio Costanndino, Se sont re'unis,
Rassembles en nombre infini, Du monde, 6 Vierge sainte, Du monde tous les plus braves!
Quel Galant m'est comparable
Quel gaiant m'est comparable,
D'entre ceux qu'on voit passer
Dis, dame Vassiliki
Vois, pendus a ma ceinture,
pistolets et sabre aigu...
Et c'est toi que j'aime!
Chanson des cueilleuses de lentisques
O joie de mon ame, Joie de mon coeur,
Trtsor qui m'est si cher;
Joie de l'ame et du coeur,
Toi que j'aime ardemment,
Tu es plus beau qu'un ange.
O lorsque tu parais, Ange si doux
Devant nos yeux,
Comme un bel ange blond,
Sous le clair soldi,
Helas! tous nos pauvres coeurs soupirent!
Tout gai!
Tout gai! gai, Ha, tout gai! Belle jambe, tireli, qui danse; Belle jambe, la vaisselle danse, Tra la la la la...
The Song of the Bride
Wake up, dear little partridge.
Open your wings to the morning.
Three beauty spots
Set my heart aflame!
See the golden ribbon I bring you
To tie around your hair.
If you wish, my beauty, come let us be married!
In our two families, everyone is related!
Yonder near the Church
Yonder, near the church, Near the church of Ayio Sidero, The church, o blessed Virgin, The church Ayio Costanndino, Are gathered together, Assembled in infinite numbers, The world's, o blessed Virgin, All the world's best people!
What dandy can be compared with me
What dandy can be compared with me, Among those who are seen passing by Tell me, lady Vassiliki! Look, hanging on my belt Pistols and a sharp sword... And it is you whom I love!
Song of the Girls Collecting Mastic
O joy of my soul, joy of my heart,
Treasure so precious to me
joy of my soul and of my heart,
you whom I love ardently,
you are more beautiful than an angel.
O when you appear, angel so sweet,
Before our eyes,
Like a fine, blond angel,
under the bright sun,
Alas! all our poor hearts sigh!
All gay!
All gay! Gay, ha, all gay! Beautiful legs, tra la, dancing; Beautiful legs; the dishes are dancing too, Tra la la, la la la!
Joseph Marx Selige Nacht
Im Arm der Iiebe schliefen wir selig ein, Am ofihen Fenster Lauschte der Sommerwind, Und uns'rer Atemzuge Trug er hinaus In die helle Mondnacht
Und aus dem Garten tastete
Zagend sich ein Rosenduft
An uns'rer Liebe Bett
Und gab uns wundervolle Traume.
Traume des Rausches
So reich an Sehnsucht.
Und gestern hat er mir Rosen gebracht
(Thekla Lingen)
Und gestern hat er mir Rosen gebracht,
Sie haben geduftet die ganze Nacht,
Fur ihn geworben, der meiner denkt,
Da hab' ich den Traum einer Nacht ihm geschenkt
Und heute geh' ich und lachle stumm,
Trag seiner Rosen mit mir herum
Und warte und lausche und geht die Tur,
So zittert mein Herz, ach kam' er zu mir!
Und kiisse die Rosen die er mir gebracht
Und gehe und suche den Traum der Nacht!
(Richard Fedor Leopold Dehmel)
Der Wald beginnt zu rauschen, Den Baumen naht die Nacht, Als ob sie selig lauschen Beriihren sie sich sacht.
Und unter ihren Zweigen Da bin ich ganz allein, Da bin ich ganz dein eigen Ganz nur dein!
Hat dich die Iiebe beriihrt
Hat dich die Liebe beruhrt, Still unter larmenden Volke, Gehst du in goldner Wolke, Sicher von Gott gefuhrt.
Nur wie verloren, umher Lassest die Blicke du wandern, Gonnt ihre Freuden den Andern, Tragst nur nach einem Begehr:
Blissful Night
In the arms of love
we slumbered blissfully.
At the open window
the summer wind listened;
and carried away the peacefulness
of our breathing
into the moonlight.
And from the garden
the fragrance of roses cautiously
swept over our bed of love
and gave us wonderful dreams.
Dreams of desire,
so full of longing.
And yesterday he brought me roses
And yesterday he brought me roses,
They smelled the whole night,
Courted for him, he who thinks of me,
So I gave him the dream of a night
And today I go and smile silently,
Carry his roses around with me
And wait and listen and when I hear the door,
My heart trembles, oh if only he came to me!
And I kiss the roses that he brought to me
And go and look for the dream of the night!
Bliss in the woods
The woods begin to rustle,
and Night approaches the trees,
as if it were listening happily
for the right moment to caress them.
And under their branches I am entirely alone; I am entirely yours, entirely yours!
If Love Has Touched You
If love has touched you softly, among the noisy folk, amid a cloud of gold, you're led by God safely.
Only as one thus bemused, you let your gaze depart You do not envy the joy of others. Only one desire is yours.
Scheu in dich selber verziickt, Mochtest du leugnen vergebens, Dafi nun die Krone des Lebens, Strahlend die Stirn dir schmiickt.
Shyly delighted with yourself, though you would deny it, the gleaming crown of life now adorns your brow.
Cinco Canqones Negras
Xavier Montsalvatge
Cuba dentro de un piano
Cuando mi madre llevaba un sorbete de fresa
por sombrero
y el humo de los barcos aiin era
humo de habanera.
Mulata vuelta abajera.
Cadiz se adormeda entre fandangos y habaneras y un lorito al piano queria hacer de tenor. Dime done esta la flor que el hombre tanto venera.
Mi tio Antonia volvia
con su aire de insurrecto.
La cabana y el Principe
sonaban por los patios del Puerto.
Ya no hrilla la perla azui
del mar de las Antillas,
ya se apag6, se nos ha muerto.
Me encontre con la bella Trinidad,
Cuba se habia perdido,
y ahora era verdad,
era verdad, no era mentira.
Un canonero huido Uego
cantandolo en guajiras.
La Habana ya se perdi6 tuvo la culpa el dinero. Callo, cay6 el canonero. Pero despufe. pero ah! despue's, fu6 cuando al "si" lo hicieron "yes".
Cuba in a piano
When mother wore a strawberry ice
for a hat
and the smoke from the boats was still
made in Havana,
dark as a girl from Vuelta Abajo.
That was when Cadiz fell asleep
to the sound of fandangos and habaneras,
and a favorite parrot at the piano
tried to sing tenor.
Tell me now where the flower has gone
a man can really respect.
That was when Uncle Antony came
home with a conspiratorial air.
The guns of the barracks and the fort could be heard
in the patios of the houses at the port.
But the blue pearl
of the Caribbean sea doesn't shine any more,
its brilliance has gone, it has died.
I found myself in beautiful Trinidad,
Cuba was lost,
and that was a fact,
a fact, not just a false rumor.
A gunner from a cruiser who'd escaped, arrived
and sang all about it in the Cuban style.
Havana was lost,
and money was to blame for it.
The gunner stopped singing and fell down and died.
And later on,
ah, later on,
that was when the Cuban "si"
became the Yankee "Yes".
Punto de Habanera
La nina criolla pasa con su mrinaque bianco
Qui bianco!
Hola crespon de tu espuraa;
jmarineros contempladla!
Va mojadita de lunas
quc le hacen su piel mulata.
Nina, no te quejes,
tan solo por esta tarde.
Quisiera mandar al agua
que no se escape de pronto
de la cartel de tu falda,
tu cuerpo encierra esta tarde
rumor de abrirse de dalia.
Nina, no te quejes,
tu cuerpo de fruta esta
dormido en fresco brocado.
Tu cintura vibra fina
con la nobleza de un latigo,
toda tu piel huele alegre
a limonal y a naranjo.
Los mrineros te miran
y se te quedan mirando.
La nina criolla pasa
con su mirinaque bianco.
jQue bianco!
Chevure del navajazo se vuelve el mismo navaja: Pica tajadas de luna mas la luna se le acaba, pica tajadas de sombra mas la sombra se le acaba, pica tajadas de canto, mas el canto se le acaba, ;Y entonces, pica que pica carne de su negra mala!
Cand6n de cuna para dormir a un negrito (Valdes)
Ninghe, ninghe, ninghe tan chiquitito, el negrito que no quiere dormir. Cabeza de coco, grano de cafe, con lindas motitas, con ojos grandotes como dos ventanas que miran al mar. Cierra los ojitos,
negrito asustado;
el mandinga bianco te puede comer. Ya no eres esdavo! y si duermes mucho el senor de casa promete complar traje con botones para ser un "groom." Ninghe ninghe ninghe duermete negrito, mm... Cabeza de coco, grano de cafe.
Habanera Rhythm
The Creole girl goes by with her long white skirt.
How white it is!
What a spray your crepe skirt makes, girl.
Look at her, sailors:
she goes by shining wet with the glint
of the gold from her tawny skin.
Don't complain, girl,
it's only for this one evening.
I want the water to stay
imprisoned in your skirt
and not escape for a while.
Your body this evening makes
the sound of a dahlia opening.
Don't complain, girl,
your body's asleep like a fruit
wrapped in its fresh brocade.
Your slender waist quivers
as proud as the lash of a whip,
and every inch of your skin smells gloriously
of orange and lemon trees.
The sailors look at you
and cannot stop looking.
The Creole girl goes by
with her long white skirt.
How white it is!
The man with the scar
The man with the scar from a razor becomes quite a razor himself. He takes slices out of the moon, but the moon is soon finished off; he takes slices out of the dark, but the dark is soon finished off, he then takes slices of song, but the song is soon finished off. So he has to take slice after slice from the bad black woman he keeps!
Lullaby for a black baby
Lullaby, lullaby, lullaby baby
little black baby who won't go to sleep.
Coconut darling, head like a coffee bean,
with pretty dark freckles
and big wide eyes
like two huge windows
looking out to the sea.
Close your little eyes tight and keep them shut,
my frightened child,
or the big white devil may come and eat you up. You're not a slave-boy any more! And if you're good and sleep a lot the master of the house has promised to buy a suit to dress you up with buttons on it, like a Paige. Lullaby, lullaby, lullaby, baby, lullaby baby, and go to sleep, mm... Coconut darling, head like a coffee bean.
Canto negro
Repica el congo solongo,
repica el negro bien negro.
congo solongo del songo
baila yambd sobre un pie.
Mama tomba seremb?
El negro canta
y se ajuma.
Mama tomba seremb?
el negro se ajuma
y canta.
Mama tomba serembe'
el negro canta y se va.
A cue-me-me seremb6 a-6,
yambambd a-6
yambambe' a-6.
Tamba, tamba, tamba, tamba,
tamba del negro que tumba,
tamba del negro caramba,
caramba, caramba,
que el negro tumba,
yamba, yamb6, yambambe
yambambe", yambambe',
[baila yamb6,
sobre un pie!
Negro Song
Yo, ho, ho,
Yo, ho, hey!
Rhythm of the lonely dancing,
rhythm of the negro negro,
Yo, ho, ho!
The lonely dancing goes on ho, ho,
and he dances on one foot only.
Yo, ho, ho,
Yo, ho, hey!
Mama falls flat,
just look at that.
The negro sings,
and gets drunker and drunker.
Mamma falls flat,
just look at that,
the negro gets drunker and drunker
and sings.
Mamma falls flat,
just look at that,
the negro sings and off he goes.
Yo, ho, ho sleep with me, hey,
hurrah, hurray,
hurray, hurrah.
Look at the negro's G-string,
look at the negro falling,
the negro's G-string, caramba,
caramba, caramba,
the negro is falling,
yo, ho, ho,
yo, ho, hey,
he dances, yo, ho,
on one foot only!
On this Island, Op. 11
Benjamin Britten (W.H. Auden)
Let the florid music praise!
Let the florid music praise,
The flute and the trumpet,
Beauty's conquest of your face:
In that land of flesh and bone,
Where from citadels on high.
Her imperial standards fly,
Let the hot sun
Shine on.
Oh! but the unloved have had power,
The weeping and striking,
Always, always; time will bring their hour:
Their secretive children walk
Through your vigilance of breath
To unpardonable death,
And my vows break before his look.
Now the leaves are falling fast
Now the leaves are falling fast; Nurse's flowers will not last; Nurses to the grave are gone, And the prams go rolling on. Whispering neighbors, left and right, Pluck us from the real delight; And the active hands must freeze, Lonely on the separate knees. Dead in hundreds at the back Follow wooden in our track, Arms raised stiffly to reprove In false attitudes of love. Starving through the leafless wood Trolls run scolding for their food; And the nightingale is dumb, And the angel will not come.
please turn page quietly
Cold, impossible, ahead Lifts the mountain's lovely head Whose white waterfall could bless Travelers in their distress.
Look, stranger at this island now
The leaping light for your delight discovers,
Stand stable here
And silent be,
That through channels of the ear
May wander like a river
The swaying sound of the sea.
Here at the small field's ending pause
Where the chalk wall falls to the foam,
and its tall ledges oppose the pluck
And knock of the tide,
And the shingle scrambles after the sucking surf,
and the gull lodges
A moment on its sheer side.
Far off like floating seeds the ships
Diverge on urgent voluntary errands;
And the full view
Indeed may enter
And move in memory as now these clouds do,
That pass the harbour mirror
And all the summer through
the water saunter, through the water saunter.
Now through night's caressing grip Earth and all her oceans slip' Capes of China slide away From her fingers into day And the Americas incline Coasts towards her shadow line.
Now the ragged vagrants creep Into crooked holes to sleep: Just and unjust, worst and best, Change their places as they rest: Awkward lovers lie in fields Where disdainful beauty yields:
While the splendid and the proud Naked stand before the crowd And the losing gambler gains And the beggar entertains: May sleep's healing power extend Through these hours to our friend.
Unpursued by hostile force, Traction engine, bull or horse Or revolting succubus; Calmly till the morning break Let him lie, then gently wake.
As it is plenty
As it is, plenty;
As it's admitted
The children happy and the car, the car
That goes so far...and the wife devoted:
To this as it is,
To the work and the banks
Let his thinning hair
And his hauteur
Give thanks, give thanks.
All that was thought As like as not, is not; When nothing was enough But love, but love And the rough future Of an intransigent nature And the betraying smile, Betraying, but a smile: That that is not, is not; Forget, Forget, Forget.
Let him not cease to praise
Then his spacious days;
Yes, and the success
Let him bless, let him bless:
Let him see in this
The profits larger
And the sins venal,
Lest he see as it is
The loss as major
And final, final, final, final, final, final.
Twelve Poems of Emily Dickinson
Aaron Copland (Emily Dickinson)
Nature, the gentlest mother
Nature, the gentlest mother, Impatient of no child, The feeblest or the waywardest, -Her admonition mild
In forest and the hill By traveler heard, Restraining rampant squirrel Or too impetuous bird.
