UMS Concert Program, Friday Feb. 18 To 25: University Musical Society: Winter 2005 - Friday Feb. 18 To 25 --
Season: WINTER 2005
University Of Michigan, Ann Arbor
WINTER 2105 SEASON
UNIVERSITY MUSICAL SOCIETY
OF HE UNIVERSITY OF MICHIGAN I ANN ARBOR
university musical society
University of Michigan Ann Arbor
2 5 Letters from the Presidents Letter from the Chair
UMS leadership 6 12 13 Corporate LeadersFoundations UMS Board of DirectorsSenate Advisory Committee UMS StaffTeacher Advisory Committee
UMS services 15 18 21 General Information Tickets www.ums.org
UMSannals 23 24 25 UMS History UMS Choral Union Venues & Burton Memorial Tower
UMS experience 29 32 35 126th UMS Winter Season UMS Education Programs UMS Preferred Restaurant & Business Program
UMSsupport 37 37 39 41 52 Advisory Committee Sponsorship 8c Advertising Internships & College Work-StudyUshers Support UMS Advertisers
Front Cover Lorin Maazel (Chris Lee), Engraving of A Midsummer Night's Dream, Malouma Back Cover Anne-Sophie Mutter. Robert Lepage's 77e Far Side of the Moon, DJ Spooky, Soweto Gospel Choir
FROM THE U-M PRESIDENT
The University of Michigan joins the University Musical Society (UMS) in welcoming you to the spectacular array of events scheduled for the Winter 2005 Season. We are proud of our wonderful partnership, which
provides outstanding oppor?tunities for University of Michigan students and faculty to learn about the creative process and to enjoy these extraordinary performances.
We are delighted to be working with UMS to help sponsor educational activi?ties, especially the events
related to the visit of the New York Philharmonic on February 5 and 6. Specifically, we are joining UMS in offering master classes for young musi?cians at the University and in the community, in addition to providing an opportunity for Maestro Lorin Maazel to work with our advanced conducting students.
It is hard to believe that an entire year has passed since we re-opened the historic and splendid Hill Auditorium. This year, we will continue our great tradition of brilliant perform?ances with the return appearance of soprano Audra McDonald in January, our first presenta?tion of the South African Soweto Gospel Choir in February, and the other-worldly The Far Side of the Moon in March, by Quebec-based director Robert Lepage and his Ex Machina theater company, with soundscape by the notable per?formance artist Laurie Anderson, the first artist-in-residence at NASA in 2003.
We are also honored to be joining UMS in presenting DJ Spooky's powerful Rebirth of a
Nation and the extraordinary dancing and chore?ography of Ronald K. BrownEvidence, both presented as part of the University's commemo?ration of the birthday of Martin Luther King, Jr. in January.
At the end of February, we look forward to a semi-staged concert performance of Shakespeare's A Midsummer Nights Dream with the Orchestra of the Age of Enlightenment, conceived for the concert hall by Tim Carroll of Shakespeare's Globe Theatre. This unique production, which will also take place at Lincoln Center, will be presented at Hill Auditorium on February 25.
In 2004, we launched our ambitious capital campaign for the future of the University of Michigan, titled "The Michigan Difference." We have highlighted the arts as a specific area for support. We provide experiences, both in the classroom and throughout our museums and theaters, to stimulate creativity, engage tomor?row'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 excel?lence 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 the University Musical Society dur?ing the exhilarating 0405 season. We share the goal of celebrating the arts in an exciting academic milieu.
Mary Sue Coleman
President, University of Michigan
FROM THE UMS PRESIDENT
Thank you for attending this performance. I hope we'll see you at other UMS per?formances this winter. Take a look at our complete event listing on p. 29.
The UMS mission includes education,
creation, and presentation. With respect to education, UMS is committed to serving people of all ages. We have a Youth Education Program that each year serves more than 10,000 K-12 students and their teachers. The young people attend UMS youth performances
in area theaters, teachers participate in work?shops that help them make the connections between the arts on the stage and the curricu?lum of the school, and artists make themselves available for post-performance discussions, seminars with students, and in-school visits to classrooms and assemblies. UMS also provides many opportunities for adult patrons who par?ticipate in our study groups, artists' interviews, preand post-concert Meet the Artists sessions, and other learning opportunities.
1 want to focus this letter on our work with college and university students. We serve them in many ways. We encourage student attendance at UMS performances with many discount ticket options, from our Half-Price Ticket Sales twice a year to our Rush Ticket program where students can obtain unsold tickets for $10 on the day of performance (or the Friday prior to weekend events). Faculty members purchase discounted
group tickets for their classes, and U-M's Mentorship Program and Arts at Michigan program promote student attendance at UMS events. More and more UM faculty members throughout the entire campus are becoming UMS partners as they provide intellectual, cultural, or historical context about what UMS puts on the stage for their students.
As the New York Philharmonic appears on our series this winter, I'm reminded of one of the most memorable experiences for U-M stu?dents when Leonard Bernstein made his final Ann Arbor appearance on October 29, 1988. Bernstein was for many years the music direc?tor of the New York Philharmonic. His 1988 appearance, however, was with the Vienna Philharmonic in a gala concert celebrating his 70th birthday and the 75th anniversary of Hill Auditorium. On the Friday night a week before the concert, students began to line up outside Burton Tower 14 hours before 550 $10 student tickets would go on sale. The regular ticket prices were $25-$ 125. While waiting in line for the ticket office to open, the inventive U-M students wrote "Messages to Lenny" on a clipboard they circulated. UMS sent more than 100 messages and photographs of the students to Bernstein, who was impressed that a new generation of young people were taking an interest in him.
James Duderstadt had just become president of the University on October 1. He and his wife Anne said they would be pleased to host a post-concert reception for Bernstein, and then made the wonderful suggestion that the other guests be 30 U-M students who would enjoy meeting
Leonard Bernstein talking to students at the U-M President's home in 1988.
the Maestro. President Duderstadt left the selection of students to then School of Music Dean Paul Boylan and me. Paul chose 20 stu?dents who, like Bernstein at their age, were studying piano, conducting, and composition. I chose the first 10 students in the ticket line, the ones who had spent the night outside Burton Tower, nearly all of whom were freshmen.
After the concert, which included works of Beethoven, Brahms, and Bernstein, the Maestro held court with the 30 students at the President's Home, answering questions and telling stories until 1:30 a.m. At that time, sensing that it would be good to let the Duderstadts get some sleep, Bernstein invited all the students to join him as they would move the party to the Full Moon on Main Street. The upperclassmen drove their cars, and Bernstein invited all the others to jump into his limo for the ride. The student maestro 'dialogue' continued until 4:30 a.m.
In the spring of 1992, three students stopped by my office, asking for a few minutes of my time. I did not recognize them. They intro?duced themselves and told me they would be
graduating soon. They shared that they had had a marvelous experience at Michigan. They had learned a lot in their stud?ies, seen their basketball team win a national championship, and met life-long friends. What they stopped by to tell me was that, for them, the
peak experience of their life at Michigan was their evening with Leonard Bernstein back in 1988. They were freshmen back then and were near the front of the ticket line. The students also noted that, with Bernstein's death in 1990, the same experience they had would no longer be available to any other students, making their time with him much more special. Their visit made my day.
I'd love to hear your stories about UMS events that have had special meaning to you. I also want you to feel free to speak or write to me about anything related to UMS that you think I should know. Look for me in the lobby, call me at 734.647.1174, or send me an email message at email@example.com.
Very best wishes,
Kenneth C. Fischer UMS President
LETTER FROM THE CHAIR
I am so pleased to welcome you to the 2005 Winter UMS season. It promises to be as exciting as always. This winter 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 conceived for the concert hall by Tim Carroll of Shakespeare's Globe Theatre, a multi-concert Arab World Music Festival, vocalist Audra
McDonald, and terrific theater and jazz among the more than 30 presentations you will find in your UMS winter 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 41 of this program book. And a special thanks to our corporate sponsors whom we recognize on the next few pages.
Enjoy the performance!
Chair, UMS Board of Directors
CORPORATE LEADERS FOUNDATIONS
President, 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."
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."
Timothy G. Marshall
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."
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."
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."
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."
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."
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."
Chairman, The Ghafari Companies "The Ghafari Companies is 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."
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."
Chairman and CEO, ProQuest Company "ProQuest Company is honored to be a new supporter of the University Musical Society's educational programs. I believe UMS is a major contributor to the cultural richness and educational excellence of our community."
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."
Paul A. Phillips
Vice President Business Development, Standard Federal Wealth Management "Standard Federal appreciates and understands the value that arts and music bring to the community. We are proud to be supporters of the University Musical Society."
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."
Robert R. Tisch
President, Tisch Investment Advisory "Thank you, Ann Arbor, for being a wonderful community in which to live, raise a family, and build a successful business."
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."
Senior Vice President Americas International, Western Union "Western Union is proud to support organizations and pro?grams that showcase artistic diversity from around the world. We extend our sincere pleasure in being part of the University Musical Society season, and congratulate UMS on its commitment to fostering greater cultural understanding through the arts."
"Universal Classics Group, home of Deutsche Grammophon, Decca, and Philips Records three great labels long synonymous with the finest in classical music recordings is proud to support our artists performing as part of the University Musical Society's 126th season."
FOUNDATION AND GOVERNMENT SUPPORT UMS gratefully acknowledges the support of the following foundations and government agencies.
$100,000 and above Doris Duke Charitable
Foundation JazzNet Michigan Council for Arts and
Cultural Affairs The Power Foundation The Wallace Foundation
The Japan Foundation
$10,000-49,999 Cairn Foundation Chamber Music America Community Foundation for
Southeastern Michigan Maxine and Stuart Frankel
Foundation National Endowment for
the Arts The Whitney Fund
$1,000-9,999 Akers Foundation Altria Group, Inc. Arts Midwest
Heartland Arts Fund
Japan Business Society of
Detroit Foundation Martin Family Foundation Mid-America Arts Alliance Montague Foundation THE MOSAIC FOUNDATION
(of R. and P. Heydon) National Dance Project of the
New England Foundation for
Sarns Ann Arbor Fund Vibrant of Ann Arbor
UNIVERSITY MUSICAL SOCIETY of the University of Michigan
UMS BOARD OF DIRECTORS
Prudence L. Rosenthal,
Chair Clayton E. Wilhite,
Vice-Chair Sally Stegeman
DiCarlo, Secretary Michael C. Alleniang,
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 Bellinger lanice Stevens Bot&ford Paul C Bo-lan Cirl A. Brauer Allen P. Britton William M. Broucek Barbara Everitt Brvant Letitii I. Byid LevmS. Cohan lillA-CotT (VerB.Cbrr
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Robert F. DiRomualdo lames I. Duderstadt David Featherman Robben W. Fleming David I. Flowers Bevcrley B. Geltner William S. Harm Randy I. Harris Walter L Harrison Norman G. Herbert Peter N. Heydon Kjy Hunt Alice Davis Irani Stuart A. Isaac Thomas E. Kauper David B. Kennedy Richard L Kennedy Thomas C Kinnear F. Bruce Kulp
Leo A. Legatski Earl Lewis Patrick B. Long Helen B. Love Judythe H. Maugh Paul W. McCracken Rebecca McGowan Shirley C. Neuman Len Niehoff Joe E. O'Neal John D. Paul John Psarouthakis Rossi Ray-Taylor lohn W. Reed Richard H. Rogel Ann Schriber Daniel H. Schurz Harold T. Shapiro George I. Shirley
John O. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A. Solis Peter Sparling Lois U. Stegeman Edward D. Surovell lames L. Telfer Susan B. Ullrich Eileen Lappin Weiser Gilbert Whitaker B. Joseph White Marina v.N. Whitman Iva M.Wilson
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tauinine Buchanan Victoria Buckler Heather Bvtik UunCiplin
RMiducJEndns NSutcf Femrio
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Anne Kloack Inn Kluge (ill Lippnun Stephanie Lord ludy Mj,
Morrine Maltznun Mjn Mjhe levinn MvNjnurj CmkU Mitdtdl Danioi Prtcrson
Wendy Moy Rinsom
Penny Schreiber Suzanne Schroeder AlizaShevrin Alkb Silvennan NUrvanne Tdese Mary VanJrwide DodyViah Enid Wassenivui WVndy Wfoods Man-kite Zdenock
AdministrationFinance 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
Jerry Blackstone, Conductor and
Jason Harris, Assistant Conductor Steven Lorenz, Assistant Conductor Kathleen Operhall, Chorus Manager lean 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 Mamie Reid, Manager of Individual
Support Lisa Rozek, Assistant to the Director
of Development Shelly Soenen, Manager of Corporate
Support Cynthia Straub, Advisory Committee
and Events Coordinator
Ben Johnson, Director Rovvyn 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 Claire C. Rice, Associate
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 Manager Alexis Pelletier, Assistant John M. Steele, Assistant
Work-Study Kara Alfano Nicole Blair Stephan Bobalik Bridget Briley Patrick Chu Elizabeth Crabtree Caleb Cummings Sara Emerson Joshua Farahnik Bethany Heinrich Rachel Hooey Cortney Kellogg Lena Kim Lauren Konchel Michael Lowney Ryan Lundin Natalie Malotke Brianna McClellan Parmiss Nassiri-Sheijani Erika Nelson Fred Peterbark Omari Rush Faith Scholfield Andrew Smith Sean Walls Amy Weatherford
Kristen Armstrong Steve Hall David Wilson
Honorary Conductor of Philanthropy Herbert E Sloan, M.D.
UMS TEACHER ADVISORY COMMITTEE
FranAmpey Lori Atwood Robin Bailey loeBatts Kathleen Baxter Gretchen Baxtresser Elaine Bennett Lynda Berg Gail Bohner Ann Marie Border
David Borgsdorf Sigrid Bower Susan Buchan Diana Clarke Wendy Day Jacqueline Dudley Susan Fflipiak Lori Fithian lennifer Ginther Brenda Gluth
Don Packard Michelle Pert Wendy Raymond Katie Ryan Kathy Schmidt Debra Sipas-Roe Tulani Smith Julie Taylor Dan Tolly Barbara Wallgren
GENERAL INFORMATION Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
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 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 complimentary 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.
If you have a blue or gold U-M permit with the gate controlled access feature, please consider using the new structure that has opened off of Palmer Drive! There is a light at this intersection of Palmer and Washtenaw, making it easier to access the structure, and we expect there to be less traffic through that entrance. ONLY for U-M employees with bluegold permits and AVI access. There will not be an attendant for visitor parking at that entrance.
Other recommended parking that may not be as crowded as on-campus structures: Liberty Square structure (formerly Tally Hall), entrance off of Washington Street between Division and State. About a two-block walk from most per?formance venues, $2 after 3 pm weekdays and all day SaturdaySunday.
For up-to-date parking information, please visit www.ums.org.
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.
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
UMS makes every effort to begin concerts at the published time. Most of our events take place in the heart of central campus, which does have limited parking and may have sev?eral events occurring simultaneously in differ?ent theaters. Please allow plenty of extra time to park and find your seats.
Latecomers will be asked to wait in the lobby until seated by ushers. Most lobbies have been outfitted with monitors andor speakers so that latecomers will not miss the performance.
The late seating break is determined by the artist and will generally occur during a suit?able repertory break in the program (e.g., after the first entire piece, not after individual movements of classical works). There may be occasions where latecomers are not seated until intermission, as determined by the artist. UMS makes every effort to alert patrons in advance when we know that there will be no late seating.
UMS tries to work with the artists to allow a flexible late seating policy for family per?formances.
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 deduc?tion. 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 photocopy 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
performance. You may fax a photocopy of your torn tickets to 734.647.1171. Lost or misplaced tickets cannot be exchanged.
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
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 firstname.lastname@example.org.
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 per valid student ID. For weekday performances, $10 Rush Tickets are available the day of the per?formance between 9 am and 5 pm in person only at the Michigan League Ticket Office. For weekend performances, $10 Rush Tickets are available the Friday before the performance between 9 am and 5 pm in person only at the Michigan League Ticket Office. Students may also purchase two 50 Rush Tickets starting 90 minutes prior to a performance at the perform?ance venue. 50 Rush Tickets are 50 off the original ticket price. All rush tickets are subject to availability and seating is at the discretion of the ticket office.
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.
Looking for that perfect 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 www.ums.org each month!
Why should you log onto www.ums.org
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, boused 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.
UMS CHORAL UNION
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 subscription performances of Stravinsky's Symphony of Psalms, John Adams' Harmonium, Beethoven's Symphony No. 9, Orff's Carmina Burana, Ravel's Daphnis et Chloe and Brahms'
Participation in the Choral Union remains open to all by audition. Members share one common passion--a love of the choral art.
Ein deutsches Requiem, and has recorded Tchaikovsky's The Snow Maiden with the orchestra for Chandos, Ltd.
In 1995, the Choral Union began accepting invitations to appear with other major regional orchestras, and soon added Britten's War Requiem, Elgar's The Dream ofGerontius, the Berlioz Requiem, and other masterworks to its repertoire. During the 9697 season, the Choral Union again expanded its scope to include per?formances with the Grand Rapids Symphony, joining with them in a rare presentation of Mahler's Symphony No. 8 (Symphony of a Thousand).
Led by newly appointed Conductor and Music Director Jerry Blackstone, the 0405 season includes a return engagement with the DSO (Orff's Carmina Burana, presented in
Orchestra Hall in Detroit in September), Handel's Messiah with the Ann Arbor Symphony (which returned to Hill Auditorium last December), and Haydn's Creation (with the Ann Arbor Symphony in Hill Auditorium in April).
The culmination and highlight of the Choral Union's 0304 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 email@example.com or call 734.763.8997.
VENUES & BURTON MEMORIAL TOWER Hill Auditorium
Ottera!! 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.
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.
Atbor Springs Water Company is generously providing complimentary water lo UMS artists backstage at the Power Center throughout the 0405 season.
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.
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.
v of the University of Michigan, Ann Arbor
Event Program Book Friday, February 18 through Friday, February 25, 2005
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 UMS makes every effort to begin concerts at the published time. Most of our events take place in the heart of central cam?pus, which does have limited parking and may have several events occurring simultaneously in different theaters. Please allow plenty of extra time to park and find your seats.
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.
Soweto Gospel Choir 5
Friday, February 18, 8:00 pm Hill Auditorium
Jack DeJohnette Latin Project 13
Saturday, February 19, 8:00 pm Hill Auditorium
Takacs Quartet 19
Sunday, February 20, 4:00 pm Rackham Auditorium
Monday, February 21, 8:00 pm Tuesday, February 22, 8:00 pm Wednesday, February 23, 8:00 pm Power Center
A Midsummer Night's Dream 33
Friday, February 25, 8:00 pm Hill Auditorium
Dear UMS Audience Member,
When I work with the UMS staff, board, and partners to design a performing arts season, I am always looking for artists who have something extra-special to say about the repertoire they will perform for us while in Ann Arbor. Whether they are creative artists who will be performing their
own work or interpre?tive artists who are keeping the repertoire alive with new and distinctive approaches to work that we know and love, my primary goal is to make sure that a UMS perform?ance never feels like "just another concert." (Case in point: I per-
sonally will never forget the Lahti Symphony's Sibelius Symphony No. 2 or the New York Philharmonic's Mahler No. 5!)
Two of the events featured in this installment of the UMS program book promise to reach that goal. The Takacs Quartet's return to UMS with their complete survey of the Bartok string quartets is more than just another concert. It is a complete four-hour immersion into the world of these six unique masterpieces of 20th-century chamber music, which stand along with Shostakovich's 15 quartets as supreme achieve?ments of the form. We have even planned a break with simple box dinners available to any and all to fortify us on the journey. The Takacs Quartet commands this repertoire; it is exciting,
in our age of "sound-bite" brevity, to know that our community appreciates the challenge of this unique odyssey.
The other event which promises to be anything but "just another concert" is a special concert production of Shakespeare's A Midsummer Night's Dream featuring the complete incidental music of Felix Mendelssohn performed by the Orchestra of the Age of Enlightenment and complete scenes from the play performed by a cast of British actors. The music is under the direction of Ivan Fischer, last here with the Budapest Festival Orchestra, and the stage direction is by Tim Carroll of Shakespeare's Globe Theatre whose production of Twelfth Night in November of 2003 was a sensation. Bringing this famous concert hall music back to its original context as a compliment to the play's spoken words is a truly distinctive happening only planned for New York's Lincoln Center, Ann Arbor's Hill Auditorium, and London's Royal Albert Hall. Don't miss this one...it should be unique and memorable.
Let me know what you think of your performance experience by e-mailing me at firstname.lastname@example.org.
UMS Director of Programming
UMS EdUCQtional EventS through Friday, February 25, 2005
All UMS educational activities are free, open to the public, and take place in Ann Arbor unless otherwise noted. Please visit www.ums.org for complete details and updates. For more information, contact the UMS Education Department at 734.647.6712 or e-mail email@example.com.
Complete Bartok String Quartet Cycle Led by Andrew Jennings, U-M Professor of Violin
Bela Bartok's (1881-1945) six landmark string quartets are considered musical masterpieces of the 20th century. Andrew Jennings will explore the melodic, rhythmic, and harmonic innova?tions that make these quartets so spectacular. A U-M School of Music string quartet will join Professor Jennings to provide a live illustration of these magnificent pieces.
This study club is an essential primer for those attending the Takacs Quartet's perform?ance of the complete string quartet cycle on Sunday, February 20 at Rackham Auditorium. Since its formation in 1975, the ensemble has appeared regularly in every major music capital and prestigious music festival. They have won numerous awards and first prizes at competi?tions around the world. Tuesday, February 15, 7:00-9:00 pm, Ann Arbor District Library, Downtown Branch, Basement Level, 343 S. Fifth Avenue
Soweto Gospel Choir
This NETWORK reception is hosted by the
African American Arts Advocacy Committee
prior to the performance of the Soweto Gospel
Choir. Anyone interested in connecting,
socializing, and networking with the African
American community is invited to attend.
Free and open to the public.
Friday, February 18, 6:15-7:45 pm, Michigan
League, 2nd Floor, ConcourseHussey
Vandenberg Rooms, 911 N. University
Pfizer Global Research and Development
Soweto Gospel Choir
David Mulovhedzi and Lucas Deon Bok, Music Directors
Lucas Deon Bok, Jabulile Dladla, Jeho Fata, Nkosinathi Hadebe, Shimmy Jiyane, Thembisa Khuzwayo, Mirriam Matshepo Kutuane, Sipokazi Luzipo, Bongumusa Mabaso, Vusumuzi Madondo, Sibongile Makgathe, Lindo Makhathini, Joshua Mcineka, Goodwill Mandlenkosi "Mandla" Modawu, Paseka Motloung, Original Velile Msimango, Mulalo Mulovhedzi, Sarah Mulovhedzi, Maserame Ndidwa, Gregory Ndou, Godfrey Nene, Sipho Ngcamu, Noluthando "Thando" Ngqunge, Nozipho Ngubane, Linda Nxumalo, Vusimuzi Shabalala, Lehakwe Tlali
Lester McGrath, ICA Presents Pty, Ltd.
Andrew Kay, Andrew Kay and Associates
Clifford Hocking and David Vigo, Hocking and Vigo
Beverly Bryer and Lester McGrath
Shimmy Jiyane, Choreography Lyn Leventhorpe, Costume Design
Friday Evening, February 18, 2005 at 8:00 Hill Auditorium Ann Arbor
The Manhattan Brothers Jikele Emaweni (Sung in Xhosa)
Sipokazi Luzipo, Lead Vocals l.w.i i 11 i Dladla, Back-up Vocals Sipokazi Luzipo, Narrator
Gift Vilakazi and Nkululeko Vilakazi
Vuma (Sung in Zulu)
SiBONGILE Makgathe, Lead Vocals Maserame Ndindwa, Back-up Vocals
Thina Simnqobile (Sung in Zulu)
Jabulile Dladla, Lead Vocals Nozipho Konate, Back-up Vocals
Mudimo (Sung in Zulu)
Lehakwe Tlali, Lead Vocals Maserame Ndindwa, Back-up Vocals
Zanele (Sung in Sotho)
Bongumusa Mabaso, Lead Vocals Nathi Hadebe, Back-up Vocals Sipokazi Luzipo, Narrator
}. Clegg and P. Gabriel AsimbonangaBiko
Patric Van Blerk and Fransua Roos
L Humphries, T. Woods, and I. Burgie
Lindo Makhathini and Lehakwe Tlali, Lead Vocals Shimmy Jiyane and Sipokazi Luzipo, Back-up Vocals
Maserame Ndindwa and Shimmy Jiyane, Lead Vocals Thando Ngqunge and Lindo Makhathini, Back-up Vocals
Ride On Moses
Nathi Hadebe, Lindo Makhathini, Shimmy Jiyane, Vusi Madondo, and Greg Ndou, Lead Vocals
Mbube (Traditional Zulu Chant)
Thembisa Khuzwayo, Lindo Makhathini,
Shimmy Jiyane, and Lucas Bok, Lead Vocals Nozipho Konate and Shimmy Jiyane, Back-up Vocals
Ahuna Ya Tswanang Le Jesu (Sung in Sotho)
Thando Ngqunge, Shimmy Jiyane, and
Bongumusa Mabaso, Lead Vocals Matshepo Kutuane, Back-up Vocals
Many Rivers to Cross
Sibongile Makgathe, Lead Vocals Sipokazi Luzipo, Back-up Vocals
Going Down Jordan
Nathi Hadebe, Lead Vocals Lindo Makhathini, Back-up Vocals
Nathi Hadebe and Nozipho Konate, Lead Vocals Lindo Makhathini and Jabulile Dladla, Back-up Vocals
Nathi Hadebe, Lindo Makhathini, Thando
Ngqunge, and Sibongile Makgathe, Lead Vocals
Lucas Bok, Shimmy Jiyane, Lehakwe Tlali, and Nozipho Konate, Back-up Vocals
Jerusalem (Sung in Zulu)
Vusi Shabalala and Sipokazi Luzipo, Lead Vocals Sibongile Makgathe and Lindo Makhathini, Back-up Vocals
Sipho Ngcamu, Narrator
Malaika (Sung in Swahili)
Sarah Mulovhedzi, Lead Vocals Matshepo Kutuane, Back-up Vocals
Thula Baba (Sung in Zulu)
Thembisa Khuzwayo, Lead Vocals Thando Ngqunge, Back-up Vocals
Sikulandile (Sung in Zulu)
Matshepo Kutuane, Lead Vocals Jeho Fata, Back-up Vocals
Paul Simon and Joseph Shabalala Hamilton Nzimande
Tarn Tarn Tin Tin (Vocal Warm-up)
Lucas Bok and Choir, Lead Vocals
HomelessHlanganani (Sung in Engligh and Zulu)
Maserame Ndindwa and Sibongile Makgathe,
Lead Vocals Thando Ngqunge and Maserame Ndindwa,
Namba, Mkhize, and Hlongweni
Siliwelile (Sung in Zulu)
Bongumusa Mabaso, Lead Vocals Paseka Motloung, Back-up Vocals
Bayete (Sung in Zulu)
Sipokazi Luzipo, Thando Ngqunge, and
Jabulile Dladla, Lead Vocals Maserame Ndindwa and Thembisa Khuzwayo,
Sipho Ngacamua and Jabulile Dladla, Drums
Lucas Bok, Lindo Makhathini, and Sibongile Makgathe, Lead Vocals
Lindo Makhathini, Nathi Hadebe, and Jabulile Dladla, Back-up Vocals
Nkosi Sikilele (South African National Anthem)
Performed with the Soweto Gospel Choir Band
45th Performance of the 126th Annual Season
11th Annual Global Series
The photographing or sound recording of this concert or possession of any device for such photo?graphing or sound record?ing is prohibited.
Tonight's performance is sponsored by Pfizer Global Research and Development, Ann Arbor Laboratories.
Special thanks to David Canter of Pfizer Global Research and Development, Ann Arbor Laboratories, for his generous support of the University Musical Society.
Media partnership for this performance is provided by WEMU 89.1 FM.
Soweto Gospel Choir appears by arrangement with IMG Artists, New York, NY.
Large print programs are available upon request.
Song Translations Jikela Emaweni
(Fighting Sticks of Young Men) A traditional song sung in Xhosa calling young men to fight for their manhood
Young boys carry sticks to go and fight by the river.