How fair her conversation A summer afternoon, -Her household, her assembly; And when the sun goes down
Her voice among the aisles Incites the timid prayer Of the minutest cricket, The most unworthy flower.
When all the children sleep She tums as long away As will suffice to light her lamps; Then, bending from the sky
With infinite affection And infiniter care, Her golden finger on her lip Wills silence everywhere.
Heart, we will forget him
Heart, we will forget him!
You and I tonight!
You may forget the warmth he gave,
I will forget the light.
When you have done pray tell me,
That I my thoughts may dim;
Haste, lest while you're lagging
I may remember him.
Sleep is supposed to be
Sleep is supposed to be,
By souls of sanity
The shutting of the eye.
Sleep is the station grand Down which on either hand The hosts of witness stand! Morn is supposed to be, By people of degree, The breaking of the day.
Morning has not occurred That shall Aurora be East of Eternity.
One with the banner gay, One in the red array That is the break or day.
Dear March, come in!
Dear March, come in!
How glad I am!
I looked for you before.
Put down your hat -
You must have walked -
How out of breath you are!
Dear March, how are you
And the rest
Did you leave nature well,
Oh March come right up stairs with me,
I have so much to tell!
I got your letter, and the birds';
The maples never knew that you were coming,
I declare, how red their faces grew.
But, March forgive me,
And all those hills you left for me to hue;
There was no purple suitable,
You took it all with you.
Who knocks That April
Lock the door!
I will not be pursued!
He stayed away a year
To call when I am occupied.
But trifles look so trivial
As soon as you have come,
And blame is just as dear a praise,
And praise as mere as blame.
selected Cabaret Songs
William Bolcom Over the piano
He sang songs to her
over the piano.
Sang long songs to her
over the piano.
Low slow songs
lusty songs of love.
Loving songs of long lost lust
just for her
just for her
over the piano.
Until at last
at half-past four -
Everybody out the door!
She asked him please
play me one more.
Which he did
and as he did
slid off the bench
and said to her
over the piano
Toothbrush Tune
It's toothbrush time,
ten a.m. again
and toothbrush time.
Last night at half-past nine
it seemed O.K.
but in the light of day
not so fine
at toothbrush time.
Now he's crashing round my bathroom,
now he's reading my degree,
perusing all my pills
reviewing all my ills
and he comes out smelling like me.
please turn page quietly
Now he advances on my kitchen, now he raids every shelf till from the pots and pans and puddles and debris emerges three eggs all for himself.
Oh, how I'd be ahead
if I'd stood out of bed!
I wouldn't sit here grieving,
waiting for the wonderful
moment of his leaving
at toothbrush time,
toothbrush time,
ten a.m. again
and toothbrush time.
I know it's sad to be alone
it's so bad to be alone,
still I should've known
that I'd be glad to be alone.
I should've known, I should've known!
Never should've picked up the phone
and called him.
Hey uh, listen, uhm, (trying to remember his name) uh, I've got to, uh, oh, you gotta go too So glad you understand. And by the way, did you say, nine tonight again See you then. (piano slams door) Toothbrush time!
Song of Black Max
(As Told by the De Kooning Boys)
He was always dressed in black, long black jacket, broad black hat, sometimes a cape,
and as thin, and as thin as rubber tape: Black Max.
He would raise that big black hat to the big-shots of the town who raised their hats right back, never knew they were bowing to Black Max.
I'm talking about night in Rotterdam when the right night people of all the town would find what they could in the night neighborhood of Black Max.
There were women in the windows
with bodies for sale
dressed in curls like little girls
in little dollhouse jails.
When the women walked the street
with the beds upon their backs,
who was lifting up his brim to them
Black Max!
And there were looks for sale,
the art of the smile -
(only certain people walked that mystery mile:
artists, charlatans, vaudevillians,
men of mathematics, acrobatics and civilians).
There was knitting-needle music
from a lady organ-grinder
with all her sons behind her,
Marco, Vito, Benno
(Was he strong! Though he walked like a woman)
and Carlo, who was five.
He must be still alive!
Ah, poor Marco had the syph, and if
you didn't take the terrible cure those days
you went crazy and died
and he did.
And at the coffin
before they closed the lid,
who raised his lid
Black Max!
I was climbing on the train
one day going far away
to the good old U.S.A.
when I heard some music
underneath the tracks.
Standing there beneath the bridge,
long black jacket, broad black hat,
playing the harmonica, one hand free
to lift that hat to me:
Black Max, Black Max, Black Max.
Waitin' waitin'
I've been waitin' waitin' waitin'
all my life.
That light keeps on
hiding from me,
but it someday
just might
bless my sight.
UMS and
Robert and Pearson Macek
Measha Brueggergosman
J. J. Penna, Piano
Maurice Ravel
Joseph Marx
Xavier Montsalvatge
Tuesday Evening, November 23, 2004 at 8:00 Lydia Mendelssohn Theatre Ann Arbor
Cinq melodies populaires grecques
Chanson de la mariee
La-bas, vers l'eglise
Quel Galant m'est comparable
Chanson des cueilleuses de lentisques
Tout gai!
Selige Nacht
Und gestern hat er mir Rosen gebracht
Hat dich die Liebe beruhrt
Cinco Canzones Negras
Cuba dentro de un piano
Punto de Habanera
Canci6n de cuna para dormir a un negrito
Canto negro
Benjamin Britten
On this Island, Op. 11
Let the florid music praise!
Now the leaves are falling fast
As it is plenty
Aaron Copland
William Bolcom
Twelve Poems of Emily Dickinson (excerpts)
Nature, the gentlest mother Heart, we will forget him Sleep is supposed to be Dear March, come in!
selected Cabaret Songs
Over the piano Toothbrush Time Song of Black Max Waitin'
The audience is politely asked to withhold applause until the end of each group of songs. Please do not applaud after the individual songs within each group.
28th Performance of the 126th Annual Season
Ninth Annual Song Series
The photographing or sound recording of this concert or possession of any device for such photo?graphing or sound record?ing is prohibited.
This performance is supported by Robert and Pearson Macek.
UMS gratefully acknowledges the generous multi-performance support this season by Robert and Pearson Macek.
Special thanks to Richard LeSueur, Tim Grimes, and the Ann Arbor District Library for their participation in this residency.
The Steinway piano used in this evening's performance is made possible by Hammell Music, Inc., Livonia, Michigan.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for tonight's recital.
Ms. Brueggergosman appears by arrangement with IMG Artists, New York, NY.
Large print programs are available upon request.
RU of the music we hear tonight was written in the last hundred years. And yet, it is as diverse as six groups of songs from different centuries could ever be. Tonight's program is sometimes grouped by the composer into fixed sets we will hear three such quintets of songs and sometimes grouped, by tonight's performers, as excerpts from larger collections.
Maurice Ravel was not the most prolific of composers, far less so than his impressionist colleague, Claude Debussy. Furthermore, his music for the voice is but a small percentage of his total output. Yet his work in this genre, lim?ited or not, is important in anyone's list of vocal repertoire. Ravel's ability to distill and stream?line the elements of impressionism set him apart from all his contemporaries, even the esteemed Debussy. He consistently created a subtle and highly sophisticated world of sound and ges?ture, often with the fewest notes imaginable. Singers of his art songs are confronted with the most complex of rhythms, but the result is per?fect prosody, an exact blueprint of the French language in pitch and duration. In this regard, Ravel has no peers in France; in the German repertoire, Hugo Wolf achieved the same thing: that perfect synthesis of words and music.
Tonight, however, we see a slightly different side of Ravel, for the five Greek folksongs that open the program are not entirely his creations. These are his arrangements of timeless melodies translated into French for which Ravel created accompaniments. Thus we are present?ed with the genuine expression of an unsophis?ticated Greek folksinger, but we hear the music through a French impressionist filter. This dou?ble-effect might be compared to watching an antique scene unfold through an opaque mod?ern screen featuring new lighting effects, all courtesy of Maurice Ravel. The composer later orchestrated numbers one and five of the set, but tonight we hear his original conception of all five songs with piano accompaniment. Greece is not the only foreign culture imported into the concert hall by Ravel; he also arranged
tunes from Italy, France, Spain, Scotland, and the Jewish cultures.
This set of songs does not tell a story; rather, it gives us five brief sound bites into the world that is Greece. Numbers one and three are clearly from the male point of view, as he awakens his fiancee in the first and teasingly menaces and struts in the third. In number four, we meet a female field hand who passes her arduous workday daydreaming. This group of songs offers spirited themes of patriotism and zest for life, something common to all folk experiences, be they composed or arranged. They have remained in the repertoire continu?ally since their creation 100 years ago.
Only passionate fans of German Lieder will know the name of Joseph Marx. This is difficult to understand, for at one time it was impossible to find a program featuring Lieder which did not include Marx's songs. Part of the mystery is explained when one learns that with the onset of World War II his scores became virtually impossible to find, and it is only in the last 15 years that we can once again investigate this impressive legacy of nearly two hundred songs.
Like his slightly elder and far more famous colleague, Hugo Wolf, Marx was born in Graz, and both composers made their way to Vienna to initiate their careers. Both men were pianists, and both had elevated literary taste, so that any text they might choose was inevitably some?thing that lovers of poetry would find worth?while without a musical setting. Another com?mon feature to both composers is a unique insight into prosody -something already men?tioned in these notes with regard to Ravel. With Marx's songs, we encounter complex rhythms and highly chromatic melodic lines, but the final effect does not strike our ears as compli?cated or difficult; it simply sounds appropriate and inevitable for the text at hand no small compositional feat and one achieved by very few.
Most of Marx's songs were written in the first decade of the 20th century, an immense flood of creativity reminiscent of Schumann's year of song in 1840. Marx was drawn to the
large collection of old Italian poems called rispetti yet another commonality with Wolf-but the he avoided setting the same poems as his colleague, and thus we have two entirely separate collections called The Italian Songbook. Following this fertile period, Marx turned to other compositional genres (symphony, organ music, string quartet) but never again found critical or commercial success outside of texted music. Later he began a double career as a music critic and teacher (and eventually Dean) at what was to become Vienna's Hochschule fur Musik. But his glorious years were definitely behind him and he became increasingly bitter and diffident as he watched his music fall into obscurity. He would be thrilled to know that a small renaissance of Marx performances has now begun.
Tonight's quartet of Marx songs is not part of any larger collection, but these songs are among his very finest. They clearly show his most ethereal and impressionistic side and, on the other extreme, his most Wagnerian. Three of them have been orchestrated by the compos?er, and any pianist performing Marx certainly needs to think orchestrally to bring them to life. The harmonic world here is at its ripest, and the voice is invited to sing generously and sen?suously throughout. This is no repertoire for introverted expression, rather an outpouring, loud or soft, of unabashed romanticism with?out apology.
This evening's second set of five songs is by Catalan composer, Xavier Montsalvatge, a venerable figure in Barcelona's musical society until his death just a few years ago. In addition to composing four operas, more than 20 ballets, three oratorios, and nearly 100 songs, Montsalvatge found time to teach at the Conservatory, head the roster of local critics, and author books on orchestration and ethno-musicology. He needed a long life to accomplish all of this! The Canzones Negras which we hear tonight is his only opus to win a permanent place in the repertoire, but a place clearly deserved.
Written in the mid 1940s, these five songs resemble the Ravel songs that opened tonight's concert in that they do not tell a story, but offer five glimpses into the world of the West Indies. Unlike the Greek folksongs however, these are original compositions, both voice and keyboard parts. Although this composer and the four poets whose texts he employed are Spanish, the songs quite successfully evoke a view of Iberian culture exported to the New World, and then re-imported to the mother country. Three dance rhythms are easily detected: the habanera, lazy and sensuous symbol of Cuba itself in songs one and four; the guajira, with its fascinating alternating meter (68 to 34) in the second; and that exciting blend of Africa and Latin America we know well as the rhumba, (3+3+2) which underpins the entire last song. These dances in the accompaniment, plus tradi?tional harmonies leavened with many a provocative dissonance often left unresolved, create the particular sound of this opus.
"Cuba dentro de un piano" the first and longest song, is a veritable history lesson for students of Cuba. We hear of the island's para?dise years, fragrant and stress-free. The long saga continues with war, deportation, and destruction. The text makes it entirely clear who is responsible for the tragic loss of Cuba's soul. The last word of the song, an English one, seals the accusation. Sailors admiring a lithe Creole young woman form our second picture in the cycle. Her pale complexion ("jQue bian?co!") fascinates them endlessly. "Chevere" is a violent experience, spousal abuse with no holds barred. Montsalvatge is at his most dissonant and the vocal line is decorated with traditional Spanish flourishes, giving an improvised impression to this shocking third song. The Lullaby is the cycle's most celebrated moment, often used as an encore by such luminaries as Victoria de los Angeles or Montserrat Caballe in years past. Here the use of the habanera has no provocative purpose; this is far too chaste a song for that. The mother's aspirations for her infant give us a touching glimpse into the limi?tations of social advancement for her people: the rank of stable groom is all she can hope for.
And for a finale, African syllables, and dancing for dancing's sake. Song and dance are indis?pensable when the weather is wonderful and one has no wordly goods.
The second half of tonight's recital, all in English, begins with Britain's most important and prolific song composer of our time. Indeed, since his compatriot, Henry Purcell, four cen?turies before him, British song had found no real champion until Benjamin Britten. We have wonderful vocal repertoire by Vaughn-Williams, Elgar, Quilter, and Walton, but with Britten, the bar is raised significantly. While he composed easily in all genres, it is clearly on his texted music that his great celebrity rests. He is also unique in that he is equally adept with opera and song; one cannot say this of Schubert or Wolf on one hand, or of Bellini or Wagner on the other. Britten's choice of poets clearly shows us the discernment of the highly educat?ed, well-read man he was. The list would include Hardy, Michelangelo, Holderlin, Donne, Blake, Pushkin, Shakespeare, and of course, tonight's poet, W.H. Auden.
On this Island, Britten's opus 11, was written and published in 1937. Several other Auden set?tings had preceded this, but this was to be the composer's last work to employ this poet's lines. Originally, Britten planned 12 songs which were to form Volume 1 of a much larger effort, but as composition began, the dozen became only the five we hear tonight. Auden's verses bear the title "Look, Stranger," and we hear these words as the opening of the third song in Britten's ordering. It is safe to say that Auden's words are not readily comprehensible to most of us we understand each word, but the larger meaning can remain elusive. The overriding themes of loss and isolation are clear, however, and they are contrasted with those of consolation and hope for a better day. Auden was profoundly shaken by World War I and its devastation in the United Kingdom, and although Britten was just a child during the War, he was hypersensi?tive to its effects to the end of his life, choosing pacifism as his abiding credo.