Men are afraid of stick fighting.
When I walk around the big rocks, I'll be gone.
Men turn around and dance a very good dance. Men do a shaking dance, and do it very well. They do that for Radebe.
When I walk around the big rocks, I'll be gone.
(Believe, In Heaven There Are Promises)
Believe in the Lord
And you will be saved.
There's hope and promise in Heaven.
lust believe and you'll be saved.
(We Have Overcome the Devil) A Zulu song of praise to ward off evil
He's fleeing away. We have overcome him, We have overcome him. By the blood of the Lamb We have overcome the Devil.
Mighty God we thank you. Everything and anything Was made by you. Oh Mighty Lord we thank you.
(The name of a beautiful woman) A traditional Zulu wedding song, in which the suitor asks the beautiful young Zaneli why she won't respond to his proposal of marriage
Zanele, why are we fighting for you Come close to me, my hope. All my wishes come through. My love for you is so strong I could die for you.
(The Lion Sleeps Tonight)
A Zulu chant, originally written by Solomon Linda, but adapted and renamed "The Lion Sleeps Tonight." It became a worldwide hit.
In the jungle, the mighty jungle, The lion sleeps tonight. In the jungle the mighty jungle, The lion sleeps tonight.
Hush my darling don't cry my darling
The lion sleeps tonight.
Hush my darling don't cry my darling.
Ahuna Ya Tswanag Le Jesu (There's Nobody like Jesus)
There's nobody like Jesus.
I have searched everywhere,
And I have gone around everywhere,
And I've found no one like Him.
And I found Jesus.
Jerusalem is my home
That I love so much
My wishes and hopes are for you
My eyes will see beautiful gates
And the street of gold
Of the City of Salvation
(My Beautiful Angel)
I love you my angel; I want to marry you to be my wife. But I don't have any money to pay for lobola (dowry).
You're the only angel I think of;
You bring happiness to my heart.
If I marry you, I'll be the happiest man.
Keep quiet my child
Keep quiet my baby
Be quiet, daddy will be home by dawn.
There's a star that will lead him home
The star will brighten his way home.
The hills and stones are still the same my love. My life has changed, yes my life has changed.
The children grow but you don't know my love. The children grew but you don't see them grow.
(We Have Taken the Bride)
We have taken the bride,
We have taken the bride.
The groom said we must come with you
Because you are causing him grief
By making him a single man.
Marry and be happy.
Sung in English and Zulu, this song of praise says that despite people being relocated, South Africa has come together as one nation with much hope for the future.
Unite, Africans unite!
Be one in spirit
For our land has been destroyed.
(We've Crossed Jordan)
We have crossed Jordan, We have crossed Jordan, And we have made it there. We shall meet our Savior there, We shall see our Savior there, And we have made it there!
Oh hail, Oh hail,
Lion of Judah.
You are the Head of the Church,
Alpha and Omega,
The beginning and the end.
Oh Great and Mighty God Seated on the Heavenly throne, You are the shield of truth.
In its relatively short history, the Soweto Gospel Choir has received extraordinary local and internation?al acclaim. It has toured around the world and has received numerous accolades and awards, including the 2003 Helpmann Award (Australia's Performing Arts Award) for "Best Contemporary Music Concert" and, most recently, the top recognition in the "Best Choir of the Year" category of the 2003 American Gospel Music Awards. The choir was also nominated for a 2003 South African Music Award.
Soweto Gospel Choir's first international tour was to Australia and New Zealand in 2003, and since then it has twice been to the Edinburgh Fringe Festival (where it enjoyed two sold-out seasons), to Singapore, Hong Kong, Taiwan, Hamburg, Spain, throughout South Africa, and on an extensive 30-venue tour of the UK.
The choir's mission is to showcase its talent around the world while simultaneously giving
back to the local community in gratitude for the wonderful opportunities members of the choir have been given over the past two years. In August 2003, the choir set up its own charity foundation in association with Nkosi's Haven, called Nkosi's HavenVukani (meaning "to arise, do something"), through which funds are raised after each performance for AIDS Orphan establishments which receive no government or private funding.
In November 2003, the choir was invited to participate with top international and national stars in the 46664 Concert in Cape Town, South Africa, under the auspices of Nelson Mandela. This Aids Benefit launched the worldwide music-led campaign to raise awareness of the devastat?ing impact of Aids in Africa, and helped raise monies for this cause. The choir supported such music legends as Bono, Peter Gabriel, Queen, Anastacia, Jimmy Cliff, and the Eurythmics.
This current 35-city tour marks the Soweto Gospel Choir's North American debut, where it is introducing its first CD, Voices From Heaven. The choir is thrilled to be performing through?out North America and already looks forward to returning on its next tour.
Tonight's performance marks the Soweto Gospel Choirs UMS debut.
David Mulovhedzi (Musical Director, Choir Master) has been managing Gospel choir groups in Soweto since 1986. A member of the Holy Jerusalem Evangelical Church, this cre?ative and enterprising Soweto resident has entertained the President of China, the Prince of Saudi Arabia, and former President Nelson Mandela. His choir, the Holy Jerusalem Choir, also performed at a Miss World pageant and for Michael Jackson during his South African tour. Mr. Mulovhedzi's extensive knowledge of African Gospel and traditional music has been extremely influential in the selection of the repertoire for the choir.
Lucas Deon Bok (Musical Director, Assistant Choir Master) was first introduced to music by his father who is a guitarist. By the age of seven, Mr. Deon Bok was playing bass guitar and later moved on to acoustic guitar after he joined a church choir. Mr. Deon Bok writes music, plays multiple instruments, and is a vocalist. He has performed successfully with a group called In Harmony and in 1995 participated in a project called Gospel Explosion. In 1999, Mr. Deon Bok was employed as the music director of the Berea Christian Tabernacle (AFM).
As long as he can remember, Shimmy Jiyane (Choreographer) has wanted to dance. He real?ized his dream with performances in shows with Tina Turner and South African star Vicki Samson, and choreographers Adele Blank, David Matamela, and Debbie Rakusin. David Matamela and Debbie Rakusin took Mr. Jiyane's abilities to greater heights, turning his natural exuberance into quality performances in con?temporary jazz and traditional dance. During 1997, he was a member of Vusa Dance Company's African Moves which performed to capacity audiences at the Melbourne International Festival. This was followed in 1998 by a nation?wide tour of Australia. Mr. Jiyane now choreo?graphs, dances, and performs; he was recently nominated for a FNB Vita Award and has appeared on numerous stage and TV shows. His recent work with the Gospel group Joyous Celebration has allowed him to concentrate on his vocal performance capacities.
Margot Teele, Tour Manager
Robin Hogarth, Record Producer
For more information on the Soweto Gospel Choir, please visit www.sowetogospelchoir.com.
The Soweto Gospel Choir's recording Voices From Heaven is available on the Shanachie Entertainment label. For more information, please visit www.shanachie.com.
Jack DeJohnette Latin Project
Jack Dejohnette, Drums Don Byron, Clarinet Giovanni Hidalgo, Congas Luisita Quintero, Timbales Edsel Gomez, Piano Jerome Harris, Bass
Program Saturday Evening, February 19, 2005 at 8:00
Hill Auditorium Ann Arbor
Tonight's program will be announced by the artists from the stage and will not contain an intermission.
46th Performance of the 126th Annual Season
11th Annual lazz Series
The photographing or sound recording of this concert or possession of iny device for such photo?graphing or sound record?ing is prohibited.
Special thanks to Randall and Mary Pittman for their continued and generous support of the University Musical Society, both personally and through Forest Health Services.
The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
Media partnership is provided by WEMU 89.1 FM, WDET 101.9 FM, and Metro Times.
Jack Dejohnette exclusively performs on SONOR drums and Sabien cymbals.
Giovanni Hidalgo exclusively performs on LP congas.
Luisita Quintero exclusively performs on LP timbales, bongos, and djembe.
Jack Dejohnette Latin Project appears by arrangement with ALIA Agency, Alison Loerke, President. For more information please visit www.aliaagency.com.
Large print programs are available upon request.
In June 2003 Jack Dejohnette was honored as Artist-in-Residence at the Montreal International Jazz Festival. This invitation allowed Jack to put together several projects of his own choosing. One of the options Jack chose was to celebrate Latin percussion. He invited master conguero Giovanni Hidalgo, rising timbales star Luisito Quintero, magisterial pianist Edsel Gomez, bassist Jerome Harris, and the ever-inventive clarinetist Don Byron to join him on stage in what turned out to be a dynamic and thrilling set. Alain Brunet raved in the Montreal newspaper La Presse: "the table was set for a perfect evening of real Latin jazz, of the highest harmonic subtleties, superb melodies, and quite simply hallucinogenic percussion."
The underlying concept for the Jack Dejohnette Latin Project is to be found in Jack's love and appreciation for the rhythms of hand percussion. Whether the rhythms are from Cuba, Africa, India, Latin America, or Brazil, hand drumming is an approach to performance that Jack embodies on the trap drum kit. This concept set the foundation for Jack's choices in putting together an ensemble that would embody his love of and appreciation for the sound of Latin percussion.
A priority on his list was to work with mas?ter conguero Giovanni Hidalgo. Jack first became aware of Giovanni Hidalgo on a video, Conga Masters. He was attracted by Giovanni's style, a style that can be described as rather tabla-like, although Giovanni certainly incorpo?rates the tradition of conga-playing in his music. Drawn by Giovanni's versatility, experi?ence, and style, Jack knew he would fit into this musical setting comfortably and creatively.
Involving Don Byron was natural longtime friends and neighbors, Jack holds tremendous respect for the work that Don does, and finds he is attracted to Don's eclectic taste in music, a taste that mirrors his own. Don Byron eagerly explores music of different genres, and enjoys putting together projects that reflect that taste. Don Byron soon introduced Jack to pianist Edsel Gomez. Something of a pianist himself, Jack is intrigued by Edsel's approach to the
instrument, embodying characteristics of both Cecil Taylor and Eddie Palmieri all rolled into one a fascinating package.
Jack's friend and colleague, pianist and composer Danilo Perez, recommended Luisito Quintero for the ensemble. This young, hot, timbales player is "first call" in a number of bands led by stars of the Latin music scene. His tremendous skill and youthful energy quickly endears him not only to his band mates, but to jazz audiences who are just getting introduced to this Venezuelan dynamo.
Jerome Harris was asked to complete the "all-star" band, an instrumentalist who Jack has worked with now for a number of years. Jerome carries his own distinctive voice in every musical genre, regardless if he is performing on bass, singing, or playing guitar.
Jack De Johnette is one of the true masters and leading figures in jazz drumming for over 30 years now. His approach to music is comprehensive, exploring the varied colors and timbres of his instruments. His work with jazz giants such as John Coltrane, Miles Davis, Bill Evans, Sonny Rollins, Ornette Coleman, Herbie Hancock, and Keith Jarrett is incomparable. In 1968 he joined Miles Davis on the quintes?sential jazz fusion recording Bitches Brew and soon began recording as a leader while continu?ing to perform as a sideman with some of the finest players in jazz.
In the early 1970s he began his 25-year col?laboration with ECM Records, where he has performed on over 40 recordings to date with his various groups, as a guest sideman, and with the trio led by pianist Keith Jarrett and including bassist Gary Peacock. During the early 1970s he formed New Directions, an ensemble featuring John Abercrombie, Eddie Gomez, and Lester Bowie. This was followed by Special Edition, and then the Gateway Trio with Dave Holland and John Abercrombie.
Universally recognized as a jazz master, Jack's passion for music crosses boundaries
with abandon, incorporating an amalgam of musical traditions from jazz, blues, and rock, to reggae, Native American, and other indigenous music. The evolution of his music has bridged these diverse musical realms with an openness that has made him a compelling performer, composer, and bandleader. His most recent project in this vein is a series of concerts with the West African kora player Foday Musa Suso, a collaboration soon to be recorded and released on ECM Records.
In the summer of 2003 Jack was invited by the Montreal International Jazz Festival to be Artist-in-Residence as part of their Invitation series. This opportunity allowed Jack to curate several evenings of music. The first evening fea?tured Jack with long-time colleagues and friends Herbie Hancock, and Dave Holland; the second evening featured Jack in duo with Foday Musa Suso; the third evening was an explosive Latin Project (performed tonight); and the final evening a duet with vocalist Bobby McFerrin.
Jack Dejohnette has the unique distinction of being voted "Best Drummer" in the Downbeat Reader's Poll an unprecedented 13 consecutive years (1980-1992). He has received France's prestigious Grand Prix du Disque, "Album of the Year" awards in Downbeat and
Swing Journal (Japan), and an Honorary Doctorate of Music from the Berklee School of Music in Boston. In 1997 he performed with Herbie Hancock and Natalie Cole on the national televised broadcast of the Grammy Awards, and was a featured musical guest in the Blues Brothers 2000 film released in 1998.
Tonight's performance marks Jack Dejohnette's second appearance under UMS auspices. Mr. Dejohnette made his UMS debut in September 2000 at Hill Auditorium as a member of the Keith Jarrett, Gary Peacock, and Jack Dejohnette trio.
For over a decade, Don Byron has been a sin?gular voice in a dizzying range of musical con?texts, exploring widely divergent traditions while continually striving for what he calls "a sound above genre." As clarinetist, composer, arranger, and social critic, he redefines every genre of music he plays, be it classical, salsa, hip-hop, funk, klezmer, or any jazz style from swing and bop to cutting-edge downtown improvisation. He has been consistently voted best clarinetist by critics and readers alike in leading international music journals since being named "Jazz Artist of the Year" by Downbeat magazine in 1992. Acclaimed as much for his restless creativity as for his unsurpassed virtu?osity as a player, Byron has presented a multi?tude of projects at major music festivals around the world, most recently in Vienna, San Francisco, Hong Kong, London, New York, and Monterey.
Born and raised in the Bronx, Byron was exposed to a wide variety of music by his father, who played bass in calypso bands, and his mother, a pianist. His taste was further refined by trips to the symphony and ballet and by many hours spent listening to recordings. He formalized his music education by studying classical clarinet with Joe Allard. He later stud?ied with George Russell at the New England Conservatory of Music and, while in Boston, also performed with Latin and jazz ensembles.
An integral member of New York's cultural community for over a decade, Byron has taken
part in an extraordinarily wide range of projects. For four seasons, he served as artistic director of jazz at the Brooklyn Academy of Music where he curated a concert series for the Next Wave Festival and premiered his children's show, Bug Music for Juniors.
Don Byron has released a diverse array of recordings during the last decade including his latest CD, Ivey-Divey, released last fall on Blue Note Records. On Ivey-Divey, Byron is joined by pianist Jason Moran and drummer Jack Dejohnette in a tribute to tenor legend Lester Young.
Since 2000, Don Byron has been creating a multitude of projects as Artist-in-Residence at New York's Symphony Space and will present the Symphony Space Adventurers Orchestra and its ever-growing repertoire at future festi?vals in the US and Europe.
Widely acknowledged as one of the greatest congueros of our time, Puerto Rican-born LP artist Giovanni Hidalgo began playing percus?sion at the age of five. Born into a family of musicians, Giovanni first played on a set of congas handcrafted by his father, the great Jose "Manefigue" Hidalgo. He also practiced on other percussion instruments, developing the lightning precision technique for which he is noted for today.
Giovanni first became popular outside of Puerto Rico in the early-1980s when traveling to Cuba to work with the group Batacumbele, in which he forged his life-long friendship with Changuito. Hidalgo soon after appeared on Batacumele's debut album, which has subse?quently become a cult favorite. Featuring his incredible hand-drumming technique, the album shot Giovanni to instant prominence. Inspired by his method, Cuban musicians incorporated it into their own hybrid musical style called Songo.
While performing with Eddie Palmieri in New York, Giovanni forged another life-long friendship, this time with Dizzy Gillespie, with whom he toured in 1988 as a member of Gillespie's United Nations Orchestra. He has also toured extensively with Tito Puente and Mickey Hart's Planet Drum, and has performed
with the likes of Dave Valentin, Paquito d'Rivera, and Carlos Santana. A noted session player, Giovanni has recorded with numerous distinguished musicians, including Freddy Hubbard, Paul Simon, and Mickey Hart.
In 1992, Giovanni accepted a teaching posi?tion at the Berklee College of Music in Boston. That same year, he released his first solo album, Villa Hidalgo, following it up with Worldwide in 1993. His collaborative effort with pianist, Michel Camilo, Hands of Rhythm, released in 1997, was nominated for a Grammy award in the "Best Latin Jazz" category.
An unrivaled performer whose skill and technique are admired by percussionists around the world, Giovanni is constantly evolving as a musician. His style is a melding of Latin, jazz, and folkloric influences, delivered in his signa?ture nimble-handed fashion.
Born in Caracas, Venezuela, Luisito Quintero has music in his blood. His father was a respected percussionist in his native Venezuela, and taught Luisito through his adolescent years until the time he enrolled in the prestigious Orquesta Simfonica de Venezuela (The Symphonic Orchestra of Venezuela).
Luisito soon gained the respect and admira?tion of his peers, and, at age 12, his technique on timbales enabled him to join the popular musical ensemble Grupo Guaco and, later, El Trabuco Venezolano. Luisito also worked with Oscar D'Leon, but it was the Latin music diva INDIA'S keen eye for talent that transformed Luisito's musical career, from his early incep?tion into her band as percussionist to his cur?rent role as band director. During his tenure with INDIA, Luisito evolved as an accom?plished musician and has collaborated exten?sively in the productions of INDIA'S two Latin Grammy-nominated albums. The first produc?tion, Sobrefuego was certified gold; selling over one-half million units, and the second produc?tion, Sola won the Billboard award for "Best Salsa Female Entertainer."
Among Luisito's live playing credits and recordings are work with the late Tito Puente, Eddie Palmieri, Marc Anthony, Gloria Estefan,
Richard Bona, and Horatio Hernandez.
Through his percussion clinics and record?ed works, Luisito shares his knowledge and insight with up-and-coming percussionists. Today, he is an established and respected musi?cian, band director, and master percussionist.
Edsel Gomez is one of today's premiere Latin jazz pianists. Born in Puerto Rico in 1962, he began piano studies at age five. He grew up in a musical environment that allowed him to mas?ter Afro-Caribbean rhythms, working since childhood with an incredible array of Latin music idols such as Marvin Santiago, Celia Cruz, Carlos "Patato" Valdes, Santitos Colon, Cheo Feliciano, Roberto Roena, Willie Colon, Ismael Rivera Jr., and Luis "Perico" Ortiz.
He gained a Bachelor of Music Degree at Berklee College of Music with a Count Basie Award for outstanding musicianship in 1985 while expanding his performance credits work?ing with such renowned jazz artists as Gary Burton, Claudio Roditi, Bill Pierce, Don Byron, Chick Corea, and Jerry Gonzalez.
Relocating to Brazil from 1986 to 1996 he studied extensive Brazilian music while accom?panying such renowned artists as Cauby Peixoto, Wilson Simonal, Paulinho da Viola, Amelinha, Caetano Veloso, Joao Bosco, and Lucinha Lins. Within the Brazilian landscape he worked as a pianist, arranger, composer, and conductormusical director of Broadway-like shows, and served as an educator and producer while managing his own recording studiopro?duction company. Gomez's personal approach to fusing jazz, Latin, and Brazilian music gives him a unique personality and musical voice.
Since relocating to New York in 1997, he has been featured in saxophonist
David Sanchez's Grammy-nominated albums; clarinetist Don Byron's Tuskeegee Experiments, Music for Six Musicians, and You Are Number Six, Richard Bona's Scenes From My Life; and has toured extensively around the world.
Edsel has released an album dedicated to the music of Chico Buarque and recently recorded Cubist Music (produced by Don Byron), featuring Edsel's original compositions
reflecting his own improvisational concept based on Cubist Art. He has written a book explaining the details of his cubist music sys?tem, yet to be published.
Jerome Harris has been widely acclaimed as a versatile and penetrating stylist on both the guitar and the bass guitar.
Harris's first major professional performing experience came as bass guitarist with Sonny Rollins in 1978; from 1988 to 1994 he played guitar with Rollins, and has also recorded and or performed with Jack Dejohnette, Bill Frisell, Ray Anderson, Bobby Previte, Oliver Lake, Don Byron, Bob Stewart, George Russell, and Julius Hemphill. His extensive international touring has included several stints in Japan with Sonny Rollins, as well as several US State Department tours.
Jerome Harris has appeared on over 50 recordings. His albums as a leader include Rendezvous, the first jazz recording from the high-end audio magazine Stereophile, and Hidden In Plain View (New World), where his acoustic bass guitar is at the heart of an all-star group, creatively interpreting pieces by the inspiring jazz master Eric Dolphy.
Jerome Harris has contributed a major piece of jazz scholarship to the recently published collection of essays The African Diaspora: A Musical Perspective (Garland). His essay, "Jazz on the Global Stage," is a wide-ranging insider's view of the history, present state, and future implications of the spreading and flourishing of jazz in locales far from its African-American origins. In the volume's introduction, the editor award-winning jazz scholar Ingrid Monson -writes that "Harris provides the most compre?hensive portrait currently available of jazz out?side the United States."
After studying psychology and social rela?tions at Harvard University, he attended New England Conservatory of Music as a scholar?ship student in jazz guitar, graduating with honors in 1977.
Universal Classics Group
Edward Dusinberre, Violin Karoly Schranz, Violin Roger Tapping, Viola Andras Fejer, Cello
Sunday Afternoon, February 20, 2005 at 4:00 Rackham Auditorium Ann Arbor
The String Quartets ofBela Bartok
String Quartet No. 1, Op. 7
Poco a poco accelerando all'allegretto Introduzione Allegro Allegro vivace
String Quartet No. 2, Op. 17
Allegro molto capriccioso
String Quartet No. 3
Prima parte: Moderato --
Seconds parte: Allegro --
Ricapitulazione della prima parte: Moderato --
Coda: Allegro molto
String Quartet No. 4
Prestissimo, con sordino Non troppo lento Allegretto pizzicato Allegro molto
60-MINUTE DINNER BREAK
String Quartet No. 5
Scherzo. Alia bulgarese Trio
Finale: Allegro vivace Presto
String Quartet No. 6
Mesto Piu mosso, pesante Vivace
Mesto Burletta: Moderato
47th Performance of the 126th Annual Season
42nd Annual Chamber Arts Series
The photographing or sound recording of this concert or possession of any device for such pho?tographing or sound recording is prohibited.
This performance is sponsored by Borders Group and Universal Classics Group.
Special thanks to Atlanta Bread Company for their contributions to this afternoon's performance.
Media partnership for this performance provided by WGTE 91.3 FM, Observer & Eccentric Newspapers, and WDET 101.9 FM.
Special thanks to Andrew Jennings and the U-M School of Music for their participation in this residency.
The Takacs Quartet appears by arrangement with Seldy Cramer Artists and records exclusively for DeccaLondon Records.
The Takacs Quartet is Quartet-in-Residence at the University of Colorado in Boulder and Fellow of The Guildhall School of Music and Drama in London.
Large print programs are available upon request.
The Six String Quartets
Born March 25, 1881 in Nagyszentmiklos,
Hungary [now Sinnicolau Mare, Romania] Died September 26, 1945 in New York
The string quartets of Bela Bart6k have long been recognized as one of the peaks of 20th-century chamber music. In these six masterworks, Bartok created a classical sense of harmony and balance using entirely new and
non-classical means an achievement to which few of his contemporaries can lay claim. His non-traditional har?monies can sound harsh and disso?nant at first hear?ing, but he used them in such a coherent and logi-
cal way that the ear soon accepts them as a nat?ural idiom, organically evolving from the past.
It is noteworthy that each of the quartets has a different sequence of movements, and there is not a single one that adheres to the classical allegro-adagio-scherzo-finale scheme. Devising the unique form to best serve his intentions in each case was one of Bartok's most important contributions to the genre of the string quartet.
In his numerous writings on music, Bartok rarely discussed the harmonic and structural innovations found in the quartets. On the other hand, he had a great deal to say about the rela?tionship between his compositions and folk music. A leading expert in the then-new disci?pline of ethnomusicology, Bartok had collected, notated, and analyzed thousands of melodies of Hungarian, Romanian, and Slovak origin, and quite a few from other ethnic groups. The influence of these melodies was easy to see in the arrangements and straightforward folksong imitations found in many of Bartok's works. Yet the composer maintained that all his works had
folk music as their basis, even, he stressed, the string quartets, "except their setting is stricter." These words have puzzled many commentators ever since, but in fact they are not only true but probably offer the best key to an understanding of the music. Bartok did not quote any actual folk songs in his quartets; instead, he isolated certain structural elements from those folk?songs, such as a melodic turn, a rhythmic pat?tern, or a typical scale. He combined these ele?ments with a harmonic language following its own inner logic, and used them to fashion musical forms that were sometimes indebted to the classical sonata or scherzo but also reflected his own personal approach, with a distinct predilection for symmetrical, mirror-like designs. The six quartets span a time period of more than three decades all but the very first and the very last years of Bartok's career. String Quartet No. 1 dates from a time when Bartok was just beginning to find his own voice as a composer. To have it performed, he had to organize his own concert venue, co-founding the short-lived Association for New Hungarian Music (UMZE). The Third won a major prize in Philadelphia; the Fifth was commissioned by Elizabeth Sprague Coolidge, the great American patron of new music; and the Sixth was pre?miered by the Kolisch Quartet in New York City. To tell the story of the six quartets is then, in a sense, to tell the story of Bartok's growing international recognition.
String Quartet No. 1, Op. 7 (1908)
Looking back on his early years from the van?tage point of his mid-40s, Bela Bartok consid?ered his String Quartet No. i, written at the age of 27, to be his first composition truly represen?tative of his mature style. He had written a great deal of music before that time, including highly successful orchestral works like the Kossuth Symphony. But these were written in a nationalistic-Romantic manner that Bartok later disavowed, having discovered the old Hungarian peasant music that changed his life and his artistic outlook forever.
Painting by Robert Bereny
String Quartet No. 1, completed in 1908, is one of the first Bart6k works to show signs of this major change. The work stands on the cusp of a new era, combining the influence of folk song with the other important influence that had reached Bart6k at around the same time, namely, the new French music of Debussy and Ravel. On a personal level, Bartok was going through an emotional crisis at the time, having been rejected by the violinist Stefi Geyer, with whom he was passionately in love and for whom he had written a violin concerto the pre?vious year. The opening motif in the quartet's mournful first movement is a kind of reversal of the Stefi Geyer theme (so identified by Bart6k) from the concerto; it is developed in a dense, highly chromatic post-Romantic poly?phonic style introduced by a duo of violins. The fog lifts, first in an impassioned viola solo written in a distinctly Hungarian style (though not yet in the style of the old folksongs Bart6k had discovered), and then in a flowing penta-tonic melody intoned by the cello. One feels why Bartok's friend and colleague Zoltan Kodaly referred to this quartet as "return to life." The polyphony later retums, but, as Hungarian musicologist Janos Karpati has noted, it has been "transposed an octave higher into an 'ethereal sphere'[representing] a tone of'trans?figuration'," and bringing "solace" to the music.
The "return to life" continues in the second movement, which is in a moderately fast "alle?gretto" tempo, reached gradually after a transi?tional passage written, like the beginning of the first movement, for instrumental duos (viola-cello followed by first and second violins). The "allegretto" begins as a lyrical waltz but it even?tually gathers momentum; tender, expressive passages alternate with intense dramatic out?bursts. The ending, once more, is quiet and almost "transfigured."
The third and last movement is preceded by an "Introduzione" which presents a cello recita?tive, somewhat like in Beethoven's Symphony No. 9. But this cello recites in a distinctly Hungarian manner. It is still closer to 19th-cen?tury popular songs than to the ancient reper?toire Bart6k had discovered in the villages, but
even so, it serves to announce the stylistic change that is about to occur, in the manner of Beethoven, who had his soloist in Symphony No. 9 sing: "nicht diese Tone!" (not these sounds!). And in fact, the "Allegro vivace" that ensues makes the "return to life" complete with its exuberant and playful tone. At the move?ment's culmination point, the tempo suddenly slows down to a solemn adagio, and the first violin plays an expressive pentatonic melody which is, finally, in the style of the ancient folk?songs which Bart6k had saved up until this strategic moment. The folksong episode is rather brief, and is followed by a return of the "Allegro" material, including a humoristic fuga-to. The excitement keeps increasing to the end. There is a single moment of introspection before the end, when the ancient folksong makes a second appearance, even shorter than the first, evidently to drive home the point that this old-new style which symbolizes spiritual renewal and the attainment of a new authentic?ity is definitely here to stay.