"Let the florid music praise!" is in two dis?tinct styles: Handelian and Purcellian. Featuring the longest melismas of any Britten song, part one is in the traditional festive trumpet key of D Major. Handel's Let the bright Seraphim and Hallelujah Chorus come to mind. But soon painful, unrequited love becomes the subject in the song's second half. G minor is now the key (Dido's "Lament") and suspensions, appoggiat-uras, and descending chromatic passages now abound to paint the lover's disappointment. The second song, "Now the leaves are falling fast," is framed by an introduction and a coda wherein a frigid lack of motion denies us com?fort. The three rapid stanzas in between feature images of war-torn society. The only completely beautiful song is "Seascape." Here the keyboard is all water and wind, and the voice's sweeping lines and plunging arpeggios suggest birds in flight. There is no war here, no conflict; this is England as she used to be and must be again. "Nocturne" is Britten's first song with night as its subject. This theme would hold a fascination for him throughout his career. The Serenade for Tenor, Horn and String, Op. 31 and the later Nocturne, Op. 60 for voice and orchestra are prime examples of this. Here, in the cycle's sim?plest utterance, stroked chords create a lovely rocking monotony under a symmetrical vocal melody that offers us hope for tomorrow. Lastly, Britten will foreshadow the Bolcom songs yet to come this evening with "As it is plenty" a song straight out of vaudeville the?ater. The shallowness of society promulgated by the war is our subject here, and although the music sounds delicious and witty, the words are tinged with sarcasm and irony.
Emily Dickinson is the second-most popular writer in English for composers of song; only Shakespeare outnumbers her for musical set?tings. Her ability to articulate and exteriorize our feelings in simple but unique words is unexcelled; her understanding of human nature, life and death, and our relationship to our physical world and its creator is incredible when one considers that she never married, nor
left her small-town New England home. Aaron Copland turned to these poems in 1949-50 and was awarded the Pulitzer Prize for his dozen settings the following year. Half of the songs have been orchestrated, but tonight we hear his original conceptions.
When Copland began writing these songs, much success was already behind him. His great ballet scores, El Salon Mexico, Billy the Kid, and particularly Appalachian Spring had launched what is often called his "American" sound, and his film scores for The Red Pony and particular?ly Our Town had changed our notion of what movie music could be. Copland's use of widely spaced chords, undecorated fifths and fourths, his interpolation of hymn tunes and folksongs all these devices create an atmosphere which we now take for granted 50 years later. This particular Copland sound has become nothing less than our notion of what American art music sounds like.
Ms. Brueggergosman has selected four won?derfully contrasting songs from the entire set of twelve. The first and last songs ("Nature" and "Dear March") show us Dickinson's fascination with the miracle that is the physical world around us. In the first, an entire day transpires before us, from the first bird call at dawn to the last at dusk. Copland's use of seemingly ran?dom birdcall gestures in the piano and con?stantly shifting tempi create a canvas which is improvised each and every morning. The arrival of spring is the subject of the last song tonight. Dickinson always seems surprised that the seasons manage their rotation, and she treats spring as the most welcome and missed of friends. Copland responds with a symphony of sing-song gestures in the piano part, perhaps evoking our childlike amazement at the onset of the new season. Between these are two solemn and very different songs. "Heart, we will forget him" is the slowest song of the entire set, and taxes both performers with the need for an aching intense legato. Copland's punctuation in the vocal line before the last word might make us skeptical of the singer's success in overcom?ing her lost love. And finally, in tonight's third song, we are treated to musical illustrations of
enormous concepts: Sleep, Life, Death, and the dawn of an Afterlife. Here is Emily at her most philosophical. Copland responds with a tight double-dotted rhythm, a very unforgiving and severe figure; how different from the humanity and grace of the other songs. The huge dynam?ic and vocal range of this song is the grandest in the cycle, and appropriately so, given the immensity of the text.
Pulitzer Prize-winning composer William Bolcom needs no introduction to an Ann Arbor audience; "Bill" is a local treasure as well as an institution in himself. For more than 30 years he has been a professor in U-M's composition department, and his performances as a pianist (and a witty raconteur) have adorned Ann Arbor's musical life season after season. Himself a student of Milhaud and Messaien, Bolcom has been responsible for the training, guidance, and inspiration of countless composers and performers who are working all over the globe. His passionate interest in rags has led to a re-flowering of this genre, both those of other composers and Bolcom's original compositions in this style. Together with his wife, mezzo-soprano Joan Morris, he has spearheaded a re-investigation into American popular song of the early-20th century, with innumerable recordings as documents of their enthusiasm for and research into this repertoire. Just last April, Bolcom's magnum opus, Songs of Innocence and of Experience, was a highlight of UMS's season, recorded for commercial release by Naxos. Lastly and not at all surprisingly, Bolcom is equally active as an operatic compos?er; productions of his stage works at the Chicago Lyric have garnered consistent critical and public success.
Bolcom has always been intent on breaking down any barriers or distinctions between pop?ular and serious music. This philosophy is easi?ly heard in any of his compositions, where styles are juxtaposed with incredible facility. Atonality can bump up against ragtime against musical-theater idioms against impressionism without apology. He is clearly without prejudice
for one style over another, and this contributes enormously to his worldwide success amongst concertgoers of all ages and backgrounds.
Four volumes of Cabaret Songs are now to Bolcom's credit, all in partnership with New York poet, Arnold Weinstein, the first appearing in 1985. Very little in the vocal repertoire can challenge these gems for clever entertainment, both verbally and musically; indeed, the fusion of text and music in these songs is so complete that it is impossible to imagine the words set in any other way. While the songs may sound comfortable and often easy-going, the listener should make no mistake. Bolcom has presented both performers (and dare I say, particularly the pianist!) with highly complex demands both rhythmically and melodically; in the hands of accomplished performers, we do not experience labor or difficulties. These wonder?ful songs delight our minds and ears, but they are never intellectual and almost always deliv?ered with a BolcomWeinstein smile in every measure.
"Over the piano" opens the entire collection and perfectly captures the cocktail lounge's smoky, sensuous atmosphere. As a pianist, I can tell you there are no thornier landscapes to be decoded anywhere in the repertoire than in these three brief pages, but how "laid back" the result sounds, courtesy of Bolcom's genius. The dating scene in Manhattan could not be cap?tured more accurately than in "Toothbrush Time". How well Weinstein seems to under?stand the single woman's plight! "Song of Black Max" could be dropped into The Godfather almost unnoticeably. Good-natured menace is this song's credo; Bolcom employs an inex?orable staccato accompaniment to "trap" his singer and his audience. Listen for the national anthem played near the song's conclusion no composer has so perfectly realized the sound of a harmonica on the Steinway. Finally, in an unusual move, tonight's performers say good?bye with the briefest and most serious creation in all four volumes of these songs. This single page, one-third of it for piano solo, shows us a vastly different view of cabaret. No cleverness is here, and with but a single motive played end-
lessly, Bolcom makes us meditate on the hope?lessness of modern city life.
Program notes by Martin Katz.
Critically acclaimed by the interna?tional press for her innate musi?cianship, radiant voice, and a sovereign stage presence far beyond her years, Canadian soprano Measha Brueggergosman is emerg?ing as one of the brightest stars of her genera?tion appearing on the great opera and concert stages of the world. Of the special gifts she brings to her performances, The Globe and Mail wrote, "Bruggergosman is one of those personas born to captivate from the moment she sets foot on a platform. She has an instant natural charisma that makes you want to hear her, and a sweetness of address.... This stems from her evidently intense desire to sing, which commu?nicates itself more powerfully than it does in many a more seasoned artist."
A dynamic scope of repertoire coupled with a profound depth of artistry brings Ms. Brueggergosman together with many of the finest international orchestras and most esteemed conductors of our day. During the current season she debuts with the San Francisco Symphony and Michael Tilson Thomas in Janacek's Glagolitic Mass, the Deutsches Symphonie-Orchester Berlin in Strauss' Vier Letzte Lieder, and the Bonn Philharmonic in Britten's War Requiem; and she retums to the National Arts Centre Orchestra in a program of opera arias under the baton of Patrick Summers, the Toronto Symphony Orchestra with Jiri Behlolavek in Dvorak's Te Deum, and the Kitchener Waterloo Philharmonic and Choir in Mendelssohn's Elijah. She also records a program of Berlioz's Les nuits d'ete and Massenet arias with Yoav Talmi and the Quebec Symphony Orchestra. So Much to Tell, Ms. Brueggergosman's first commercial recording, featuring Barber's Knoxville: Summer of 1915, Copland's Emily Dickinson Songs, and Gershwin songs with the
Manitoba Chamber Orchestra and Roy Goodman is scheduled for release this fall on the CBC Records label.
Deeply committed to the art of recital where her programs are likely to include less frequently-heard songs by Bolcom, Chausson, and Turina alongside more familiar works by Mahler, Ravel, and Strauss, Ms. Brueggergosman makes an extensive North American recital tour in the current season appearing at the Kennedy Center, Weill Recital Hall at Carnegie Hall, Spivey Hall in Atlanta, University Musical Society in Ann Arbor, and on concert series in Toronto, Montreal, and Winnipeg.
Highlights of the recent past have included Liu in Turandot and Sister Rose in Dead Man Walking with Cincinnati Opera; Beethoven's Symphony No. 9 and Janacek's Glagolitic Mass with the Stuttgart Philharmonic; the Verdi Requiem with Sir Andrew Davis and the Toronto Symphony Orchestra, Sir David Willcocks at the Royal Albert Hall, and with Helmuth Rilling at the International Beethoven Festival Bonn; William Bolcom's Songs of Innocence and of Experience with Leonard Slatkin and the orchestra and choirs of the University of Michigan and the University Musical Society (recorded for the Naxos label); Beethoven's Symphony No. 9 with Bobby McFerrin and the Baltimore Symphony Orchestra; Britten's War Requiem with the Ottawa Symphony; and
Krzysztof Penderecki's Credo with the Toronto Symphony Orchestra conducted by the com?poser. Ms. Brueggergosman has participated in the gala re-openings of Toronto's Roy Thomson Hall and of the University of Michigan's Hill Auditorium and has given a Royal Command Performance for Queen Elizabeth II. She also has been honored to sing for the Prince of Wales, President Tarja Halonen of Finland, and for Nelson Mandela.
Measha Brueggergosman has been the sub?ject on a full-length feature documentary, Spirit in her Voice, produced by the CBC network and has starred in a short film entitled Go Diva!, which was produced by the BRAVO network. An original new streaming video of Measha, launching the Emerging Artist Showcase Series, was recently released on ArtsPass Live! (; comprehensive perform?ance and career information is found at
Measha Brueggergosman was awarded the Grand Prize at the 2002 Jeunesses Musicales Montreal International Competition and has been a prizewinner at The Dutch International Vocal Competition, the Wigmore Hall in London, George London Foundation in New York, The Queen Sonja International Music Competition in Oslo, and the ARD Music Competition in Munich. She also is a recipient of the prestigious Canada Council and Chalmers Performing Arts Grants. She studied at the University of Toronto with Mary Morrison and pursued postgraduate studies in Germany with Edith Wiens. She also has worked with such distinguished musicians as Christoph Eschenbach, Brigitte Fassbaender, Margo Garrett, HSkan HagegSrd, Rudolf Piernay, and Thomas Quasthoff.
This evening's recital marks Measha Brueggergosman's third appearance under UMS auspices. Ms. Brueggergosman made her UMS debut as soprano soloist at Hill Auditorium's Re-Opening Celebration on January 17, 2004. She later appeared as soprano soloist in presentation of William Bolcom's Songs of Innocence and of Experience in April 2004 at Hill Auditorium.
Meosho Brueggergosman
Pianist J.J. Penna has performed extensively throughout the US, Europe, South America, and the Far East with a variety of eminent singers, including Kathleen Battle, Harolyn Blackwell, Amy Burton, Denyce Graves, David Daniels, Kevin McMillan, Roberta Peters, Florence Quivar, Sharon Sweet, and Ying Huang. He has been heard at Weill Recital Hall in New York, at the Palacio de Bellas Artes in Mexico City, at Wigmore Hall in London, at the Kennedy Center in Washington, DC, and at Ozawa Hall at Tanglewood. Devoted to the study and performance of new music, he has premiered works by William Bolcom, Tom Cipullo, Lowell Liebermann, Ricky Ian Gordon, and Michael Cohen.
The current season includes appearances at the Edinburgh Festival, the Edvard Grieg Museum in Norway, the Lanaudiere Festival, as well as recitals in Washington, DC, Atlanta, Santa Fe, Toronto, Ann Arbor, and New York City.
Mr. Penna received his doctoral degree from the University of Michigan in 1996 as a student of Martin Katz, and has received fel?lowships for further training at the Tanglewood Music Center, Banff Centre For the Arts, Chautauqua Institution, the Norfolk Summer Chamber Music Festival, the Music Academy of the West, and the Merola Opera Program, where he was presented with the Otto Guth Award as outstanding apprentice coach in 1994.
Mr. Penna was the director of the vocal program at the Bowdoin Summer Music Festival from 2001 to 2003. He is currently on the staff of the Steans Institute for Young Artists at the Ravinia Festival, in addition to directing his own song festival in Princeton, New Jersey each summer. Devoted to the teaching of art song literature, he is on the faculties of the Yale University School of Music and Westminster Choir College of Rider University.
This evening's recital marks }.}. Penna's third appearance under UMS auspices. Mr. Penna made his UMS debut in February 2002 in per?formances of William Bolcom's From a Diary of Sally Hemings in recital with soprano Harolyn Blackwell and mezzo-soprano Florence Quivar. Mr. Penna is a graduate of the University of Michigan School of Music.
and the
Carl and Isabelle Brauer Fund
George Frideric Handel's
UMS Choral Union
Ann Arbor Symphony Orchestra
Jerry Blackstone, Conductor
liana Davidson, Soprano Susan Platts, Contralto Richard Clement, Tenor Brett Polegato, Baritone
Edward Parmentier, Harpsichord
Program Saturday Evening, December 4, 2004 at 8:00
Sunday Afternoon, December 5, 2004 at 2:00 Hill Auditorium Ann Arbor
10th Annual Favorites Series
29th and 30th Performances 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.
These performances are supported by the Carl and Isabelle Brauer Fund.
Media partnership for these performances is provided by Michigan RadioMichigan Television.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for this concert.
Ms. Davidson, Ms. Platts, and Mr. Clement appear by arrangement with Matthew Sprizzo.
Mr. Polegato appears by arrangement by IMG Artists, New York, NY. Large print programs are available upon request.
Tart I
1 Sinfonia
2 Arioso Isaiah 40:1 Isaiah 40:2
Isaiah 40: 3
Isaiah 40: 4
Isaiah 40: 5
Mr. Clement
Comfort ye, comfort ye my people, saith your God. Speak ye comfortably to Jerusalem, and cry unto her that her
warfare is accomplished, that her iniquity is pardoned. The voice of him that crieth in the wilderness: Prepare ye the way of
the Lord, make straight in the desert a highway for our God.
Mr. Clement
Every valley shall be exalted, and every hill and mountain ... made low: the crooked ... straight, and the rough places plain:
Accompanied recitative Haggai 2: 6
Haggai 2: 7 Malachi 3: I
6 Air
Malachi 3:2
7 Chorus Malachi 3: 3
8 Recitative Isaiah 7:14
Air and Chorus
Isaiah 40: 9
Isaiah 60: 1
And the glory of the Lord shall be revealed, and all flesh shall see it together: for the mouth of the Lord hath spoken it.
Mr. Polegato ... thus saith the Lord of hosts: Yet once,... a little while, and I
will shake the heavens and the earth, the sea and the dry land; And I will shake all nations, and the desire of all nations
shall come:... ... the Lord, whom ye seek, shall suddenly come to his temple,
even the messenger of the covenant, whom ye delight in:
behold, he shall come, saith the Lord of hosts.
Ms. Platts
But who may abide the day of his coming And who shall stand when he appeareth For he is like a refiner's fire,...
... and he shall purify the sons of Levi,... that they may offer unto the Lord an offering in righteousness.
Ms. Platts
Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel, "God-with-us."
Ms. Platts O thou that tellest good tidings to Zion, get thee up into the high
mountain; O thou that tellest good tidings to Jerusalem, lift up thy
voice with strength; lift it up, be not afraid; say unto the cities of
Judah: Behold your God! Arise, shine; for thy light is come, and the glory of the Lord is
risen upon thee.
10 Arioso
Isaiah 60:2
Isaiah 60: 3
11 Air
Isaiah 9: 2
12 Chorus
Isaiah 9: 6
13 Pifa
14 Recitative
Luke 2: 8
15 Arioso
Luke 2: 9
16 Recitative
Luke 2:10
Luke 2:11
17 Arioso Luke 2:13
18 Chorus
Luke 2:14
19 Air Zechariah 9: 9
Zechariah 9:10
Mr. Polegato For behold,... darkness shall cover the earth, and gross darkness
the people: but the Lord shall arise upon thee, and His glory shall
be seen upon thee. And the Gentiles shall come to thy light, and kings to the
brightness of thy rising.
Mr. Polegato
The people that walked in darkness have seen a great light: and they that dwell in the land of the shadow of death, upon them hath the light shined.
For unto us a child is born, unto us a son is given: and the
government shall be upon his shoulder, and his name shall be called Wonderful, Counselor, The Mighty God, The Everlasting Father, The Prince of Peace.
(Pastoral Symphony)
Ms. Davidson
... there were ... shepherds abiding in the field, keeping watch over their flock by night.
Ms. Davidson
And, lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid.
Ms. Davidson And the angel said unto them, Fear not: for, behold, I bring you
good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Saviour, which
is Christ the Lord.
Ms. Davidson
And suddenly there was with the angel a multitude of the heavenly host praising God and saying,
Glory to God in the highest, and peace on earth, good will toward men.
Ms. Davidson Rejoice greatly, O daughter of Zion; shout, O daughter of
Jerusalem: behold, thy King cometh unto thee: he is the righteous
Saviour,... ... and he shall speak peace unto the heathen:...
20 Recitative
Isaiah 35: 5
Isaiah 35: 6
21 Air
Isaiah 40: 11
Matthew 11:28
Matthew 11:29
22 Chorus
Matthew 11:30
Ms. Platts Then shall the eyes of the blind be opened, and the ears of the
deaf.. .unstopped. Then shall the lame man leap as a hart, and the tongue of the
dumb shall sing:...
Ms. Platts and Ms. Davidson
He shall feed his flock like a shepherd: and he shall gather the lambs with his arm, and carry them in his bosom, and ... gently lead those that are with young. Come unto Him, all ye that labour and are heavy laden, and He
will give you rest. Take His yoke upon you, and learn of Him, for He is meek and
lowly of heart: and ye shall find rest unto your souls.
... His yoke is easy, and His burden is light.
Tart II
2} Chorus
John 1:29
24 Air
Isaiah 53: 3
Isaiah 50: 6
25 Chorus
Isaiah 53: 4
Isaiah 53: 5
26 Chorus
Isaiah 53: 4
27 Arioso
Psalm 22: 7
... Behold, the Lamb of God, that taketh away the sin of the world!...
Ms. Platts He was despised and rejected of men; a man of sorrows, and
acquainted with grief: ... He gave his back to the smiters, and His cheeks to them that
plucked off the hair: He hid not His face from shame and spitting.
Surely he hath borne our griefs, and carried our sorrows:...
... he was wounded for our transgressions, he was bruised for our
iniquities: the chastisement of our peace was upon him; and with
his stripes are we healed.
All we like sheep have gone astray; we have turned every one to his own way; and the Lord hath laid on him the iniquity of us all.
Mr. Clement
All they that see him laugh him to scorn: they shoot our their lips, and shake their heads, saying:
28 Chorus Psalm 22: 8
29 Accompanied recitative Psalm 69: 20
30 Arioso Lamentations 1:12
31 Accompanied recitative Isaiah 53: 8
32 Air Psalm 16: 10
33 Chorus Psalm 24: 7
Psalm 24: 8
Psalm 24: 9
Psalm 24:10
34 Recitative Hebrews 1: 5
35 Chorus Hebrews 1: 6
36 Air Psalm 68: 18
37 Chorus Psalm 68: 11
38 Air Isaiah 52: 7
He trusted in God that he would deliver him: let him deliver him, if he delight in him.
Mr. Clement
Thy rebuke hath broken his heart; he is full of heaviness: he looked for some to have pity on him, but there was no man; neither found he any to comfort him.
Mr. Clement ... Behold and see if there be any sorrow like unto his sorrow ...
Mr. Clement
... he was cut off out of the land of the living: for the transgressions of thy people was he stricken.
Mr. Clement
But thou didst not leave his soul in hell; nor didst thou suffer thy Holy One to see corruption.
Lift up your heads, O ye gates; and be ye lift up, ye everlasting
doors; and the King of glory shall come in. Who is this King of glory The Lord strong and mighty, the Lord
mighty in battle. Lift up your heads, O ye gates; and be ye lift up, ye everlasting
doors; and the King of glory shall come in. Who is this King of glory The Lord of hosts, he is the King of
Mr. Clement
... unto which of the angels said he at any time, Thou art my son, this day have I begotten thee...
... let all the angels of God worship him.
Ms. Platts
Thou art gone up on high, thou has lead captivity captive: and received gifts for men; yea, even for thine enemies, that the Lord God might dwell among them.
The Lord gave the word: great was the company of the preachers.
Ms. Davidson
How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things ...
39 Chorus
Romans 1C
40 Air
Psalm 2:1
Psalm 2: 2
41 Chorus
Psalm 2: 3
42 Recitative
Psalm 2: 4
43 Air
Psalm 2: 9
44 Chorus
Revelation 19:6
Revelation 11:15
Revelation 19: 16
Their sound is gone out into all lands, and their words unto the ends of the world.
Mr. Polegato Why do the nations so furiously rage together,... why do the
people imagine a vain thing The kings of the earth rise up, and the rulers take counsel together
against the Lord and his anointed,...
Let us break their bonds asunder, and cast away their yokes from us.
Mr. Clement
He that dwelleth in heaven shall laugh them to scorn: the Lord shall leave them in derision.
Mr. Clement
Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter's vessel.
Hallelujah: for the Lord God omnipotent reigneth.
... The kingdom of this world is become the kingdom of our
Lord, and of his Christ; and he shall reign for ever and ever. ... King of Kings, and Lord of Lords.
You are invited to join the Choral Union in singing the "Hallelujah" chorus. Please leave the music at the door when exiting the auditorium. Thank you.
Tart III
45 Air
Job 19:25
Job 19:26 I Cor. 15:20
Ms. Davidson I know that my redeemer liveth, and that he shall stand at the
latter day upon the earth. And though ... worms destroy this body, yet in my flesh shall I
see God. For now is Christ risen from the dead,... the first fruits of them
that sleep.
46 Chorus
Cor. 15:21
I Cor. 15: 22
47 Accompanied recitative
7 Cor. 15: 51
I Cor. 15: 52
48 Air
Cor. 15: 52
I Cor. 15: 53
49 Recitative
Cor. 15: 54
50 Duet
Cor. 15: 55
I Cor. 15: 56
51 Chorus
Cor. 15: 57
52 Air
Romans 8: 31
Romans 8:33
Romans 8: 34
53 Chorus
Revelation 5:12
Revelation 5:13
... since by man came death, by man came also the resurrection
of the dead. For as in Adam all die, even so in Christ shall all be made alive.
Mr. Polegato Behold, I tell you a mystery; we shall not all sleep, but we shall all
be changed, In a moment, in the twinkling of an eye at the last trumpet:
Mr. Polegato ... the trumpet shall sound, and the dead shall be raised
incorruptible, and we shall be changed. For this corruptible must put on incorruption, and this mortal must
put on immortality.
Ms. Platts
... then shall be brought to pass the saying that is written, Death is swallowed up in victory.
Ms. Platts and Mr. Clement
O death, where is thy sting O grave, where is thy victory The sting of death is sin; and the strength of sin is the law.
But thanks be to God, who giveth us the victory through our Lord Jesus Christ.
Ms. Davidson
If God be for us, who can be against us Who shall lay anything to the charge of God's elect It is God
that justifieth. Who is he that condemneth It is Christ that died, yea rather, that
is risen again, who is ... at the right hand of God, who ...
maketh intercession for us.
... Worthy is the Lamb that was slain and hath redeemed us to God by His blood to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing.
... Blessing, and honour,... glory, and power, be unto Him that sitteth upon the throne, and unto the Lamb for ever and ever.
George Frideric Handel
Born on February 23, 1685 in Halle, Germany
Died on April 14, 1759 in London
George Frideric Handel's sacred oratorio Messiah is without ques?tion one of the most popular works in the choralorchestral repertoire today. In what has become an indispensable Christmas tradition, amateur and professional musicians in almost every city and town throughout the country perform this work as a seasonal entertainment, and are rewarded with the satisfaction of taking part in one of the great communal musical events. Since the first performances in 1742, genera?tions of musicians have adapted Handel's Messiah to suit the changing tastes of fashion and function. The small ensembles Handel con?ducted himself had around 20 singers and an equal number of instrumental players, but even before the end of the 18th century much larger ensembles were performing the work. By the mid-19th century, when the appeal of the spec?tacle sometimes outweighed the demands of musical integrity, singers and instrumentalists for a single performance would often number in the several thousands. But the size of the ensemble wasn't the only variable. Mozart re-orchestrated Handel's score in 1789, adding extra parts for woodwinds to give the orchestral writing richer harmonies and a more varied timbre. In addition to Mozart's re-orchestra?tion, Sir Arthur Sullivan and Eugene Goosens likewise made their own arrangements of the orchestral parts, updating the work for their respective audiences. And in 1993, a popular recording of excerpts from Messiah titled A Soulful Celebration brought together Stevie Wonder, Quincy Jones, Al Jarreau, the Boys Choir of Harlem, and others in a gospel-style interpretation of Handel's music. The diversity of performance styles and enthusiastic respons?es to this oratorio over the centuries testify to its immense popularity.
The oratorio as a musical genre originated
during the 17th century in the churches and monasteries of Italy. In the Oratory (a side chapel found in many consecrated buildings), the theatrical presentation of vocal music on a sacred topic was an adjunct to the liturgy of the Church. But by 1700, oratorios were being per?formed in private chapels and palaces as a form of entertainment, and had taken on the now-standard characteristics of a sung drama on sacred texts, without staging or costumes.
Handel composed several oratorios early in his career, including some in Italian Trionfo del Tempo e del Disinganno and La Resurrezione and the later English-language works Esther, Deborah, and Athalia. But after the collapse of his operatic ventures in London around 1740, Handel devoted himself to the oratorio as a form in which he could combine his flair for dramatic vocal writing and his experience as a composer of sacred, devotional music. With these later oratorios Handel eventually won back the esteem of the London critics, and secured a phenomenal public following that would ensure his future success and reputation.
The text for Messiah was selected and com?piled from the Authorized (King James) Version of the Bible by Charles Jennens, an aristocrat and musicianpoet of modest talent and excep?tional ego. With Messiah, Jennens seems to have outdone himself in compiling a libretto with profound thematic coherence and an acute sen?sitivity to the inherent musical structure. With the finished libretto in his possession, Handel began setting it to music on 22 August 1741, and completed it 24 days later. He was certainly working at white-hot speed, but this didn't nec?essarily indicate he was in the throes of devo?tional fervor, as legend has often stated. Handel composed many of his works in haste, and immediately after completing Messiah he wrote his next oratorio, Samson, in a similarly brief time-span.
The swiftness with which Handel composed Messiah can be partially explained by the musi?cal borrowings from his own earlier composi?tions. For example, the melodies used in the two choruses "And He shall purify" and "His yoke is easy" were taken from an Italian cham-
her duet Handel had written earlier in 1741, "Quelfior che all' alba ride." Another secular duet, "No, di voi non vo' fidarmi" provided material for the famous chorus "For unto us a Child is born," and the delightful "All we like sheep" borrows its wandering melismas from the same duet. A madrigal from 1712, "Se tu non lasci amore" was transformed into a duet-chorus pair for the end of the oratorio, "O Death, where is thy sting," and "But thanks be to God." In each instance, however, Handel does more than simply provide new words to old tunes. There is considerable re-composition, and any frivolity that remains from the light-hearted secular models is more than compen?sated for by the new material Handel masterful?ly worked into each chorus.
Over-enthusiastic "Handelists" in the 19th century perpetuated all sorts of legends regard?ing the composition of Messiah. An often-repeated story relates how Handel's servant found him sobbing with emotion while writing the famous "Hallelujah Chorus," and the com?poser claiming, "I did think I did see all Heaven before me and the great God Himself." Supposedly Handel often left his meals untouched during this compositional period, in an apparent display of devotional fasting and monastic self-denial. Present-day historians more familiar with Handel's life and religious views tend to downplay these stories. It's been suggested that if Handel did indeed have visions of Heaven while he composed Messiah, then it was only in the same manner in which he visualized the Roman pantheon of gods while he composed his opera Semele. Handel's religious faith was sincere, but tended to be practical rather than mystical.