String Quartet No. 2, Op. 17 (1917)
A decade after the First Quartet's "return to life," we find Bart6k in the throes of a new crisis in his String Quartet No. 2. This time, the crisis had to do with the hardships of World War I, and with the vehement opposition to Bart6k's music on the part of the Hungarian critics, an opposition that in 1912 had caused the com?poser to withdraw from the musical life of Budapest and to move to a relatively distant suburb. A mood of pessimism took hold of Bartok during these years witness the tragic endings of the Four Pieces for Orchestra and the Suite for Piano, Op. 14, and the two dark song cycles Opp. 15 and 16, all from the years imme?diately preceding String Quartet No. 2.
The Quartet, too, ends with a desolate slow movement, preceded by a "Moderato" filled with nostalgic longing and an extended, fero?cious dance. The three movements represent wide emotional extremes, even more polarized than was the case in String Quartet No. 1.
The first movement contains its own inner polarity, between the opening theme (a languid melody with ever-widening intervals) and a second, "bittersweet" idea that appears only twice, harmonized in a much more consonant way. The contrast of these two themes could correspond to an imagined contrast between a melancholy state of mind and the world of ideal dreams. Powerful surges and desperate cli?maxes punctuate this movement which -roughly follows the outlines of sonata form. One of the most memorable moments occurs shortly before the end: a five-note motif, played by all four instruments in a menacing, fortissi?mo unison, tums out to be identical to the beginning of the "bittersweet" theme, which immediately follows, ushering in a coda in which both themes are united in a farewell ges?ture of great tenderness.
For most of its duration, the second move?ment has a single interval the minor third -for its theme. It is hammered home in a relent?less ostinato in which Karpati sees a reflection of the Arabic drumming Bartok had heard dur?ing his visit to Biskra, Algeria in 1913. On the other hand, as Karpati also notes, a very similar ostinato can be found in Bart6k's piano piece, Allegro barbaro, from 1911 that is, two years before the Biskra trip. It should come as no sur?prise that Bart6k was most receptive to external impulses that confirmed what he was already exploring in his own creative work.
In the central movement of String Quartet No. 2, this ostinato theme is developed in spec?tacular ways, in turn serious and comic. Toward the middle of the movement, the tempo slows down for a while and a lyrical melody appears, only to be brushed aside by the returning osti-natos that become wilder and wilder to the end. The concluding fortissimo unison recalls the similar passage from the first movement men?tioned above. Only this time there is no relief in a dreamlike conclusion; the third movement that follows is one of the darkest pieces of music Bart6k ever wrote.
Isolated melodic fragments, played with mutes, set a desolate stage, preparing the appearance of the melody modeled after a cer-
tain type of Hungarian folksong of a mournful character. The contours of the melody, and the fact that the phrase is repeated a fifth higher, are reminiscent of folk music, but the chromat?ic inflections of the theme speak an intensely personal language of Bartok's own. In fact, the pitches derive from the languid opening theme of the first movement. The two kinds of sadness the personal grief of the composer and the communal lament of folksong reinforce one another as the music moves through successive stages of anxiety and despair. The final sonority of the work is the same minor third that figured so prominently in the second movement -now played twice, pizzicato (plucked) by the viola and cello, muffled and austere.
String Quartet No. 3 (1927)
The Third and Fourth Quartets, written in short succession, have been seen as the acme of Bart6k's modernism. In fact, it may well be that at first hearing, the listener's attention is engaged by the highly advanced harmonic and rhythmic idiom of these works. Yet the folk-music influ?ence is never too far from the surface, only the "setting" is really "strict" this time. For all its "modernity," String Quartet No. 3 is full of ref?erences (sometimes veiled, sometimes more overt) to Hungarian folk music. Bart6k's strate?gy consists in using only one parameter of his folk sources at a time: he will either quote a typi?cal pentatonic cadence from Hungarian folk music (G-C-A) without the rest of the tune, or use a symmetrical melodic structure derived from folk music but filled out by markedly non-folkloric pitch material. In this way, the traditional and non-traditional elements of his style are fused in a seamless unity.
String Quartet No. 3 is in a single movement but is divided into four clearly demarcated seg?ments. A slow "Prima parte" and a fast "Seconda parte" are followed by a varied reca?pitulation of Part I and a "Coda" based on Part II. The "Prima parte" is a masterful example of "organic growth:" a complex and variegated movement arises from two or three tiny motifs
that are themselves interrelated. One of the most important moments comes at the end of the section, where these tiny motifs coalesce into a long, pentatonic musical phrase (played by the second violin and the viola). The "Seconda parte" brings together a string of themes in various dance meters, both symmet?rical and asymmetrical. The dance becomes more and more excited; the themes are devel?oped in contrapuntal imitation, almost as if the dancers tripped over one another. The end of the section was best characterized by Karpati in his book Bartok's Chamber Music (Pendragon Press: Stuyvesant, NY, 1994): "The composer's 'scalpel' continues to strip off the thematic and motivic layers penetrating right down to the 'skeleton' of the themes." This is followed by the return of the slow tempo ("Ricapitulazione della prima parte") in which the short motifs of the work's opening are "reconfigured" to form a completely new musical entity. Finally, the "Coda" presents the main thematic material of the "Seconda parte" in a condensed version, culminating in a climactic ending.
String Quartet No. 4 (1928)
The five-movement layout of String Quartet No. 4, with two thematically related fast move?ments in the first and fifth place, respectively, two scherzo-type pieces (also related) as movements 2 and 4, and an emotionally intense central slow movement has inspired many analyses and spawned countless imitations, yet is essentially both unexplainable and unrepeatable. No theo?ry can account for the irresistible rhythmic energy that characterizes the first movement, though its patterns can be (and have been) laid bare. Nor could the symmetrical structures pro?duce the impact they do, if they weren't filled out with an extraordinary timbral and textural imagination, with double and triple stops, tremolos, glissandos and other technical devices adding their dramatic contributions to musical form. The breath-taking coda of the first move?ment (Piu mosso, [Faster]) caps a movement that has been powerful and exciting from the start.
In the second movement ("Prestissimo, con sordino") all four instruments keep their mutes on throughout. Much of this dashing and myste?rious scherzo, which constantly plays the metric game of having three notes in one instrument against two in another, consists of chromatic scales scurrying up and down. Only in the mid?dle section does a "theme" (a musical idea with a sharp rhythmic and melodic profile) emerge, only to be buried again in a vibrant texture of glissandos, harsh chords, and rapid chromatic scales.
The third movement, the centerpiece of the work, begins with an expressive cello solo, played in a precisely notated rhythm that nev?ertheless gives the impression of tempo rubato (free rhythm). Commentators have seen in this passage a reflection (though not a direct recre?ation) of the Romanian hora lunga, an impro?visatory form that was one of Bartok's most cherished discoveries during his ethnomusico-logical fieldwork. The extended cello solo even?tually yields to an anguished passage led by the first violin, reaching an agitato climax. When the original tempo resumes and the cello reclaims its leading role, it receives a counterpoint from the first violin, and the rubato rhythm becomes more regular, as if "tamed" by the intervening events. Yet the last word belongs to the anguished micro-motifs of the first violin.
The fourth movement takes up the ascend?ing and descending scales of movement 2, yet the chromatic scale is now stretched out to dia-tonicism (many of the half-steps widened to whole steps). Again, a special playing technique is called for, but instead of the mutes used in the second movement, this time the four play?ers put down their bows and use pizzicato (plucked strings) throughout. Sometimes these pizzicatos are of the variety known as the "Bartok" pizzicato, in which the string is plucked so strongly that it rebounds off the fin?gerboard. The rhythmic complexity of the movement is considerable, yet the overall impression is a humorous one.
The last movement, based on the same the?matic material as the first, nevertheless regular?izes the rhythmic structure so that the melody
fits into a dance pattern with phrases of equal length, which was not the case before. The accompaniment, with strong offbeat accents and playful grace notes, greatly enhances the dance mood. The high jinks are only briefly halted by a light and graceful melodic episode; the wild dance soon retums and culminates in a concluding passage that recalls the ending of the first movement almost literally.
String Quartet No. 5 (1934)
Like the Fourth, String Quartet No. 5 follows a symmetrical five-movement layout, only this time the scherzo is in the center, framed by two slow movements (Nos. 2 and 4) and two fast ones in the extreme positions. This scheme, which makes for a regular alternation of fast and slow tempos, actually results in a seven-fold symmetry, since the central scherzo is itself in an A-B-A form.
The main theme of the first movement grows out of a single note, repeated many times by the four instruments in rhythmic unison. Similarly to the first movement of String Quartet No. 4, this "Allegro" follows sonata form, and the contrast among the various themes (the opening ostinato, the angular rhythms of the second theme, and the long legato lines of the third) propels the movement on its path. Bart6k's fondness for mirror sym?metries is further expressed in the thematic inversions during the recapitulation: in that section, all the themes return "upside down," with ascending intervals substituted for descending ones and vice versa.
The second movement is one of Bart6k's so-called "night musics" a gripping evocation of the mysterious noises of the night as heard by a solitary observer lost in contemplation. A theme of an almost Romantic tenderness, har?monized with conventional triads that sound entirely non-conventional in their 20th-century context, emerges out of the isolated trills of the opening, representing the voice of the individual. The tremolos and pizzicatos that soon appear, including pizzicatos with the nail of the left
index finger, create an eerie atmosphere, which is relieved by a return of the pure chords of the earlier melodic section. True to his concept of symmetry that governs the entire quartet, Bartok retums to the opening trills at the very end.
The third movement is a scherzo in "Bulgarian rhythm," that is, in the characteristic mixed meters often found in the folk music of the Balkan nation. The basic pattern of the scherzo is one-two-three-four, one-two, one-two-three (in a rather fast tempo). Two differ?ent melodic motifs are made to fit into the "regular irregularity" of the rhythm: an idea that moves up and down in a chain of thirds, and another one that evokes Hungarian folk music with its melodic outline. The Trio section (which is the center of symmetry for the entire work) brings a particularly striking folk melody played by the viola in its high register, answered by the cello, against the agitated figurations of the first violin. The return of the scherzo is a free recomposition rather than a literal repeat, again involving inversion of the themes.
In many ways, the fourth-movement "Andante" harks back to the second movement: again we hear isolated gestures and mysterious noises gradually giving rise to more sustained melodies. But this time, Bartok includes an additional element: a powerful cry in the form of a terse motif of only two notes an ascend?ing minor third. This motif becomes the basis of a passionate middle section that is the total emotional opposite of the quiet and meditative "Adagio." A few slow pizzicato chords played by the cello serve to bring some calm to the final measures of the movement.
The music of the last movement is driven forward by rambunctious dance rhythms and playful imitations (as though the instruments were playing catch). The many repeated notes recall the ostinatos of the first movement (another symmetrical touch), but the earlier thematic contrasts have all but disappeared. A startling episode occurs just before the end: a passage marked Allegretto con indifferenza where the second violin plays an intentionally banal little melody to the "meccanico" accom?paniment of the viola. When the first violin
takes over the melody a jarring half-step higher, the joke becomes cruel, and is finally brushed aside by a return of a fast tempo and a mad rush which will last to the end.
String Quartet No. 6 (1939)
String Quartet No. 6 was the last work Bart6k completed before his emigration to the United States. The first three movements were written in Saanen, Switzerland, during the summer of 1939. From the surviving sketches, scholars have been able to trace how Bart6k's ideas about the unique form of this work took shape. Originally he had planned a four-movement string quartet with a dance finale preceded by a slow introduction. Then it occurred to him to use that slow introduction as a motto, appear?ing before the other movements as well. The compositional work had to be interrupted in September when, after the outbreak of World War II, Bartok had to return to Budapest. He had also received news of his mother's grave illness. At some point during this time, Bartok dropped his plans for the dance finale, and fashioned the material of the slow introduc?tions into an entire movement to conclude the work. This "Mesto" (sad) finale was finished in Budapest in November 1939. (Bart6k's mother died a few weeks later.)
In the final form of the work, each of the first three movements is introduced by a "Mesto" motto, which then provides the entire material of the finale. In the case of the first movement, the motto a lyrical, intensely chromatic melody, is played by the viola alone. After a short transition section (where the uni?son of the four instruments anticipate the main theme of the movement), the "Vivace" tempo begins with more instrumental solos (unac?companied first and then second violin). This suggests a certain lightness of the tone that remains constant throughout this predominantly lyrical and lively movement.
Two character pieces follow: a "Marcia" (March) and a "Burletta" (Burlesque), both in ABA form and, as mentioned before, preceded
by an ever-intensifying "Mesto" motto. In each case, Bart6k created subtle motivic links to con?nect the "Mesto" sections to the subsequent scherzos. The characteristic dotted rhythms of the "Marcia" are related to the verbunkos, a 19th-century Hungarian instrumental tradition which had inspired Bart6k at the beginning of his career and again during the last decade of his life. (One commentator, however, has drawn attention to the "Scherzando" movement in Beethoven's String Quartet in E-flat Major, Op. 127, as another possible model.) At times, the march takes on a decidedly parodistic tone, which makes the beginning of the middle sec?tion all the more shocking. For here the cello bursts out in a passionate, declamatory outcry, accompanied by dramatic tremolos in the vio?lins and strumming pizzicato chords in the viola. It is a traumatic interlude after which the March melody retums transfigured, played piano instead of forte, with delicate harmonics in the first violin.
The "Burletta" is one of Bartok's most sar?castic movements. The crude puppet from his ballet The Wooden Prince comes back to life, even more grotesque than in his first incarna?tion more than 20 years earlier. Strong rhyth?mic accents and the "out-of-tune" effect pro?duced by the second violin playing a quarter-tone lower than the first leave no doubt as to the character Bart6k had in mind. The middle section this time recalls the gentle lyricism of the first movement, but then the merciless satire retums with a vengeance.
Expanding upon the opening motto, the fourth-movement "Mesto" is full of nostalgia and resignation. Bart6k's instruction in the score, senza colore (without color), is extremely revealing. The two themes of the first-movement "Vivace" return, in a slow tempo this time, as faint reminders of a long-past happiness, before the music unmistakably says farewell.