Handel was also not a native English-speak?er, and examples of awkward text-setting in Messiah demonstrate some idiosyncrasies in his English declamation. He set the word "were" as if it had two syllables, and "surely" with three syllables. In the bass aria, "The trumpet shall sound," Handel originally declaimed "incor?ruptible" with emphasis on the second and fourth syllables. While these can be corrected by the editor of the score or the singer in per-
formance, sometimes Handel placed rhythmic accents on the wrong words entirely. Yet they are so familiar to us now that we don't hear them as unusual: "For unto us a Child is born," or "Come unto Him, ye that are heavy laden." The first public performance of Messiah took place in Dublin, Ireland, on 13 April 1742. As this was to be a benefit performance for charity, the ladies were asked not to wear hoop dresses, and the men to leave their swords at home, in order to accommodate more people in the hall. Messiah was an unqualified success in Dublin; Handel had worked for months preparing his chorus and orchestra, and brought in some of the finest solo singers from England. The alto soloist in particular sang so affectingly that after one aria an audience member exclaimed from his chair, "Woman, for this, be all thy sins forgiven." But when Handel took Messiah to London the following season, it received a chilly reception. Even though King George II attended the first performance at Covent Garden Theatre (and, it is claimed, ini?tiated the tradition of standing for the "Hallelujah Chorus"), London audiences found its contemplative texts lacking in drama and narrative action, and it closed after only three performances. Some clergy considered the the?atre in general a den of iniquity and certainly no place for a work on such a sacred topic (Handel couldn't win when it was scheduled to be performed in Westminster Abbey, other members of the clergy declared it sacrilege for a public entertainment to take place in a conse?crated church). And Jennens, the librettist, was?n't entirely pleased with what Handel had done to his texts. After initially voicing his thorough disappointment with the work, Jennens later declared Handel's composition "a fine Entertainment, tho' not near so good as he might and ought to have done." It wasn't until 1750, when another performance for charity was staged at the Foundling Hospital in London, that English audiences took Messiah to their hearts, and yearly performances at the hospital from that time on established the last?ing popularity of both the work and its com?poser. Upon Handel's death in 1759, he willed
his score and parts for Messiah to the Foundling Hospital in a charitable gesture of gratitude.
The tradition of performing Messiah at Christmas began later in the 18th century. Although the work was occasionally performed during Advent in Dublin, the oratorio was usu?ally regarded in England as an entertainment for the penitential season of Lent, when per?formances of opera were banned. Messiah's extended musical focus on Christ's redeeming sacrifice also makes it particularly suitable for Passion Week and Holy Week, the periods when it was usually performed during Handel's life?time. But in 1791, the Caecilian Society of London began its annual Christmas perform?ances, and in 1818 the Handel and Haydn Society of Boston gave the work's first complete performance in the US on Christmas Day -establishing a tradition that continues to the present. The University Musical Society is a direct result of this tradition. In 1879, a group of local university and townspeople gathered together to study Handel's Messiah; this group assumed the name "The Choral Union" and, in 1880, the members of the Choral Union estab?lished the University Musical Society.
Following the pattern of Italian baroque opera, Messiah is divided into three parts. The first is concerned with prophecies of the Messiah's coming, drawing heavily from mes?sianic texts in the Book of Isaiah, and concludes with an account of the Christmas story that mixes both Old and New Testament sources. The second part deals with Christ's mission and sacrifice, culminating in the grand "Hallelujah Chorus." The final, shortest section is an extended hymn of thanksgiving, an expression of faith beginning with Job's statement "I know that my Redeemer liveth" and closing with the majestic chorus "Worthy is the Lamb" and a fugal "Amen." In its focus on Christ's sacrifice Messiah resembles the great Lutheran Passions of Schiitz and Bach, but with much less direct narrative and more meditative commentary on the redemptive nature of the Messiah's earthly mission. Handel scholar Robert Myers suggest?ed that "logically Handel's masterpiece should be called Redemption, for its author celebrates
the idea of Redemption, rather than the person?ality of Christ."
For the believer and non-believer alike, Handel's Messiah is undoubtedly a majestic musical edifice. But while a truly popular favorite around the world, Messiah aspires to more than just a reputation as an enjoyable musical event. After an early performance of the work in London, Lord Kinnoul congratulat?ed Handel on the "noble entertainment" he had recently brought to the city. Handel is said to have replied, "My Lord, I should be sorry if I only entertained them; I wished to make them better." Certainly Messiah carries an ennobling message to people of all faiths and credos, pro?claiming "peace on earth, and goodwill towards men" a message that continues to be timely and universal.
Program note by Luke Howard.
Jerry Blackstone is Director of Choirs and Chair of the Conducting Department at the University of Michigan School of Music where he conducts the Chamber Choir, teaches conducting at the graduate and undergraduate levels, and administers a choral program of 11 choirs. In February 2003, the Chamber Choir presented three enthusiastically received per?formances in New York City at the National Convention of the American Choral Directors Association (ACDA). In addition to his choral conducting work at the University, he has con?ducted operatic productions with the University of Michigan Opera Theatre, including a 2002 production of Janacek's The Cunning Little Vixen.
Professor Blackstone is considered one of the country's leading conducting teachers and his students have received first place awards and been finalists in both the graduate and under?graduate divisions of the ACDA biennial National Choral Conducting Awards competi?tion. US News and World Report ranks the grad?uate conducting programs at the University of Michigan first in the nation.
Professor Blackstone has appeared as festival guest conductor and workshop presenter in 28 states as well as in Hong Kong and Australia. Guest appear?ances in the current season include all-state choirs in Vermont,
South Dakota, Florida, Tennessee, Maryland, Missouri, and Rhode Island; the MENC All-Eastern Choir in Baltimore; the TTBB Honor Choir at the ACDA North Central Division Convention; a choral residency with PCA Great Performances in Maine; the University of Miami Music Camp; and featured workshop and conference presentations in New Zealand, Texas, Florida, New York, Maryland, and Michigan.
In April 2004, Dr. Blackstone was named Conductor and Music Director of the University Musical Society Choral Union. Prepared by Dr. Blackstone, the Choral Union and the School of Music Chamber Choir, University Choir, and Orpheus Singers recently performed and recorded William Bolcom's Songs of Innocence and of Experience for Naxos, led by American conductor Leonard Slatkin. Choirs prepared by Dr. Blackstone have also appeared under the batons of Neeme Jarvi, Nicholas McGegan, and Yitzak Perlman.
As conductor of the University of Michigan Men's Glee Club from 1988-2002, Professor Blackstone led the ensemble in performances at ACDA national and division conventions and on extensive concert tours throughout Australia, Eastern and Central Europe, Asia, South America, and the US.
Santa Barbara Music Publishing distributes Dr. Blackstone's acclaimed educational video, Working with Male Voices, and publishes the Jerry Blackstone Choral Series, a set of choral publications that presents works by several composers in a variety of musical styles.
As a strong advocate for the training of young musicians, Professor Blackstone serves as Director of the University of Michigan's All-
State Summer Programs, held at the Interlochen Center for the Arts and on the U-M Ann Arbor campus, as well as the Michigan Youth Ensembles organization which offers advanced instrumen?tal and choral ensemble opportunities in Ann Arbor for talented high school students.
Prior to coming to the University of Michigan in 1988, Professor Blackstone served on the music faculties of Phillips University in Oklahoma, Westmont College in California, and Huntington College in Indiana. He holds degrees from the University of Southern California, Indiana University, and Wheaton College.
These performances mark Jerry Blackstone's third and fourth appearances under UMS auspices. Dr. Blackstone made his UMS debut leading the UMS Choral Union in performances of Handel's Messiah in December 2003 at Michigan Theater. In April 2004, Dr. Blackstone was named Conductor and Music Director of the University Musical Society Choral Union.
liana Davidson continues to gain internation?al attention for the musicality, interpretive insight, and beautiful lyric soprano voice she brings to repertoire ranging from the Baroque to the contemporary. At Carnegie Hall she per?formed Mahler's Symphony No. 2 with Benjamin Zander and the Boston Philharmonic and William Bolcom's Songs of Innocence and of Experience with Leonard Slatkin and the University of Michigan Symphony Orchestra. She recently sang the Angel in Schiitz's A Christmas Story with the EOS Orchestra at New York's Metropolitan Museum of Art (broadcast live on National Public Radio), Bach cantatas with the Orchestra of St. Luke's, Handel's Messiah with the Pacific SymphonyCarl St. Clair, Orff's Trionfo di Afrodite with Leon Botstein and the American Symphony, Krenek's Die Nachtigall with the Austrian Chamber Symphony, Schumann's Requiem fur Mignon with the Residentie Orkest of the Hague, Haydn's Creation with Philadelphia's Voces
Novaes ed Antiquae, Mozart arias with the Niew Sinfonietta Amsterdam, the Mozart Requiem with the Scheierbacher Kammerorchester, and Schubert's Shepard on the Rock with members of the Harrisburg
Symphony. Other conductors with whom she collaborates include Keith Lockhart, Reinbert de Leeuw, Oliver Knussen, Stuart Malina, Harry Bicket, and Thomas Hengelbrock. Festival invi?tations include Schwetzingen and Innsbruck.
In opera, Ms. Davidson most recently sang her first-ever Gilda in Verdi's Rigoletto at the Crested Butte Music Festival, and has sung principal roles with companies in Vienna, Stuttgart, Amsterdam, Antwerp, Miami, Philadelphia, Milwaukee, and New York; her roles include Amor in Gluck's Orfeo, Susanna in Mozart's Le nozze di Figaro, and Oscar in Verdi's Un ballo in maschera.
Ms. Davidson's recordings include the art songs of Ernst Krenek, John Zorn's Chimeras, and Kurt Weill's Down in the Valley. Naxos recently released Bolcom's Songs of Innocence and of Experience with Leonard Slatkin and University of Michigan and University Musical Society orchestral and choral forces.
These performances mark liana Davidson's sec?ond and third appearances under UMS auspices. Ms. Davidson recently made her UMS debut as soprano soloist in William Bolcom's Songs of Innocence and of Experience in April 2004 at Hill Auditorium.
British-born Canadian mezzo-soprano Susan PlattS brings a uniquely rich and wide-ranging voice to nearly all concert and recital repertoire for alto and mezzo-soprano. She is particularly acclaimed for her Mahler and Bach interpreta?tions, which she has performed with orchestras around the globe.
In May of 2004, as part of the Rolex Mentor and Protege Arts Initiative, soprano Jessye Norman chose Ms. Platts to be her pro?tegee, selecting her from 26 candidates world?wide.
Current season highlights include a Messiah tour with the Netherlands Bach Society, Mendelssohn's Elijah with Franz Welser-Moest and the Cleveland Orchestra, Mahler's Symphony No. 3 with Bramwell Tovey and the Vancouver Symphony, and Chausson's Poeme de Vamour et de la mer with the Malaysian Philharmonic.
In February 2004, Ms. Platts made her Carnegie Hall debut, singing Mahler Symphony No. 2 with the Boston Philharmonic Orchestra conducted by Benjamin Zander, and two months later she returned to Lincoln Center's Avery Fisher Hall to sing Elgar's Sea Pictures with Leon Botstein conducting the American Symphony Orchestra. During past seasons, she has appeared with the Philadelphia Orchestra (Martin Haselboeck), CBC Radio Orchestra (Mario Bernardi), L'Orchestre de Paris
Eschenbach), National Arts Centre Orchestra (Pinchas Zuckerman), Toronto Symphony Orchestra (Sir Andrew Davis), Les Violons du Roy (Bernard Labadie), Montreal Symphony (JoAnn Falletta and
Eliahu Inbal), and the Detroit Symphony (Itzhak Perlman).
In October of 2001 Ms. Platts gave a euphorically received performance of Wagner's Wesendonck Lieder and Song of the Wood Dove from Schoenberg's Gurrelieder with the Canadian Opera Company Orchestra under Richard Bradshaw. She has been featured on Canadian television's Opening Night, which was nominated for a Gemini Award. In 2002, Ms. Platts opened two of America's most distin?guished art song series: the Vocal Arts Society at the Kennedy Center, in Washington, DC and the "Art of the Song" series at Lincoln Center in
New York City. She has since been invited by the major recital series in Cleveland, San Francisco, and Louisville.
Ms. Platts recently recorded Mahler's Das Lied von der Erde for Fontec Records, Gary Bertini conducting the Tokyo Metropolitan Orchestra. In addition, she recorded a CD of dramatic sacred art songs with renowned accompanist Dalton Baldwin. Her recording of Mahler's Lieder eines fahrenden Gesellen with the Smithsonian Chamber Players and Santa Fe Pro Musica is available on the Dorian label.
Ms. Platts' teachers include Christa Ludwig, Catherine Robbin, and Alexandra Browning; she coaches in Toronto with Don Tarnawski.
These performances mark Susan Plans' fourth and fifth appearances under UMS auspices. Ms. Platts made her UMS debut in April 2000 as con-'ralto soloist in Bach's St. Matthew Passion at Hill Auditorium.
rammy Award-winning American lyric tenor Richard Clement has performed with most of America's major orchestras and music directors, wringing tonal beauty and superb musicality to repertoire from the Baroque to the contempo?rary.
Of particular distinction in recent seasons are performances of Mendelssohn's Die erste Walpurgisnacht and Symphony No. 2 with Kurt Masur and the Israel Philharmonic; Toch's Cantata of the Bitter Herbs with the Czech Philharmonic; the Mozart Requiem with the Saint Louis Symphony; Stravinsky's Oedipus Rex with Charles Dutoit and the Montreal Symphony; Beethoven's Missa olemnisSymphony No. 9 and Bach's B minor Mass with the Detroit Symphony; Kernis' Millenium Symphony with the Minnesota Orchestra; Haydn's The Creation and Messiah with Boston's Handel and Haydn Society; Rachmaninoff's The Bells with Leon Botstein and the American Symphony in Lincoln Center's Avery Fisher Hall; Haydn's Seven Last Words of Christ, and Beethoven's Missa solem-
nisSymphony No. 9 with the Saint Paul Chamber Orchestra, under Daniel Harding and Hugh Wolff, respec?tively. In addition Mr. Clement has been guest soloist with the Cleveland and Philadelphia Orchestras;
Houston, Toronto, San Francisco and Cincinnati Symphonies; and has collaborated with such conductors as Wolfgang Sawallisch, Bobby McFerrin, Christopher Hogwood, Carlo Rizzi, Neeme Jarvi, and James Conlon.
Festival engagements include Tanglewood, Beethoven Symphony No. 9 at both Grant Park and the Hollywood Bowl, and the Bach B minor Mass with Seiji Ozawa at Japan's Saito Kinen Festival.