Program notes by Peter Laki.
Recognized as one of the world's premiere string quartets, the Takacs Quartet plays with a vir-tuosic technique, intense immedi?acy, and consistently burnished tone. The ensemble explores its repertoire with intellectual curiosity and passion, creating per?formances that are probing, revealing, and con?stantly engaging. The Quartet is based in Boulder, Colorado, where it has been in resi?dence at the University of Colorado since 1983.
Now entering its 30th season, the Takacs Quartet has performed repertoire ranging from Haydn, Mozart, Beethoven, and Schubert to Bart6k, Britten, Janacek, and Sheng in virtually every music capital in North America, Europe, Australia, and Japan, as well as at prestigious festivals around the globe. The ensemble is also known for its award-winning recordings on the Decca label, including its 2-CD set of Beethoven's three "Rasumovsky" String Quartets, Op. 59 and Quartet in E-flat Major, Op. 74, which won the Grammy Award and the Gramophone Award for "Best Chamber Performance" in 2002. The album is the first installment of the Takacs Quartet's recordings of the complete Beethoven Quartet cycle in three sets. The Quartet's third and final CD of the late quartets, which com?pletes the cycle, is scheduled for release in 2005.
Highlights of the Takacs Quartet's 0405 season include performances of the complete Beethoven String Quartet cycle in six concerts at Lincoln Center in New York as well as the com?pletion of its three-year cycle of performances of the quartets presented by The Cleveland Orchestra. The Quartet also performs the entire Bart6k String Quartet cycle in Ann Arbor, Pittsburgh, and Tucson, and gives concerts throughout North America. This May, the Quartet retums to London's Wigmore Hall along with performances throughout Europe.
Recently, notable Takacs Quartet appear?ances worldwide have included performances of the Beethoven cycle in Cleveland, London, Los Angeles, Paris, and Sydney; the world-premiere performance of Bright Sheng's Quartet No. 3; the world premiere of Su Lian Tan's Life in Wayang; and a 14-city US tour with Poet Laureate Robert Pinsky.
Signed to an exclusive contract with Decca London in 1988, the Takacs Quartet has made 16 recordings for the label. The ensemble's record?ing of the six Bartok String Quartets received the 1998 Gramophone Award for chamber music and, in 1999, was nominated for a Grammy.
The Takacs Quartet was formed in 1975 at the Franz Liszt Academy in Budapest by Gabor Takacs-Nagy, Karoly Schranz, Gabor Ormai, and Andras Fejei, while all four were students. It first received international attention in 1977, winning First Prize and the Critics' Prize at the International String Quartet Competition in Evian, France. Violinist Edward Dusinberre joined the Quartet in 1993 and violist Roger Tapping in 1995. Of the original ensemble, vio?linist Karoly Schranz and cellist Andras Feje remain. In addition to its residency at the University of Colorado, the ensemble is also a Resident Quartet at the Aspen Music Festival and School; its members are Visiting Fellows at the Guildhall School of Music and Drama in London; and, beginning in the 0506 season, will become Associate Artists of the South Bank Center in London. In 2001, the Takacs Quartet was awarded the Order of Merit of the Knight's Cross of the Republic of Hungary.
This afternoon's performance cycle of the complete Bartdk string quartets marks the Takdcs Quartet's eighth appearance under UMS auspices. The Takdcs Quartet made their UMS debut in February 1984 at Rackham Auditorium in a program which included Bartok's String Quartet No. 3.
Toyota Technical Center
Kazunari Abe, Kenzo Abe, Takeshi Arai, Yoko Fujimoto, Yuichiro Funabashi, Tsubasa Hori, Mitsuru Ishizuka, Tomohiro Mitome, Yosuke Oda, Eiichi Saito, Yoshie Sunahata, Masaru Tsuji, Kaoru Watanabe
Monday Evening, February 21, 2005 at 8:00 Tuesday Evening, February 22, 2005 at 8:00 Wednesday Evening, February 23, 2005 at 8:00
Power Center Ann Arbor
One Earth Tour 2005
Traditional, Arr. Kodo Ken bai
Kodo,Arr. TamasaburoBando Tornoe
Yoko Fujimoto Mori-Komori
Roetsu Tosha Chonlima
Maki hhii Monochrome
Traditional, Arr. Kodo Miyake
Traditional, Arr. Kodo Kiyari
Hideyuki Saito Homura
Yoko Fujimoto Tsuki-sayu
Kodo, Arr. Kodo O-Daiko
Traditional, Arr. Kodo Yatai-Bayashi
48th, 49th, and 50th Performances of the 126th Season
1 lth Annual Global Series
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
Tuesday evening's performance is sponsored by Toyota Technical Center.
Tuesday evening's performance is funded in part by the Japan Business Society of Detroit Foundation.
Wednesday evening's performance is sponsored by McKinley Associates. Kodo appears by arrangement with IMG Artists, New York, NY.
Large print programs are available upon request.
Using the traditional Japanese drum, the taiko, Kodo explores the countless byways of the tradi?tional performing arts as they strive to create something new for the modern age. The name Kodo conveys two meanings: the literal readings of the two char?acters that make up the name in Japanese are "drum" and "child" conveying Kodo's desire to play the taiko purely, with the heart of a child. The word Kodo is also a homonym for "heartbeat" humanity's most fundamental source of rhythm and the first sound a child hears in their mother's womb.
Since Kodo's debut at the Berlin Festival in 1981, the ensemble has given over 2,700 widely acclaimed performances in 42 countries, from war-torn Croatia to America's Carnegie Hall on the One Earth Tour.
The globe is filled with a huge variety of people from different cultures who often have very different ways of living. In this world, it is more important than ever that people find ways to live together harmoniously. In ancient Japan the taiko was a symbol of the rural community; it is said that the limits of the village were defined not by geography but by the furthest distance at which the taiko could be heard. It is Kodo's hope with the One Earth Tour to bring the sound of the taiko to people around the globe, so that we may all be reminded of our membership in that much larger community: the world.
These performances mark Kodo's 15th, 16th, and 17th appearances under UMS auspices. The ensemble made their UMS debut in October 1982.
Motofumi Yamaguchi, Artistic Director Jun Akimoto, Company Manager Takashi Akamine, Company Manager Leo Janks, Technical Director Masafumi Kazama, Stage Manager Tatsuya Dobashi, Stage Manager Donnie Keeton, Assistant Manager Mark Rooney, Assistant Manager Katsuhiro Kumada, Lighting Designer
Kodo has recently released a DVDCD combo entitled One Earth Tour Special. For more information on Kodo, their recording, or the Kodo Arts Sphere America, a US nonprofit corporation established to encourage, enable, and support programs and oppor?tunities for North Americans to study and under?stand the traditional and contemporary Japanese music of the taiko and its related performing arts, please visit www.kodo.or.jp.
A semi-staged concert performance of
A Midsummer Night's Dream
by William Shakespeare
Overture and Incidental Music
by Felix Mendelssohn
Orchestra of the Age of Enlightenment
Choir of the Enlightenment
Conductor Ivan Fischer
Designer Jennifer Tiramani
Stage Manager Holly Pearce
Friday Evening, February 25, 2005 at 8:00 Hill Auditorium Ann Arbor
51st Performance of the 126th Annual Season
Fifth Annual Theater Series
The photographing or sound recording of this concert or possession of any device for such photo?graphing or sound record?ing is prohibited.
Tonight's performance is sponsored by Kaydon Corporation.
Special thanks to Brian Campbell of Kaydon Corporation for his generous support of the University Musical Society.
Support for tonight's performance has been provided by members of the medical community of southeast Michigan.
Special thanks to Herbert Sloan and Jim and Nancy Stanley, Campaign for UMS Planned Giving Co-Chairs, for hosting tonight's pre-performance dinner honoring the members of the medical community who supported this performance.
Media partnership for tonight's performance provided by Michigan RadioMichigan Television.
Large print programs are available upon request.
James Garnon John Paul Connolly Martin Turner Daniel Rigby Antonina Lewis Amy Brown Alex Hassell Melanie Jessop
Puck and Snout Bottom
Thesius and Oberon Demetrius and Starveling Helena and Snug Hermia and Peter Quince Lysander and Flute Titania
Beginning in the latter part of the 18th century and continuing throughout the 19th, discovery of and appreciation for Shakespeare spread steadily across the European continent. German translations of the Bard's works first appeared in the 1770s were followed shortly after 1800 by versions in French, Italian, and Russian, and somewhat later in Spanish and other languages. Productions of the major plays began to be seen in the capitals and larger cities, though often in "amended" versions that did consider?able violence to their sources. (It was especially common, for example, to affix happy endings to the tragedies.)
The rising awareness of Shakespeare's work and its importance was not lost on musicians in the 19th century, and the Bard provided inspi?ration and subject matter for many composers throughout the Romantic era. Beethoven enter?tained plans for an opera on Macbeth; Verdi went ahead and composed one. Rossini set an adaptation of Othello in 1816, as did Verdi some seven decades later. Romeo and Juliet brought forth varied treatments from Gounod, Berlioz, and Tchaikovsky, among others, while Liszt composed a tone poem inspired by Hamlet. Nor were the comedies neglected. Berlioz creat?ed his opera Beatrice et Benedict after Much Ado About Nothing, and both Otto Nicolai and Verdi (like Berlioz, a devoted Shakespearean) set The Merry Wives of Windsor to music.
Shakespeare's appeal to these and other composers was due in no small part to a shared fascination with the supernatural, which artists and thinkers associated with the Romantic movement felt to be closely linked to music. The Italian writer Giuseppi Mazzini, for exam?ple, defined music as "the echo from an invisi?ble world," while E.T.A. Hoffman famously declared: "Music unlocks for man an unfamiliar world having nothing in common with the external material world which surrounds him." It is hardly surprising, then, that works like Berlioz's Symphonie fantastique, Schubert's The Erl King, Weber's Der Freischiitz, Liszt's Faust Symphony and Wagner's The Flying Dutchman (to name but a few) sought to evoke a world of unseen spirits and unexplained events. Shakespeare's plays, populated by ghosts, witch?es, and fairies, resonated with this aspect of the Romantic sensibility. And it was precisely what the 19th century perceived as the Bard's Romanticism his creation of a world of enchantment and fantasy that Felix Mendelssohn sought to capture in his Overture, Opus 21, and Incidental Music, Opus 61, to A Midsummer Night's Dream, music produced at the start and in the twilight of his career.
Mendelssohn was only 17 when he con?ceived the idea of a concert overture to Shakespeare's comedy. In July 1826, he wrote to his sister, who was traveling: "I've gotten into the habit of composing in our garden.... Today or tomorrow I shall go there to dream A
Midsummer Night's Dream!' This declaration suggests that the composition of the work was a fairly effortless matter, but such was not the case. Mendelssohn had completed a substantial portion of the score when he became dissatis?fied and began over again. We can be thankful that he lavished such care on his overture. It is one the composer's most appealing works and perhaps the most accomplished piece of music ever produced by an adolescent not overlook?ing the early works of Mozart and Strauss.
Seventeen years after he wrote the overture, Mendelssohn was the most celebrated compos?er in Europe and director of music at the court of King Friedrich Wilhelm of Prussia. The King, upon ascending the throne, resolved to elevate Berlin to a position of cultural pre-eminence, and to this end he not only engaged Mendelssohn but patronized prominent painters and poets and established a Royal Theater in nearby Potsdam. Friedrich Wilhelm's taste was decidedly conservative, and most of the works mounted by the Royal Theater were classical Greek dramas. But in 1843, His Majesty consented to a production of A Midsummer Night's Dream and commissioned his court composer to produce songs and brief instrumental pieces for interpolation at suitable points during the play. Mendelssohn set about this task with pleasure. For at least a short while, he could escape his adult cares and recapture some of his youthful enthusiasm for the enchanted world of Shakespeare's comedy. Certainly he recaptured the spirit of his overture, which he recalled to a remarkable extent in the music he wrote for the Potsdam production of A Midsummer Night's Dream in October 1843.
A Midsummer Night's Dream with Mendelssohn's music was first performed in Potsdam on October 14, 1843. What was that occasion like It would be impossible to repro?duce precisely. We can only imagine the sets, costumes, and acting styles of the period, and we might not care to duplicate the ambience Friedrich Wilhelm's opulent New Palace Theater, nor restrict the audience to a select group of artists, intellectuals, and aristocrats, such as wit?nessed that historic performance. But the essen-
tial matter a presentation of Shakespeare's comedy with the main portions of Mendelssohn's music in place is what we offer now. And this begins with the celebrated overture.
Mendelssohn's prelude follows the usual form of a concert overture but introduces clear pictorial elements. The customary slow intro?duction is reduced to four magical chords which seem to cast a spell and transport us to that enchanted forest where Oberon and Titania rule. Each of the three themes that fol?low corresponds loosely to one the three types of characters in the play. The light and rapid figures in the strings that follow the opening sequence conjure up visions of Shakespeare's fairies rushing through the forest, while the more warmly romantic second melody suggests the mortal lovers. Finally, the pesante closing theme represents the antics of the rustic folk, including the braying of the hapless Bottom after he has been given the head of a donkey, and concludes with the horn calls of Duke Theseus' hunting party. Mendelssohn develops these ideas with keen imagination and a gos?samer touch, and the overture closes with the magic chords of the opening measures. And now, the play.
The first act of A Midsummer Night's Dream takes place in a mythical Athens. The city's ruler, Duke Theseus, is preparing to marry Hippolyta, the Amazon queen he has won in both battle and in love. He is petitioned by one of his sub?jects, Egeus, who arrives with his daughter, Hermia, followed by her two suitors, Demetrius and Lysander. Egeus had promised the girl to the former, but she loves the latter and will marry only him. Theseus affirms that Athenian law requires Hermia to wed as her father decrees or be punished by death or life as a nun, and he urges her to think carefully on her choice.
Left alone, Lysander and Hermia decide to flee the city together. They are met by their friend Helena. She pines for Demetrius, who had once wooed her, though he now covets Hermia. Learning of Lysander and Hermia's plan to elope, Helena devises a plan to ingrati-
ate herself with Demetrius by alerting him to the couple's prospective flight.