Mr. Clement's considerable operatic creden?tials include Pedrillo in Mozart's Die Entfiihrung aus dern Serai] with Kurt Masur and the New York Philharmonic; and Tamino in Mozart's Die Zauberflote at Belgium's De Vlaamse Opera and with the Colorado Symphony. His roles at the Vancouver Opera include Nanki-Poo (The Mikado), Ferrando (Cost fan tutte), and Don Ottavio (Don Giovanni); Ernesto (Don Pasquale) at Glimmerglass Opera; Vanya (Katya Kabanova) and To-No-Chujo (Tale of the Genji) at Opera Theater of St. Louis; Belmonte (Entfuhrung) with the Boston Baroque; Lensky (Eugen Onegin) and Nemorino (L'elisir d'amore) at Opera Festival of New Jersey; Lockwood (WutheringHeights) and Fenton (Falstaff) at Boston Lyric Opera; and Albert Herring with the Atlanta Opera.
Mr. Clement studied voice at Georgia State University and at the Cincinnati Conservatory. He was a Tanglewood Music Festival Fellow, has been a member of the Houston Grand Opera Studio, and was a recipient of the Richard Tucker Music Foundation Jacobson Study Grant. Recordings include Britten's War Requiem with the Washington Choral Society, Bart6k's Cantata Profana with the Atlanta
Richard Clement
Symphony (both Grammy Award winners) and Tchaikovsky's Pique Dame.
These performances mark Richard Clement's sec?ond and third appearances under UMS auspices. Mr. Clement's made his UMS debut during the 1994 May Festival as tenor soloist in Mozart's Mass in c minor with the Orchestra of St. Luke's at Hill Auditorium.
Brett Polegato's artistic sensibility within the realm of the adventurous has earned him the highest praise from critics and juries. He has already appeared on several of the world's most distinguished stages in 19 countries, and partic?ipated as soloist in the Grammy Award-winning 2003 "Best Classical Recording," a recording of Vaughn Williams' A Sea Symphony with the Atlanta Symphony Orchestra.
The current season includes Brett perform?ing excerpts from Le nozze di Figaro in con?cert with the Atlanta Symphony. Also the sea?son includes a concert production of The Pearfishers with the Vancouver Opera. Mr.
Polegato will debut at the Paris Opera as Frere Leon in Messiaen's St. Francois d'Assis, and will join both the Minnesota Orchestra and Tafelmusik Baroque Orchestra for separate per?formances of Handel's Messiah. He will tour Europe singing St. Matthew's Passion with con?ductor Robert King and perform Faur?'s Requiem in Toulouse. This season also offers his debut in Madrid as Pappageno in The Magic Flute.
Mr. Polegato made his Carnegie Hall recital debut in Carnegie's Weill Recital Hall in May 2003 and his La Scala debut in 2000 as Ned Keene in Peter Grimes. In competitions, he has finished first among the men at the 1995 Cardiff Singer of the World Competition and was awarded the William Matheus Sullivan Foundation Grant for opera.
Brett Polegato
These performances mark Brett Polegato's third and fourth appearances under UMS auspices. Mr. Polegato made his UMS debut in December 1998 as baritone soloist in Handel's Messiah at Hill Auditorium.
Edward Parmentier, Professor of Music at the U-M School of Music (Harpsichord, Early Music Ensemble), released his new CD of Bach's Well-Tempered Clavier, Book I on the Wildboar Label earlier this year. November saw the first occasion of "Michigan Harpsichord Saturday," an educational program organized by him and his U-M harpsichord studio for youth to have a hands-on experience with harpsi?chord performance. In 2004 he completed his Bach concert series in collaboration with U-M faculty member and violinist Andrew Jennings.
His summer 2004 harp?sichord workshops at U-M studying Bach's fugues and the works of William Byrd will be followed in July 2005 by workshops on Bach's preludes and fantasies and the works of Francois Couperin. In
May 2005, Mr. Parmentier will be concertizing in Hokkaido and Tokyo, Japan, and in July he will be joining U-M colleague and violist Yitzak Schotten and other musicians for Bach's Brandenburg Concerti at the Steamboat Springs summer festival in Colorado.
These performances mark Edward Parmentier's 19th and 20th appearances under UMS auspices. He has performed in the annual UMS presenta?tion of Handel's Messiah since 1995.
Edwrrd Pqrmetntier
Please refer to UMS Annals, page 22 of the white pages of your program, for biographical information on the UMS Choral Union.
The UMS Choral Union began performing in 1879 and has presented Handel's Messiah in annual performances. These performances mark the UMS Choral Union's 396th and 397th appearances under UMS auspices and mark the UMS Choral Union's 126th annual performances of Messiah.
The Ann Arbor Symphony Orchestra (A2SO) has been part of Ann Arbor's cultural life for 76 years. It was founded in 1928 as a "mom-and-pop" orchestra. In 1986, the A2SO became a fully professional orchestra, first under the baton of Carl St. Clair, then followed by Sam Wong from 1992-1999, and now under the inspired leadership of Arie Lipsky. The A2SO is Washtenaw County's largest arts employer, with over 70 professional musicians, supported by a staff of six, and a volunteer corps logging more than 1,500 hours annually. During the Symphony's 75th Anniversary Season last year, the A2SO presented the world premiere of Michael Daugherty's Once Upon a Castle for orchestra and theater organ. Mr. Daugherty is the 2004 recipient of the ArtServe Michigan Governor's Artist Award. The premiere per?formance received national attention and was broadcast on Michigan Public Radio's Pipe Dreams in November 2004.
In December 2002, the A2SO was chosen as the runner-up for Crain's Detroit Business Best Managed Nonprofit in the category of business?es whose budgets are under $3 million; in May 2003 the A2SO was the recipient of NEW Nonprofit Excellence in Management Award. Since Maestro Lipsky's Season of Firsts in the 200001 season, the A2SO has received steady critical acclaim while simultaneously audiences have grown by 17. The A2SO now serves over 10,000 concertgoers on main stage Saturday
night concerts, 5,000 family members, 30,000 area students, and 1,000 senior citizens across southeastern Michigan each season.
These performances mark the Ann Arbor Symphony Orchestra's 45th and 46th appearances under UMS auspices. The A2SO has performed in the annual UMS presentations of Handel's Messiah since 1988.
Ann Arbor Symphony Orchestra
Arie Lipsky, Music Director and Conductor
Violin I
Aaron Berofsky, Concertmaster
Elizabeth A. H. Green Concertmaster Chair Adrienne Jacobs, Associate Concertmaster Kathryn Votapek, Assistant Concertmaster Bethany Mennemeyer
Arnold and Susan Coran Violin Chair Mark Schuppener Denice Turck
Violin II
Barbara Sturgis-Everett'
Tlie A Principal Second Violin Chair Honoring Anne Gates
and Annie Rudisill Joseph Hintz
Abraham Weiser Violin Chair Anne Ogren
Stephanie Kantor Violin Chair Daphne Tzu-Yin Su Jackie Livesay Katie Rowan
Viola Elvis Chan
Tim and Leah Adams Principal Viola Chair Megan Mason Carolyn Tarzia David Ford Julianne Zinn
Sarah Cleveland
Sundelson Endowed Principal Cello Chair Vladimir Babin+ Eileen Brownell
Weiblen Cello Chair Mimi Morris-Kim
Gregg Emerson Powell Mitchell Nelson Anna Jensen
Kristin Reynolds
Gilbert Otnenn Principal Oboe Chair Yuki Harding Kristy Meretta Yopie Prins
Bassoon Christine Prince
? Daniel Long Principal Bassoon Chair Nathan Zeisler
Trumpet Instill Cohen
David S. Evans III Principal Trumpet Chair Jean Moorehead-Libs
Timpani James Lancioni
'Principal +Co-Principal
Justin Burleson, Operations Manager Gregg Emerson Powell, Personnel Manager Kathleen Grimes, Librarian Mary Steffek Blaske, Executive Director
UMS Choral Union
Jerry Blackstone, Conductor and Musical Director Jason Harris, Assistant Conductor Steven Lorenz, Assistant Conductor Jean Schneider, Accompanist Kathleen Operhall, Chorus Manager Donald Bryant, Conductor Emeritus
Soprano I
Kathryn Borden
Ann Marie Borders
Jamie Bott
Ann Burke
Sandra Burke
Susan F. Campbell
Marie Ankenbruck Davis
Kathy Neufeld Dunn
Rene Forsythe
lennifer Freese
Kathleen Gage
Keiko Goto
Kelly Karakashian
Kyoung Kim
Allison Lamanna
Mary Kay Lawless
Katie Mitchell-Koch
Motoko Osawa
Nancy K. Paul
Margaret Dearden Petersen
Marie Phillips
Julie Pierce
Judith Premin
Jennifer Rothschild
Vera Sacharin
Jennifer Wagner Sobocinski
Elizabeth Starr
Jennifer Tomko
Margie Warrick
Mary Wigton
Linda Kaye Woodman
Karen Woollams
Soprano II Mary Bowman Debra Joy Brabenec Carol Callan Young Cho Hyun Jung Choi Cheryl Clarkson Joy Collman Carrie Deierlein Jennifer James Nancy Kyro Jihan Lee-Park Loretta Lovalvo Melissa Hope Marin Linda Selig Marshall Marilyn Meeker Kirsten Meister Caroline E. Mohai Ulrike Peters Nichols Ann Orwin
Sara Peth Dana Rossiter Mary A. Schieve Sue Ellen Straub Li Wang Tower Jane VanSteenis Catherine Wadhams Barbara Hertz Wallgren Dr. Rachelle B. Warren Kathleen A. Young Denise Rae Zellner
Alto I
Olga Astapova Jennifer Berry Dody Blackstone Anne Casper Laura Clausen Jeanette Faber Norma Freeman Siri Gottlieb Heather Kaye Maren Keyt Katherine Klykylo Jan Leventer Jean Leverich Carolyn Loh April M. Mum Carol Milstein Betty Montgomery Mary Morse Tracy Parron Jennifer Rosenbaum Cindy Shindledecker Rhonda Sizemore Jari Smith
Katherine R. Spindler Emily Swan Ruth A. Theobald Patricia Tompkins Barbara Trevethan Barbara Tritten Jennifer Williams
Alto II
Paula Allison-England Siobhan Armstrong Carol Barnhart Ellen Bryan Alison Cohen Joan Cooper Marilyn A. Finkbeiner K.u Hagedorn Allison Halerz
Nancy Heaton Milena Hering Carol Kraemer Hohnke Jessica Lehr Cynthia Lunan Karla K. Manson Patricia Kaiser McCloud Beth McNally Kathleen Operhall Connie Pagedas Beverly N. Slater Gail Beck Stevens Cheryl Utiger Madeleine Alice VanWambeke Iris Wei Sandra K. Wiley
Tenor I
Fr. Timothy J. Dombrowski
Steven Fudge
Arthur Gulick
lason Harris
Steve Heath
Alexander Hollingsworth
J. Derek Jackson
Mark A. Krempski
Robert MacGregor
John McLaughlin
Nicholas J. Pharris
Elizabeth Sklar
Tenor II
Daniel Albert Jeff Druchniak John W. Etsweiler III Albert P. Girod Roy Glover Michael J. Gordon Matthew Gray Henry Johnson Bob Klaffke Richard A. Marsh AT. Miller Carl Smith Ron Vanasdlen Jim Van Bochove
Bass I
David Bowen Andrew Corum Michael Coster Roger Craig Cliff Davidson John Dryden Greg Fleming Chi Wang Fong Kenneth A. Freeman Andrew Hartley David W. Hoffman Craig LeMoyne George Lindquist Lawrence Lohr Steven Lorenz Charles Lovelace William Malone Joseph D. McCadden Stephen Merino Michael Pratt Bill Premin Daniel R. Ruge David Sandusky Michael Scionti Donald Sizemore Rodney Smith William Stevenson Steve Telian Thomas L. Trevethan Jesse Turner
Bass II
Robert Aylesworth William Baxter Joel Beam Kee Man Chang Jeff Clevenger George Dentel Don Faber James Head Chris Hill Rod Little Gerald Miller Edward Morris JeffSpindler Robert Stawski Michael Steelman Robert Strozier Terril O. Tompkins Benjamin Vickers Donald Williams
CFI Group
Anne Sofie von Otter
Halsingemarchen (Instrumental) August Bohlin
Hjortingen (Instrumental) Traditional, after Hjort-Anders Ohlsson
Klang min vackra Bjallra Traditional
Klang, min vackra bjallra i den sena kvall! Spring, min raska fale over mo och fjall! Hemat ila vi med vindens
snabba fart,
dar sa vila vi i mjuka armar snart, och var lycka ingen ma fbrtycka. Alia kviillens norrsken flamta dar i skyn, alia salla minnen skymta
for min syn. Klang, min vackra bjallra...
Bred dina vida vingar Swedish psalm
Bred dina vida vingar,
0 Jesu, over mig, och lat mig stilla vila
1 ve och val hos dig.
Bliv du min ro, min starkhet, min visdom och mitt rad, och lit mig alia dagar fa leva av din nad.
Fdrlat mig alia synder och tvS mig i dirt blod. Giv mig ett heligt sinne, en vilja ny och god. Tag i din vard och hagnad oss alia, stora, sma, och lat i frid oss ater till nattens vila ga.
Jingle my pretty sleigh bell
Jingle, my pretty sleigh bell in the late evening! Run, my swift steed, over heath and mountain! We are dashing homewards with the rapid
speed of the wind,
there we will soon be resting in soft arms, and may no one begrudge us our happiness. All the northern lights' are flickering in the sky, all blessed memories are flitting
passed before my eyes. Jingle, my pretty (sleigh-)bell...
1 aurora borealis
Spread your wings
Spread your wings and give me shelter,
oh Jesus, in your grace.
Let me feel your peaceful spirit
till I stand before your face.
Be my strength, oh Lord, in my sorrow,
my wisdom and advice.
Let me wake up safe tomorrow
and let heaven be my prize.
And forgive me if I stumbled though your blood was shed for me. I pray you make me humble and I pray you make me see. Oh guide us, King of mercy, and let us see the light from the holy gift you gave us that will lead us through the night.
Bereden vag for herran Bysskalle
Traditional, Arr. Anders Ohrwall
Bereden vag for Herran Berg sjunken, djup stin opp! Han kommer han som fjarran Var sedd av fadrens happ, Rattlardighelens Forste Av Davids hus den storste. Valsignad vare han Som kom a Herrens namn.
Gbr dina portar vida For Herrens hartighet Se folken kring dig bida Att na din salighet Kring jordens lander alia Skall denna lovsang skalla: Valsignad vare han Som kom a Herrens namn.
Koppangen Pereric Moraeus
Har ar stillhet och tystnad nu nar marken fargats vit. Fran den trygga gamla kyrkan klingar singen anda hiL Jag har stannat vid vagen for att vila mig ett tag och blev fangad i det gransland som forenar natt och dag.
Och ett sken ifran ljusen
bakom fonstrets valvda ram
har forenat dom sjalar
som finns med oss har i tiden.