A group of tradesmen gather to prepare an entertainment they hope to perform at the Duke's wedding. Their leader, Peter Quince, announces that they will gather outside the city to rehearse, hoping thereby to keep their enter?prise a secret.
The action shifts to the woods outside the Athens. This is home to sprites and fairies, whose scurrying presence and mischievous nature is suggested in the Scherzo of Mendelssohn's Incidental Music, which stands as an entr'acte between the play's first and sec?ond acts. The flowing figuration and delicate orchestration of this piece are quite akin to the fairy music of the overture, and the music cre?ated an entire genre of "supernatural scherzo" cultivated by many admiring composers during the rest of the 19th century.
Puck, a particularly spirited fairy, discusses with a comrade the smoldering feud between his master, Oberon, the fairy king, and his queen, Titania. Both fairy monarchs now arrive and resume their quarrel over a changeling boy, on whom Titania dotes to Oberon's annoyance. When she leaves, Oberon instructs Puck to go and find for him a rare flower with the magical power to induce love for the first creature seen by whomever has its nectar placed on the eye?lids. With this he hopes to humiliate Titania.
Awaiting Puck's return, Oberon overhears Demetrius, who has come to the wood to inter?cept Hermia and Lysander, berating the still-hopeful Helena. Dismayed by Demetrius' cruel treatment of Helena, Oberon decides he will alter the youth's affection with the same magi?cal flower he plans to use on Titania. When Puck retums with the plant, Oberon instructs him to apply some of its nectar to the eyes of an Athenian youth who roams the woods nearby.
Elsewhere, Titania and her retinue bed down for the night. Oberon finds her and applies the juice of the magic plant. He departs, and Hermia and Lysander enter, lost and
exhausted. They, too, lie down to sleep. Puck finds them and, noting their Athenian gar?ments, mistakes Lysander for Demetrius and applies the flower's nectar to his eyes, as Oberon had instructed. Demetrius comes on the scene, pursued by Helena, whom he presently leaves miserably alone. Lysander awakes, sees Helena and, under the influence of the magic plant, falls immediately in love with her. Incensed by what she takes as a heartless jest with her, Helena flees, with Lysander in pursuit. Hermia then wakes to find herself alone. Act II ends with her running off desper?ately in search of the missing Lysander. Mendelssohn's Intermezzo, the entr'acte that precedes Act III, suggests her distress in agitated harmonies.
The tradesmen have gathered to rehearse their play. Puck happens upon them and decides to have some fun, changing the head of Bottom the Weaver into that of a donkey. This transfor?mation frightens off the other tradesmen. And it presently wakens Titania who, seeing Bottom, falls instantly in love, thanks to the effect of the flower's nectar. She instructs her attendants to dote on her new paramour, and Bottom happily accepts their attention.
Puck reports back to Oberon on Titania's absurd infatuation. Demetrius and Hermia enter, quarreling, and Oberon soon realizes that Puck has anointed the eyes of the wrong Athenian youth. To correct this error, he places some of the flower's nectar on Demetrius' eyes. Soon Helena arrives, fleeing Lysander and his protestations of affection. Demetrius spies her and, sure enough, falls at once in love with her. Now Helena is sure that both young men are mocking her. Hermia enters; glad to have found her Lysander. But her joy tums to bewilderment and then bitterness when he spums her in favor of Helena. Both the men and the women quar?rel with each other. Finally, Hermia chases off Helena, and Lysander and Demetrius resolve to settle their dispute with blows.
Oberon, who has observed all this con-
tentious confusion, resolves to set things right. He instructs Puck to conjure up a dense fog and lead the various Athenians astray. Puck confus?es the men until, exhausted, they drop off to sleep. Hermia and Helena soon fall into the same state. Puck now drips an antidote to the effect of the flower's nectar onto Lysander's eyes. Once again, a musical entr'acte bridges this act to the one that follows. This is the Nocturne, one of the most admired portions of Mendelssohn's incidental music. It features the sound of the horn, an instrument widely associated during the Romantic period with the forest and with magic. (Weber capitalized on this famously in the overture to his opera Oberon, another work derived from A Midsummer Night's Dream.) Mendelssohn uses its sonority to splendid effect in this piece, which suggests the sleep of the four young Athenians.
Titania continues to dote on the ass-headed Bottom until, growing weary, they lie down to sleep. Oberon, having gained the changeling boy from his queen, decides to take pity on her. Applying the antidote to her eyes, he releases tier from the flower's spell. She awakes, is horri?fied by the sight of Bottom, and reconciles with Oberon. Before departing, the fairy king instructs Puck to undo the mischief of Bottom's donkey head.
As morning arrives, so do Theseus, Hippolyta, and Egeus, who have gone out hunting. They come upon the four lovers and wake them. All marvel at what the young peo?ple recall of the previous night's events, and all are glad to find their affections now happily aligned. Theseus declares that Hermia shall marry Lysander, and Helen wed Demetrius, at the same ceremony uniting himself to Hippolyta.
After the others leave to return to Athens, Bottom wakes and wonders at what seems to have been the strange dream he has experi?enced. He rushes to rejoin his comrades, who are worried about both his fate and their (prospects of performing at the Duke's wedding without him. Happily, Bottom, now in his true
appearance, bursts in, and the novice actors prepare to go on as planned.
The play's final act is given over to the wedding festivities, which provides the occasion for Mendelssohn's celebrated "Wedding March," by far the most familiar portion of his incidental music for A Midsummer Night's Dream. After considering several alternatives, Theseus com?mands a performance of the tradesmen's enter?tainment, Pyramus and Thisbe. Quince, Bottom, and the others enact this in unintentionally hilarious fashion, after which all retire to bed. The fairies arrive to bless the marriages conse?crated that day, and Puck delivers to the audi?ence a brief epilogue allowing that all that has gone before can be dismissed as merely a dream.
Program notes reprinted with permission by Paul Schiavo.
Born in 1951 in Budapest, Ivan Fischer initially studied piano, violin, and cello. After composi?tion studies in Budapest, he grad?uated from Hans Swarowsky's famous conducting class in Vienna where he also studied cello and early music (studying and working as assistant to Nikolaus Harnoncourt).
After a very successful early international career, he returned to Hungary in 1983 to found the Budapest Festival Orchestra. Here he introduced new, intense rehearsal methods and an emphasis on chamber music and creative work for each orchestral musician.
The sensational success of this new orches?tra which has since been repeatedly invited to the most prestigious music festivals such as Salzburg, Edinburgh, Lucerne, and the London Proms established Ivan Fischer's reputation as one of the world's most visionary and creative orchestral leaders. He signed an exclusive recording contract with Philips Classics in 1995
and his Bartok and Liszt recordings with Budapest Festival won a Gramophone Award, Diapason d'Or de 1'Annee, 4 Cles de Telerama, the Arte, MUM, and Erasmus prizes. Other recordings include works by Kodaly, Dvorak, and Ivan Fischer's own orchestration of Brahms' Hungarian Dances, which combine improvisations from Gypsy musicians with a symphony orchestra. Beginning in 2004 he developed a new partnership with Channel Classics.
In Budapest, where he has been Music Director of the Budapest Festival Orchestra for over 20 years, Ivan Fischer has introduced new concert forms. His "cocoa-concerts" for small children, his public matinees where he talks about the works, his "secret concerts" without an announced program, and his open air con?certs on Hero's Square have all become extremely popular. Budapest Festival Orchestra's concerts are all played to capacity audiences.
As a guest conductor Ivan Fischer appears regularly with the Berlin Philharmonic, Royal Concertgebouw, New York Philharmonic, Cleveland Orchestra, Orchestre de Paris, Munich Philharmonic, and Israel Philharmonic. For seven years he has held the position of Principal Guest Conductor of the
Cincinnati Symphony Orchestra.
Ivan Fischer was Music Director of the Opera National de Lyon from 2000 to 2003. The Lyon production of Ariadne aux Naxos received the prize of "Best Regional Opera Production of the Year" given by the Association of French Music Critics. Ivan Fischer has previously held the position of Music Director, then Artistic Director, with Kent Opera. As guest conductor he has led a Mozart cycle at the Vienna State Opera, and productions in Zurich, London, Paris, Brussels, Stockholm, and Budapest.
Ivan Fischer is a founder of the Hungarian Mahler Society, and the Patron of the British Kodaly Academy. He received the Golden Medal Award from the President of the Republic of Hungary, and the Crystal Award from the World Economic Forum for his services to help international cultural relations.
Tonight's production marks Ivan Fischer's third appearance under UMS auspices. Maestro Fischer made his UMS debut leading the Budapest Festival Orchestra in February 1997.
Tim Carroll began his career with the English Shakespeare Company, for whom he directed Julius Caesar, Cymbeline, and The Tempest. As Associate Director of the Northcott Theatre in Exeter (1994-95) he directed many productions including Amadeus, The Last Yankee, Charley's Aunt, Abigail's Party, and several new plays. Since then he has been a guest director at many theaters: as recently as Christmas 2002 he directed W.S. Gilbert's Engaged for the Orange Tree Theatre, Richmond. Since 1997 he has directed three productions in Hungary: The Clearing, Fair Ladies at a Game of Poem Cards, and The Duchess ofMalfi.
His first opera production was for Kent Opera in 1994: Benjamin Britten's The Prodigal Son. He is now Director of Productions for Kent Opera, for whom he has staged Purcell in the Theatre (1995), Monteverdi's Orfeo (9798), Handel's Acis and Galatea (2002), and Britten's Albert Herring (2003). Other operas include
?ight Songs for a Mad King (Maxwell Davies), ??l Cimarron (Henze), and Twice Through The Heart (Turnage) for Psappha Modern Music Ensemble. At the Gran Teatre de Liceu, Barcelona, in 1999 he staged Sarah Walker's Cabaret Classico, returning in 2001 to direct Britten's Five Canticles; and in 2002, The Divine Sarah (again with Sarah Walker, whose White Christmas he staged in December 2003). In 2003 he directed Monteverdi's il ritorno d'UHsse in patria for the Britten-Pears School in Aldeburgh and at Shakespeare's Globe.
Tim Carroll is Associate Director of Shakespeare's Globe in London, where he has directed Peter Oswald's Augustine's Oak in .1999, The Two Noble Kinsmen in 2000, Macbeth fcn 2001, and in 2002, Twelfth Night at Middle Temple Hall and at the Globe. The production won Evening Standard, Time Out, Critics' Circle and Olivier Awards. He also directed The Golden Ass, a new verse play by Peter Oswald. ?In 2003 he directed Richard II and Dido, Queen of Carthage. He recently revived Twelfth Night nor a record-breaking run at the Globe and a subsequent tour in the US, appearing in Ann Arbor under UMS auspices in fall 2003. In 2004 jhe directed Romeo and Juliet at the Globe; The Tempest in Lisbon; David Lewis' Misconceptions
for a national tour; re pastore for Kent Opera; and a revival of his Richard II prior to an inter?national tour.
In 1986, a group of the finest expo?nents of period instruments in the UK pooled their talents and expert?ise to found their own self-govern?ing orchestra: the Orchestra of the Age of Enlightenment (OAE). The OAE was quickly recognised as exceptional and, in 1992, scored a further coup when it persuaded Frans Briiggen and Sir Simon Rattle CBE to put their names to the Orchestra as Principal Guest Conductors.
The OAE is in its 13th season as Associate of the Royal Festival Hall, and is also Associate Orchestra at Glyndebourne. The OAE has toured many countries, including South America and the US in 2002, and Southeast Asia in autumn 2003. The Orchestra's discogra-phy covers over 50 recordings in music from Purcell to Verdi.
The OAE established an education and out?reach program in 1994 with the aim of encour?aging creativity and active participation in the arts. The 0405 season's flagship education proj?ect DREAM! is inspired by the Mendelssohn series at the South Bank. The OAE is the only period instrument orchestra to offer an appren?ticeship scheme, the JerwoodOAE Experience for Young Players.
Substantially dependent on sponsorship for its core activities, the OAE has a particularly successful relationship with Jupiter Unit Trust Managers, who sponsored the OAE's Beethoven Symphonies Series in 1999 and 12 subsequent concerts in the 0001 season. Jupiter Unit Trust Managers have been the orchestra's Principal Sponsor since the 0102 season.
Tonight's production marks the Orchestra of the Age of Enlightenment's second appearance under UMS auspices. The OAE made their VMS debut appearing with mezzo-soprano Cecilia Bartoli in February 2004 at Hill Auditorium.
The Choir of the Enlightenment is formed of a group of professional singers, many of whom are soloists in their own right. In recent years the choir has appeared with the Orchestra of the Age of Enlightenment at British and European festivals, as well as regu?larly performing with them as part of their annual London concert series at the South Bank Centre.
The choir has taken part in many of the OAE's recordings, including J.S. Bach cantatas BWV 205 and 114 and PurcelPs Odes for Queen Mary, both with Gustav Leonhardt, and Mozart's Cost fan tutte with Sir Simon Rattle, recorded live at Symphony Hall Birmingham. In July 2000, the choir and orchestra performed Bach's B minor Mass on the 250th anniversary of his death. This concert, which was part of the BBC Proms Festival, was broadcast live on BBC Radio 3 and on BBC Television.
During the 0203 London season, the Choir of the Enlightenment joined the Orchestra of the Age of Enlightenment for performances of Bach's B minor Mass with Sir Roger Norrington and Haydn's Creation with Ivan Fischer. The 034 season included performances of Purcell's Dido and Aeneas directed by Richard Egarr at the BBC Proms and at the Utrecht Festival; concerts of music by Schiitz and Gabrieli con?ducted by Sir Roger Norrington; and perform?ances of Charpentier's David et Jonathas to cel?ebrate the tercentenary of his death, conducted by Emmanuelle Haim. In the current season the choir takes part in performances of . Mendelssohn's A Midsummer Night's Dream and his version of Bach's St. Matthew Passion.
Tonight's production marks the Choir of the Enlightenment's UMS debut.