Och jag vet att dom som har lamnat oss
har forstatt att vi ar
liksom fladdrande lagor
si lange vi ar har.
Och dar bland gnistrande stjarnor som forbleknar en och en kommer livet valdigt nara som en skymt av sanningen. Vi ar fingar i tiden som ett avtryck av en hand p5 ett frostigt gammalt fonster som fatt nad av tidens tand.
Prepare a way for the Lord
Prepare a way for the Lord
Each mountain raze, each valley fill!
He comes, the Lord
Accent hope of prophets still,
Prince of Justice
Head of David's house.
Blessed is He
Who comes in the name of the Lord.
God's people, for your sake
The eternal king is come
Lay palms, cast clothes before Him
And sing of hope fulfilled
God is faithful to his promises
Hosanna sing again,
Blessed is He
Who comes in the name of the Lord.
Holy Night
There is silence around me
in the peaceful winter night.
From the church down in the valley
I can see the candlelight.
And I stopped for a moment
in this winter paradise,
when I heard a choir singing
through the darkness and the ice.
And the rays from the lights
behind the window's vaulted frames
have united the souls in hope
that something great is waiting.
And I know that those who have left us here
had the same thoughts as I
like flames in the darkness
and stars up in the sky.
And I can see how they sparkle, and they fade before my eyes, and the truth is coming closer like a wonder in disguise. We are caught here a moment like an imprint of a hand on an old and frosted window or a footprint in the sand.
En sekund ar jag evig
och sen vet jag inget mer
bara ett att jag lever
lika fullt som nagon annan.
Jag ar har och mitt pa en frusen vag
finns det varme anda,
fastan snbn bbrjat falla
och himmelen blir gra.
Har ar stillhet och tystnad nur nar psalmen tonat ut men jag bar dom gamla orden i mitt hjarta som forut. Och jag sjunger for himlen kanske nagon mer hor pa "Hosianna i hojden" sen sa borjar jag att ga!
Och jag gar till dom andra
jag vill kanna julens frid.
Jag vill tro att han foddes
och finns med oss her i tiden.
Det ar jul och det finns ett barn i mig
som vill tro att det hant
och som tander ett ljus
varje sondag i advent.
Vatten (Instrumental) Traditional
Tomorrow shall be my dancing day
Traditional, Arr. S. Henryson
Tomorrow shall be my dancing day;
I would my true love did so chance
to see the legend of my play
to call my true love to my dance.
Sing o my love, o my love, my love, my love.
This have I done for my true love
Then was I born of a virgin pure;
of her I took fleshly substance.
Thus was I knit to man's nature;
to call my true love to my dance.
Sing o my love, o my love, my love, my love.
This have I done for my true love
In a manger laid and wrapped I was,
so very poor; this was my chance,
betwixt an ox and a silly poor ass,
to call my true love to my dance.
For a while I'm eternal -
that's the only thing I know,
I am here and we share our dreams
about our destination.
It is cold out here, and the snow is white
but I am warm deep inside,
I am warm 'cause I know that
my faith will be my guide.
Now there is silence around me, I have heard those words again in a hymn of grace and glory, saying: nothing is in vain! I can sing and believe it, let the message reach the sky. Oh silent night, let your promise never die!
And I long for the others,
it is peaceful in the church.
He was born for a purpose,
and that's why we're here together.
Holy night, I feel like a child inside,
and believe He was sent.
So I'm lighting a candle
each Sunday in Advent.
Sing o my love, o my love, my love, my love.
This have I done for my true love
Then afterwards baptized I was;
the Holy Ghost on me did glance,
my Father's voice heard from above
to call my true love to my dance.
Sing o my love, o my love, my love, my love.
This have I done for my true love.
Nigh Bethlehem
Alfred S. Burt, Arr. Henryson
Nigh Bethl'em on a wint'ry night,
noel, nod, noel!
Poor shepherds saw a lonely sight
when angel hosts in vesture bright
burst forth from heaven's lofty height,
and sang, "Noel, noel,"
and sang, "Noel, noel!"
Peace and good will the Christ child brings,
noel, noel, noel!
And saves all men from evil things,
for He of whom the angel sings
is Lord of lords and King of kinds!
Then sing noel, noel, noel!
Then sing noel, noel!
So Christian folk, put fear aside, noel, noel, noel!
And spread the gospel far and wide, that joy be great at Christmastide, and God in Christ be magnified! Then sing, noel, noel, noel! Then sing noel, noel!
Bright, bright, the Holly Berries
Burt, Arr. Henryson
Bright, bright the holly berries in the wreath upon the door, Bright, bright the happy faces with the thoughts of joys in store. White, white the snowy meadow wrapped in slumber deep and sweet White, white the mistletoe 'neath which two lovers meet. This is Christmas, this is Christmas, This is Christmas-time.
Gay, gay, the children's voices filled with laughter, filled with glee, Gay, gay the tinseled things upon the dark and spicy tree. Day, day, when all mankind may hear the angel's song again, Day, day when Christ was born to bless the sons of men. This is Christmas, this is Christmas, This is Christmas-time.
Sing, sing, ye heavenly host
to tell the blessed Savior's birth;
Sing, sing in holy joy,
ye dwellers all upon the earth.
King, King yet tiny Babe
come down to us from God above,
King, King of every heart
which opens wide to love.
This is Christmas,
this is Christmas,
This is Christmas-time.
Berliner Postiljon
Dutch Traditional
Btythe Bells (Instrumental) J.S. Bach, An. Percy Grainger
Santa Lucia Traditional
Natten gar tunga fjat runt gird och stuva. Kring jord som sol'n forlat skuggorna ruva. Da i vart morka hus stiger med tanda ljus Sankta Lucia.
Morkret skall flykta snart ur jordens dalar, som om ett underbart ord till oss talar: Dagen skall ater ny stiga ur rosig sky, Sankta Lucia.
Swedish Folk Music (Instrumental) Traditional
Staffansvisa Traditional
Staffan var en stalledrang,
vi tackom nu si garna,
han vattna' sina filar fern,
allt for den ljusa stjarna.
Ingen dager synes an,
stjamoma pi himmelen de blanka.
Basta filen apelgri,
vi tackom nu si garna,
den rider Staffan sjalv uppi,
allt for den ljusa stjarna.
Ingen dager synes an,
stjamoma pi himmelen de blanka.
Staffan rider till kalian,
vi tackom nu si garna,
han oser upp vatten med skallan,
allt for den ljusa srjarna.
Ingen dager synes an,
stjamoma pi himmelen de blanka.
Nu ar eld ut i var spis,
vi tackom nu si garna,
julegrot och julegris,
allt for den ljusa stjarna.
Ingen dager synes an,
stjamoma pi himmelen de blanka.
Saint Lucia
Night goes in heavy chains
around the yard and bears down.
On the earth which the sun has forsaken
the shadows brood.
Then into our dark house,
with a lit candle walks
Saint Lucia.
Darkness will soon take flight
from the vales of the earth,
as a wonderful
word tells us:
day will once again
rise from the rosy heavens,
Saint Lucia.
Staffans' Song
Staffan was a stable boy,
let us give thanks.
He waters his five horses
in the bright starlight.
No daylight is yet to be seen,
the stars in the sky are shining.
The best mount is dappled grey,
let us give thanks.
Staffan rides him first
in the bright starlight.
No daylight is yet to be seen,
the stars in the sky are shining.
Staffan rides to the well,
let us give thanks.
He scoops up water from the spring
in the bright starlight.
No daylight is yet to be seen,
the stars in the sky are shining.
Now there is fire in every hearth,
let us give thanks.
There's Christmas pudding and suckling pig,
In the bright starlight.
No daylight is yet to be seen,
the stars in the sky are shining.
For Redeliga Man
Godmorgon kare fader
for redeliga man Gud lit er vakna glader
det ar ingen dager an
Ingen dager synes an Ingen mane lyser an For stjarnorna pa himmelen de blanka
Och kara mor i huset
for redeliga man
I tanden nu upp ljuset
det ar ingen dager an
Ingen dager...
Jag ser pi eran skorsten vit
for redeliga man
for eder dotter kom jag hit
det ar ingen dager an
Ingen dager...
Jag stir ej langre utfor knut
for redeliga man
Jag tror det tjalas i min trut
det ar ingen dager an
Ingen dager...
Chorino pra ele (Instrumental) Hermeto Pascoal
Suite for Ensemble and Flute Solo
(Instrumental) J.S. Bach
For Good Men
Good morning dear father
for good men
God grant you wake up happy
it is not day yet
No daylight is yet to be seen
no moon shines yet
for the stars
in the sky are shining
And dear mother in the house
for good men
now lights up the candles
it is not day yet
No daylight is yet to be seen...
I look at your white chimney
for good men
I have come for your daughter
it is not day yet
No daylight is yet to be seen...
I'll stand no longer here outside
for good men
I think my mouth will freeze up
it is not day yet
No daylight is yet to be seen...
Weinhnachts Oratorium (Cantata VI, excerpt)
J.S. Bach
Nur ein Wink von seinen Handen Sturzt ohnmachtger Menschen Macht. Hier wird alle Kraft verlacht! Spricht der Hochste nur ein Wort, Seiner Feinde Stolz zu enden, O, so miissen sich sofort Sterblicher Gedanken wenden!
The Eyes of a Child
Svante Henryson (Katarina Henryson)
The eyes of a child
I wish I had the eyes of a child
Eyes that see the world for the first time
The sky is so blue
In the eyes of a child
The eyes of a child
I see it in the eyes of a child
No lazy little lies or deceitful guise
Just what's true
In the eyes of a child All the hope a heart can hold All the faith glows like gold All the love you will need To stay warm in the cold
The eyes of a child
I see it in the eyes of a child
The promise of a life
That will bring everything that is new
In the eyes of a child
That is what I see All that life can be In the eves of a child
Black Run (Instrumental) Henryson
Only a wave
Only a wave of His hands
topples the impotent power of humans.
Here all strength is laughable!
If the Highest speaks only a word,
to terminate the pride of His enemies,
o, then how immediately must
the thoughts of mortals be turned aside!
Carol of the Russian children
Snowbound mountains, snowbound valleys Snowbound plateaus, clad in white
Fur-robed Moujiks
Fur-robed nobles
Fur-robed children, see the light!
Shaggy ponies, Shaggy oxen Gentle shepherds wake the light Little Jesus, little mother Good Saint Joseph come this night.
Fur-robed Moujiks
Fur-robed nobles
Fur-robed children, see the light!
Caroling, caroling
(Wihla Hutson)
Caroling, caroling, now we go Christmas bells are ringing Caroling, caroling thru the snow Christmas bells are ringing!
Joyous voices sweet and dear Sing the sad of heart to cheer Ding-dong, ding-dong Christmas bells are ringing!
Caroling, caroling thru the town Christmas bells are ringing Caroling, caroling up and down Christmas bells are ringing Mark ye well the song we sing Gladsome tidings now we bring Ding-dong, ding-dong Christmas bells are ringing!
Caroling, caroling, near and far Christmas bells are ringing Following, following yonder star Christmas bells are ringing Sing we all this happy morn "Lo, the King of heav'n is born!" Ding-dong, ding-dong Christmas bells are ringing!
Have yourself a merry little Christmas
Hugh Martin, Arr. Henryson
Have yourself a merry little Christmas. Let your heart be light, From now on our troubles Will be out of sight.
Have yourself a merry little Christmas, Make the Yule-tide gay, From now on our troubles Will be miles away.
Here we are as in olden days, Happy golden days of yore, Faithful friends who are dear to us Gather near to us once more.
Through the years
We all will be together
If the Fates allow,
Hang a shining star
On the highest bough,
And have yourself
A merry little Christmas now.
Silent Night
Franz Xaver Gruber, Arr. Henryson
Silent night Holy night
All is calm all is bright
'Round yon virgin Mother and Child
Holy infant so tender and mild
Sleep in heavenly peace
Sleep in heavenly peace
Silent night, holy night,
Shepherds quake at the sight.
Glories stream from heaven afar,
Heav'nly hosts sing Alleluia;
Christ the Savior is born;
Christ the Savior is born.
Silent night, holy night,
Son of God, love's pure light.
Radiant beams from Thy holy face,
With the dawn of redeeming grace,
Jesus, Lord, at Thy birth;
Jesus, Lord, at Thy birth
CFI Group
Anne Sofie von Otter
Anders Jacobson, Violin Torbjorn Nasbom, Violin,
Nyckelharpa Par Nasbom, Viola Svante Henryson, Cello, Bass
Bengt Forsberg, Piano Bengan Janson, Accordion Jan Bengtson, Flute Anders Astrand, Percussion Roger Tallroth, Guitar
August Bohlin
iTrad. after Hjort-Anders Ohlsson
Saturday Evening, December 11, 2004 at 8:00 Hill Auditorium Ann Arbor
9{omefor the Holidays
Trad. Swedish psalm
rr. Anders Ohrwall
'ereric Moraeus
Klang min vackra Bjallra
Bred dina vida vingar
Bereden vag for herran Bysskalle
Mr. Nasbom, Nyckelharpa
Trad., An. s. Henryson Tomorrow shall be my dancing day
Ufred S. Burt, An. Henryson Nigh Bethlehem
hirt, Arr. Henryson Bright, bright, the Holly Berries
utch Trad. Berliner Postiljon
S. Bach,
rr. Percy Grainger
Blythe Bells
Mr. Forsberg, Piano
Trad. Trad.
Hermeto Pascoal J.S. Bach
J.S. Bach
Svante Henryson Henryson
Trad. Burt
Hugh Martin, An. Henryson Franz Xaver Gruber, Arr. Henryson
Santa Lucia
Traditional Swedish songs to the Festival of St. Lucia, December 13
Swedish Folk Music
Staffansvisa For Redeliga Man
Chorinho pra ele
Mr. Jansson, Accordion
Suite for Ensemble and Flute Solo (excerpt)
Mr. Bengtson, Flute
Weinhnachts Oratorium (Cantata VI, excerpt) Nur ein Wink
The Eyes of a Child Black Run
Mr. Henryson, Cello
Carol of the Russian children
Caroling, caroling
Have yourself a merry little Christmas
Silent Night
31st Performance of the 126th Annual Season
126th Annual Choral Union Series
The photographing or sound recording of this concert or possession of any device for such photo?graphing or sound record?ing is prohibited.
This performance is sponsored by CFI Group.
Media partnership for this performance is provided by WGTE 91.3 FM and Observer & Eccentric Newspapers.
The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, MI.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for tonight's concert.
The recording Home for Christmas by Anne Sofie von Otter is available on Deutsche Grammophon.
Anne Sofie von Otter appears by arrangement with IMG Artists, New York, NY.
Large print programs are available upon request.
Prine Sofie von Otter is consid?ered to be one of the finest singers of her generation and is sought after by many of the major conductors, orchestras, operas, and recording companies of the world. Born in Sweden, her studies began in Stockholm and continued with Vera Rozsa at London's Guildhall. She commenced her professional career as a principal member of the Basel Opera before she was launched on an interna?tional career in which the operatic roles of Mozart and Strauss have formed a major part of her repertoire. Particularly renowned for her interpretation of Oktavian in Der Rosenkavalier, this is a role she has not only recorded for EMI with Bernard Haitink, but has also performed in Stockholm, Munich, Chicago, Covent Garden, and at the Bastille, as well as in Vienna, at the Met, and in Japan with Carlos Kleiber. A frequent performer of opera in concert, Anne Sofie von Otter has participated in live recordings of Debussy's Melisande (Orchestre National de FranceHaitink); ]udithl Bluebeard's 'fastle (BPOHaitink for EMI); CharlotteWerther (Opera de LyonNagano for Erato); Ariodante and Hercules (Musiciens du Louvre Minkowski); and Baba the TurkRake's Progress (LSO Gardiner), all for DG Archiv. : Opera performances in recent seasons have included Orfeo in Geneva, Handel and Mozart's Sesto and Ariodante at the Palais Gamier, Sesto and Idamantes at the Met with Levine, Oktavian in Paris, Munich, and Stockholm, Nerone in Monteverdi's L'lncoronazione di Poppea at the Aix-en-Provence Festival, the title role in Gliick's Alceste, conducted by John Eliot Gardiner at the Chatelet (released on DVD), and her highly-acclaimed stage debut as Carmen in the new production by David McVicar presented at the 2002 Glyndeboume Festival, conducted by Philippe Jordan.
An equally busy concert career has brought Anne Sofie von Otter regularly to the major concert halls of Europe and North America and she enjoys a regular partnership with some of the world's pre-eminent conductors. She is also an acclaimed recitalist and appears regularly
around the world with her long-time accompa?nist, Bengt Forsberg.
An exclusive solo recording artist with Deutsche Grammophon (DG) for many years, Anne Sofie von Otter boasts an extensive per?sonal discography: together with Bengt Forsberg, she has made a number of award-winning recital and chamber music discs; with orchestra she has recorded Weill, Berlioz, Mozart, Berg, Zemlinsky, and Mahler. Her opera catalogue includes Dorabella with Solti, Monteverdi's Ottavia, Gluck's Orfeo as well as Sesto and Idamantes with Gardiner, Marguerite with Chung, and R. Strauss' Composer with Sinopoli. Recent releases include Mahler Symphony No. 3 (BoulezDG); Gluck's Alceste (GardinerPhilips); a selection of Offenbach's arias and scenes with Les Musiciens du Louvre (MinkowskiDG); For the Stars, a collaboration with the songwriter, arranger, and producer, Elvis Costello; a recital disc of Beethoven, Meyerbeer, and Spohr with Melvyn Tan; and the Gramophone Award-winning and Grammy-nominated Mots d'amour, a complete disc dedi?cated to the music of Cecile Chaminade.
This season's operatic commitments include her first Xerxes in Paris with Christie and Beatrice et Benedict at the Chatelet with future commitments including ClaironCapriccio at the Bastille with Thielemann and Monteverdi's Ottavia at Paris' Theatre des Champs-Elysees with Rene Jacobs and David McVicar. In addi?tion to two return productions to New York's Metropolitan Opera with James Levine, Anne Sofie von Otter's busy itinerary combines recitals around the world (including tours of Japan and America) with concerts throughout Europe and America.
This evening's performance marks Anne Sofie von Otter's third appearance under UMS auspices. Ms. von Otter made her UMS debut in January 1999 with the Chamber Music Society of Lincoln Center and appeared as mezzo-soprano soloist with Les Musiciens du Louvre in April 2002 at Hill Auditorium.
UMS experience
4 n n t 11
i no n
September 04
Fri 17 Lincoln Center Jazz Orchestra
with Wynton Marsalis Thu 23 Ravi Shankar Sun 26 Emerson String Quartet
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-Suu 4-5 Handel's Messiah
Sat 11 Anne Sofie von Otter, mezzo-soprano
Please note that a complete listing of all UMS Educa?tional programs is conveniently located within the concert pro?gram section of your program book and is posted on the UMS website at
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
Thu 10 Netherlands Wind Ensemble
Fri-Sat 11-12 Rennie Harris Puremovement: Facing Mekka
Sun 13 Michigan Chamber Players (Complimentary Admission)
Fri 18 Soweto Gospel Choir
Sat 19 Jack Dejohnette Latin Project
Sun 20 Takdcs Quartet: Complete Bartok String Quartet Cycle
Mon-Wed 21-23 Kodo Drummers
Fri 25 A Midsummer Night's Dream: A Semi-Staged Performance
Sat 5 Dan Zanes and Friends Family Performance
Wed 9 Florestan Trio
Thu 10 Fred Hersch Ensemble: Leaves of Grass
Thu-Sun 10-13 Robert Lepage: The Far Side of the Moon
Sat 12 Oslo Philharmonic with Anne-Sophie Mutter, violin
Sat 19 James Galway, flute and Lady Jeanne Galway, flute
Fri-Sat 1-2 Emio Greco PC
Sat 2 UMS Choral Union: Haydn's Creation
Fri 8 Trio Mediaeval
Sat 9 Malouma
Sun 10 Songs of the Sufi Brotherhood
Wed 13 Chamber Orchestra of Philadelphia with Ignat Solzhenitsyn, piano
Thu 14 La Capella Reial de Catalunya and Le Concert des Nations
Wed 20 Felicity Lott, soprano and Angelika Kirchschlager, mezzo-soprano
Thu 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
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 Liberty997.7185
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 2333 East Stadium 663.3381
Laky's Salon
512 South Main 668.8812
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 State 994.7777
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
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
Concertmaslers, cont.
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
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 Bernreuter
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 Jim 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
Joan 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 Jeannine 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
Marta 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, com.
Martin D. and Connie D. Harris Julian and Diane Hoff Carolyn Houston Raymond and Monica Howe Robert M. and Joan 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 lane 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 Sarns
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 JoAn 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 Jim Baker
M. A. Baranowski
Alex W. and Gloria L. Barends
Norman E. Barnett
Mason and Helen Barr
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 J. Burstein
H. D. Cameron
Janice A. Clark
Lois and Avern Cohn
Malcolm and luanita Cox
Sally A. Cushing
Roderick and Mary Ann Daane
Charles and Kathleen Davenport
Judge and Mrs. S. J. Elden
Stefan S. and Ruth S. Fajans
Elly and Harvey Falit
Dr. and Mrs. John A. Faulkner
Sidney and lean 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. Haefner 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 LaZebnik 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, cont.
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
Jeanne Raisler and Jon Cohn
Ms. Claudia Rast
Anthony L. Reffells and
Elaine A. Bennett Rudolph and Sue Reichert Mamie Reid
Jay and Machree Robinson Jonathan and Anala Rodgers Lisa Rozek Alicia Schuster Mrs. Harriet Selin Frances U. and Scott K. Simonds Robert and Elaine Sims Irma J. Sklenar
James Skupski and Dianne Widzinski Donald C. and Jean M. Smith Shelly Soencn 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 Aminoff
Harlene and Henry Appelman
Mr. and Mrs. Arthur J. Ashe III
Dan and Monica Atkins
Barbara B. Bach
Reg and Pat Baker
Paulett Hank.
Mr. and Mrs. John and Ginny Bareham
David and Monika Barera
Lois and David Baru
Francis f. and Lindsay Bateman
Mrs. Jcre M. Bauer
Gary Beckman and Karla Taylor
Professor and Mrs. Erling Blondal
Dr. and Mrs. Ronald M. Benson Joan and Rodney Bentz Dr. Rosemary R. Berardi Steven J. Bernstein and Maria Herrero Jack Billi and Sheryl Hirsch Ilene and William Birge Bob and Sharon Bordeau Victoria C. Botek and William M.
Mr. and Mrs. Richard Boycc 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 Jean 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 J. 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 Ellie 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 Dreyfuss Elizabeth Duell Aaron Dworkin
Morgan H. and Sara O. Edwards
Dr. Alan S. Eiser
Dr. Stewart Epstein
John W.Etsweiler III
Phil and Phyllis Fellin
Dr. James F. Filgas
Susan FilipiakSwing City Dance Studio
Herschel and Adricnne Fink
Paula L. Bockcnstedt and David A. Fox
Howard and Margaret Fox
Jason I. Fox
Dr. Ronald Freedman
Lynn A. Freeland
Dr. Leon and Marcia Friedman
Philip and Rencc Frost
Lela I. Fuestcr
Mr. and Mrs. William Fulton
Ms. Patricia Garcia
Tom Gasloli
Deborah and Henry Gerst
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 Hcntschel Herb and Dee Hildebrandt James Hilton
Peter Hinman and Elizabeth Young Jeffrey and Allison Housncr Mabellc Hsueh Jane H. Hughes Ms. Beverly P. Jahn Marilyn G. Jeffs 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, cant.
lames and lane Kistcr
Steve and Shira Klein
Laura Klem
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
Derick and Diane Lenters
Sue Leong
Myron and Bobbie Levine
Jacqueline H. Lewis
Daniel Little and Bernadette Lintz
Vi-Cheng and Hsi-Yen Liu
Dr. and Mrs. Lcnnart H. Lofstrom
Naomi E. Lohr
Ronald Longhofer and Norma McKenna
Florence LoPatin
Judy Mac
Pamela J. MacKintosh
Mark Mahlberg
Claire and Richard Marvin
Latika Mangrulkar
Mclvin and Jean 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 Eadic and Barbara Murphy lames 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 Resnik and John Martin Judith Revells Constance O. Rinehart Kathleen Roelofs Roberts Richard Z. and Edic W. Rosenfeld Mr. Haskcll Rothstein Ms. Roscmarie Rowney
Ina and Terry Sandalow
Robert E. Sanecki
Michael and Kimm Sarosi
Sarah Savarino
Albert J. and lane L. Sayed
David and Marcia Schmidt
Susan G. Schooner
Paul and Penny Schreiber
Mrs. Harriet Selin
David and Elvcra Shappirio
Jean and Thomas Shope
Mrs. Patricia Shurc
Alida and Gene Silvcrman
Nancy and Brooks Sittcrley
Susan and Leonard Skerker
Carl and Jari Smith
Mrs. Robert W. Smith
Arthur and Elizabeth Solomon
James A. Somers
Cheryl Lynn Soper
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 Terril 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.LC.
National City Bank
Thomas B. McMullcn Company
Total Travel Management
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
$10,000-S49,999 Chamber Music America Maxine and Stuart Frankel
Foundation National Endowment for
the Arts
SU0OO-S9.999 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
(ofR. and P. Heydon) National Dance Project of the New England Foundation for the Arts Sams Ann Arbor Fund Vibrant of Ann Arbor
Tribute Gifts
Contributions have been received in honor andor memory of the following individuals:
H. Gardner Ackley Herb and Carol Amster Maurice Binkow Tom and Laura Binkow Mr. and Mrs. Thomas
Caterino Heidi Cohan Robert Bruce Dunlap Alice Kclsey Dunn David EkJund Kenneth C. Fischer Dr. Beverley B. Geltncr Michael Gowing Ula 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 Prue 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 VMS in their estate plans. VMS 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 Evcritt 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
Jan Barney Newman Dr. and Mrs. Frederick C.
Mr. and Mrs. Dennis Powers Mr. and Mrs. Michael
Mr. and Mrs. Jack W. Ricketts Mr.andMrs.WillardL
Rodgers Prudence and
Amnon Rosenthal Mr. Haskell Rothstein Irma J. Skelnar Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wctzel 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. VMS extends its deepest appreciation to the many donors who have established andor contributed to the following funds:
H. Gardner Ackley Endowment Fund Herbert S. and
Carol Amster Fund Catherine S. Arcure
Endowment Fund Carl and Isabelle Brauer
Endowment Fund Choral Union Fund Hal and Ann Davis
Endowment Fund Ottmar Eberbach Funds Epstein Endowment Fund JazzNet Endowment Fund William R. Kinney
Endowment Fund NEA Matching Fund Palmer Endowment Fund Mary R. Romig-deYoung
Music Appreciation Fund Charles A. Sink
Memorial Fund Catherine S. ArcureHerbert
E. Sloan Endowment Fund University Musical Society
Endowment Fund
In-Kind Gifts
A-l Rentals, Inc.
Acme Mercantile
Raquel and Bernard Agranoff
Alexandra's in Kerrytown
Amadcus Cafe
Ann Arbor Automotive
Ann Arbor Art Center
Ann Arbor Women's
City C!ub 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 Cappcllos 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 Katherinc and Damian Farrell Ken and Penny Fischer Food Art Sara Frank The Gandy Dancer Beverley and Gerson Gcltner 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 Kcllerman
Kerrytown Bistro
Kilwin's Chocolate Shoppe
King's Keyboard House
Kinko's Copies
Laky's Salon
Ray Unce
George and Beth Lavoie
Leopold Bros. Of Ann Arbor
Richard LcSueur
Catherine Lilly
Carl Lutkehaus
Dont 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 Schrciber
Shaman Drum Bookshop
Loretta Skewcs
Dr. Elaine R. Soller
Maureen Stoefflcr
Tom Thompson Flowers
Two Sisters Gourmet
Van Bovens
Washington Street Gallery
Whole Foods
Weber's Restaurant
14 Ann Arbor Symphony
Orchestra 14 Automated Resource
Management 14 Bank of Ann Arbor
19 Bellanina Day Spa
20 Bodman LLP
25 Borders Downtown
26 Butzel Long
44 Christian Tennant
Custom Homes 20 Comerica, Inc. 26 Cottage Inn Restaurant 26 Dance Gallery Studio 18 The Earle Uptown 40 Edward Surovell
40 Forest Health Services 20 Format Framing &
28 Glacier Hills 42 Herb David Guitar
Studio 32 Howard Cooper
28 Jaffe Raitt Heuer and
16 King's Keyboard House 18 Lewis Jewelers 28 Mundus and Mundus 25 Performance Network
37 Psarianos Violins 28 Red Hawk
36 St. Joseph Mercy Health System
38 Tisch Investments
37 Tom Thompson Flowers
25 Toyota
18 Ufer&Co.
16 U-M Museum of Art
38 WDET 44 WEMU 32 WGTE 42 WKAR FC WUOM 28 Zanzibar
The "Michigan Difference" makes a difference for ums.
The Campaign for the University 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 Michigan'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 734-647-1178 to start a conversation with UMS about making a planned gift, or visit the UMS website at WWW.UMS.ORG.

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