Orchestra of the Age of Enlightenment
Ivan Fischer, Conductor
Jan Schlapp Nicholas Logie Martin Kelly Annette Isserlis
Jonathan Cohen Susan Sheppard Robbie Jacobs Ruth Alford
Chi-chi Nwanoku MBE
Clarinet Antony Pay Jane Booth
Bassoon Andrew Watts Sally Jackson
Andrew Clark Gavin Edwards
Trumpet David Blackadder Phillip Bainbridge Timothy Hayward
Susan Addison Peter Thorley Patrick lackman
Ophicleide Anthony George
Timpani Charles Fullbrook
Percussion Nicholas Ormrod
Orchestra of the Age of Enlightenment
Marshall Marcus, Chief Executive
Katy Shaw, Director of
Development and Marketing Anna Rowe, Director of
Projects and Finance Philippa Brownsword,
For more information on OAE, please visit www.oac.co.uk.
Choir of the Enlightenment
Jeanette Ager Jane Butler Julia Doyle Helen Groves, Soloist Carol Hall Frances Jellard
Angela Kazimierczuk Carys Lane, Soloist Helen Parker Susanna Spicer Caroline Stormer Karen Woodhouse
ii ni o
Wed 12 Sam Shalabi: The Osama Project
Thu 13 Stephanie Blythe, mezzo-soprano
Fri 14 DJ 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
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 www.ums.org.
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 Takacs 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: Guarneri String Quartet
UMS EDUCATION PROGRAMS
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 www.ums.org 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 www.ums.org. For immediate information, e-mail firstname.lastname@example.org, 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 Arab World Music Festival and support Arab World programming, education, and community building, please call 734.764.6179.
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 email@example.com. 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 firstname.lastname@example.org.
Winter 2005 Youth Performance Series
These daytime performances serve pre-K through high school students. The 0405 series features special youth performances by:
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
Winter Workshops focusing on UMS Youth Performances are:
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 purchase one $10 ticket to public UMS per?formances the day of the event (or the Friday prior to weekend performances). Alternatively, teens may purchase one ticket for 50 of the originally published price at the door. Breakin Curfew is an annual event showcasing teen talent, presented 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 email@example.com.
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.
UMS PREFERRED RESTAURANT 8 BUSINESS PROGRAM
Join us in thanking these fine area restaurants and businesses for their generous support of UMS:
539 East Liberty997.7185
The Blue Nile Restaurant
221 East Washington 998.4746
121 West Washington 994.0211
The Earle Uptown
300 South Thayer 994.0222
Great Harvest Bread Company 2220 South Main 996.8890
Kensington Court Ann Arbor 610 Hilton Boulevard 761.7800
King's Keyboard House 2333 East Stadium 663.3381
512 South Main668.8812
Michigan Car Services, Inc.
30270 Spain Court, Romulus 800.561.5157
3411 Washtenaw 971.0484
Pen in Hand
207 South Fourth 662.7276
Red Hawk Bar 8c Grill 316 South State994.4004
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 www.ums.org.
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 51-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.
SPONSORSHIP 8 ADVERTISING Advertising
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
Developing business-to-business relationships
Targeting messages to specific demographic groups
Making highly visible links with arts and education programs
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
INTERNSHIPS 8 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 essen?tial functions of assisting patrons with seating, distributing program 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 734.615.9398 or e-mail firstname.lastname@example.org.
SUPPORT FOR THE UNIVERSITY MUSICAL SOCIETY
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 November 1, 2004. Every effort has been made to ensure its accuracy. Please call 734.647.1175 with any errors or omissions.
$25,000 or more
Robert and Pearson Macek Philip and Kathleen Power
$10,000-$24,999 Maurice and Linda Binkow Carl and Isabelle Brauer Estate of Joanne Cage Maxine and Stuart Frankel Paul and Ruth McCracken Mrs. Robert E. Meredith Prudence and Amnon Rosenthal Ann and Clayton Wilhite
Kathy Benton and Robert Brown
Pauline De Lay
Toni M. Hoover
Doug and Sharon Rothwell
Herb and Carol Amster
Emily W. Bandera, M.D. and Richard H. Shackson
June Bennett ._ :.to
Barbara Everitt Bryant
Thomas and Marilou Capo
Dave and Pat Clyde
Douglas D. Crary
Jack and Alice Dobson
Mr. and Mrs. Thomas C. Evans
Ken and Penny Fischer
Claes and Anne Fornell
Ilene H. Forsyth
Friends of Hill Auditorium
Debbie and Norman Herbert
David and Phyllis Herzig
Mohamed and Hayat Issa
David and Sally Kennedy
Robert and Gloria Kerry Dr. and Mrs. Richard H.
Charlotte McGeoch Julia S. Morris Charles H. Nave Gilbert Omenn and
Martha Darling John Psarouthakis and
Antigoni Kefalogiannis Maria and Rusty Restuccia Richard and Susan Rogel Don and Judy Dow Rumelhart Loretta M. Skewes James and Nancy Stanley Lois and Jack Stegeman Susan B. Ullrich Gerald B. and
Mary Kate Zelenock
$3,500-4,999 Bernard and Raquel Agranoff Robert and Victoria Buckler 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 Carl and Charlene Herstein Keki and Alice Irani Susan McClanahan and
Bill Zimmerman M. Haskell and
Jan Barney Newman Barbara A. Anderson and
John H. Romani Lois A. Theis Dody Viola
Marina and Robert Whitman Marion T. Wirick and
James N. Morgan
Bob and Martha Ause
Essel and Menakka Bailey
Raymond and Janet Bernreuter
Suzanne A. and
Frederick J. Beutler loan Akers Binkow
Edward and Mary Cady
Mary Sue and Kenneth Coleman
Lorenzo DiCarlo and
Sally Stegeman DiCarlo Dr. and Mrs. Theodore E. Dushane David and Jo-Anna Featherman John and Esther Floyd Michael and Sara Frank Sue and Carl Gingles Paul and Anne Glendon Jeffrey B. Green 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 Pancioli 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 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
Dr. and Mrs. David G. Anderson
Rebecca Gepner Annis and
Michael Annis Jonathan W. T. Ayers Laurence R. and Barbara K. Baker Lesli and Christopher Ballard 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
John Blankley and Maureen Foley 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 J. Michael and Patricia Campbell Jean W. Campbell Jean and Bruce Carlson Carolyn M. Carty and
Thomas H. Haug Jean and Ken Casey Janet and Bill Cassebaum Anne Chase
Don and Betts Chisholm Leon Cohan Hubert and Ellen Cohen Tom Cohn
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 Bernard and Enid Galler Marilyn Tsao and Steve Gao Thomas and Barbara Gelehrter William and Ruth Gilkey Mr. and Mrs. Clement Gill Mrs. Cozette T. Grabb Elizabeth Needham Graham John and Helen Griffith 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
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 Joseph and Marilynn Kokoszka 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 Fran Lyman
John and Cheryl MacKrell Jeff Mason and Janet Netz Natalie Matovinovic Raven McCrory Joseph McCune and
Georgiana Sanders Rebecca McGowan and
Michael B. Staebler Ted and Barbara Meadows Leo and Sally Miedler Candy and Andrew Mitchell Lester and Jeanne Monts Alan and Sheila Morgan Jane and Kenneth Moriarty Melinda and Bob Morris Edward Nelson William C. Parkinson Donna Parmelee and
William Nolting Brian P. Patchen Margaret and Jack Petersen Elaine and Bertram Pitt Richard and Mary Price Mrs. Gardner C. Quarton Donald H. Regan and
Elizabeth Axelson Ray and Ginny Reilly Kenneth J. Robinson Patrick and Margaret Ross
Dr. Nathaniel H. Rowe
Craig and Jan Ruff
Nancy and Frank Rugani
Alan and Swanna Saltiel
Dick and Norma Sarns
Meeyung and Charles R. Schmitter
Mrs. Richard C. Schneider
Ann and Thomas J. Schriber
Erik and Carol Serr
Janet and Michael Shatusky
Muaiad and Aida Shihadeh
J. Barry and Barbara M. Sloat
Shelly Soenen and Michael Sprague
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 Terrell and Jan Svejnar
Joyce A. Urba and David J. Kinsella
Jack and Marilyn van der Velde
Mary C. Vandewiele
Rebecca W. Van Dyke
Florence S. Wagner
Robert O. and Darragh H. Weisman
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
Christine Webb Alvey
Dr. and Mrs. Rudi Ansbacher
Robert L. Baird
Lisa and Jim Baker
Norman E. Harriett
Mason and Helen Ban
L. S. Berlin
Donald and Roberta Blitz
Tom and Cathie Bloem
Paul and Anna Bradley
David and Sharon Brooks
Morton B. and Raya Brown
)une and Donald R. Brown
Dr. Frances E. Bull
Mr. and Mrs. Richard J. Burstein
H. D. Cameron
Dr. Kyung and Young Cho
Janice A. Clark
Lois and Avern Cohn
Wayne and Melinda Colquitt
Carolyn and L. Thomas Conlin
Malcolm and Juanita Cox
Roderick and Mary Ann Daane
Charles and Kathleen Davenport
Robert J. and Kathleen Dolan
Jack and Betty Edman
Judge and Mrs. S. J. Elden
Stefan S. and Ruth S. Kuans
Elly and Harvey Falit
Dr. and Mrs. James L.M. Ferrara
Sidney and Jean Fine
Jason I. Fox
Professor and Mrs. David M. Gates
William and Sally Goshorn
Amy and Glenn Gottfried
Mr. and Mrs. Robert C. Graham
Dr. John and Renee M. Greden
Bob and Jane Grover
David and Kay Gugala
Don P. Haefner and Cynthia J. Stewart
Helen C. Hall
Mr. and Mrs. Elmer F. Hamel
Mrs. W.A. Hiltner
Sun-Chien and Betty Hsiao
Mrs. V. C. Hubbs
Ann D. Hungerman
Eileen and Saul Hymans
Dr. and Mrs. David W. Jahn
Rebecca S. Jahn
Wallie and Janet Jeffries
Marilyn G. Jeffs
John B. and Joanne Kennard
Hermine R. Klingler
Michael J. Kondziolka and
Mathias-Philippe Florent Badin Charles and Linda Koopmann Dr. Melvyn and Mrs. Linda Korobkin Bert and Geraldine Kruse Bud and Justine Kulka Neal and Ann Laurance John K. and Jeanine Lawrence Laurie and Robert LaZebnik Jim and Cathy Leonard Richard LeSueur Julie M. Loftin E. Daniel and Kay Long Richard and Stephanie Lord Brigitte and Paul Maassen Griff and Pat McDonald Deborah and Michael Mahoney Catherine and Edwin L. Marcus Ann W. Martin and Russ Larson Carole Mayer Bernice and Herman Merte
Henry D. Messer -
Carl A. House
Kathryn and Bertley Moberg Cyril Moscow Todd Mundt
Gerry and Joanne Navarre Dr. Marylen S. Oberman Dr. and
Mrs. Frederick C. O'Dell Robert and Elizabeth Oneal Constance and David Osier Wallace and Barbara Prince Leland and
Elizabeth Quackenbush Margaret lane Radin Mrs. Joseph S. Radom leanne Raisler and Jon Cohn Ms. Claudia Rast Anthony L. Reffells and
Elaine A. Bennett Rudolph and Sue Reichert Marnie Reid and Family Jay and Machree Robinson Jonathan and Anala Rodgers John J. H. Schwarz Edward and Kathy Silver Carl P. Simon and Bobbi Low Frances U. and
Scott K. Simonds Robert and Elaine Sims Irma J. Sklenar James Skupski and
Dianne Widzinski Donald C. and Jean M. Smith Dr. Hildreth H. Spencer Neela Sripathi David and Ann Staiger Bert and Vickie Steck James C. Steward Cynthia Straub Maryanne Telese Elizabeth H. Thieme Catherine Thoburn Merlin and Louise Townley leff and Lisa Tulin-Silver William C. Tyler Dr. Sheryl S. Ulin and
Dr. Lynn T. Schachinger Elly Wagner Jack Wagoner, M.D. Don and Toni Walker Robert D. and Liina M. Wallin Robin and Harvey Wax 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 Helen and David Aminoff Harlene and Henry Appelman
Mrs. Arthur J. Ashe III Dan and Monica Atkins Reg and Pat Baker Paulett Banks John and Ginny Bareham David and Monika Barera Lois and David Bar u Francis J. and
Lindsay Bateman Mrs. Jere M. Bauer Gary Beckman and
Karla Taylor Professor and Mrs. Erling
Blondal Bengtsson Linda and Ronald Benson Joan and Rodney Bentz Dr. Rosemary R. Berardi Steven J. Bernstein and
Maria Herrero Jack Billi and Shery! Hirsch Uene and William Birge Dr. and Mrs. Ronald
Bogdasarian Victoria C. Botek and
William M. Edwards Mr. and Mrs. Richard Boyce William R. Brashear Trudy and Jonathan Bulkley Frank and Kathy Cambria Valerie and Brent Carey Tsun and Siu Ying Chang Kwang and Soon Cho Reginald and Beverly Ciokajlo Brian and Cheryl Clarkson Dr. and Mrs. Harvey Colbert Theodore and Sandra Cole Edward J. and Anne M. Comeau Lloyd and Lois Crabtree Mr. Michael J. and
Dr. Joan S. Crawford Merle and Mary Ann
Mary R. and John G. Curtis Marcia A. Dalbey Sunil and Merial Das Art and Lyn Powrie Davidge Ed and Ellic Davidson Hal and Ann Davis John and Jean Debbink Nicholas and Elena Delbanco Elizabeth Dexter Judy and Steve Dobson Cynthia Dodd Heather and Stuart Dombcy Rev. Dr. Timothy J. Dombrowski Thomas and Esther Donahue Elizabeth Ducll Aaron Dworkin Dr. Alan S. Eiser Dr. Stewart Epstein John W. Etsweiler III Phil and Phyllis Fellin Dr. James F. Filgas Susan FilipiakSwing City
Herschel and Adrienne Fink C. Peter and Beverly Fischer Susan Fisher and John Waidley Jessica Fogel and
Lawrence Weiner Paula L. Bockenstcdt and
David A. Fox
Howard and Margaret Fox Betsy Foxman and
Lynn A. Freeland
Dr. Leon and Marcia Friedman
Philip and Renee Frost
Lela J. Fuester
Mr. and Mrs. William Fulton
Harriet and Daniel Fusfeld
Ms. Patricia Garcia
Deborah and Henry Gerst
Beth Genne and Allan Gibbard
Elmer G. Gilbert and
Lois M. Verbrugge Zita and Wayne Gillis Joyce Ginsberg Richard and Cheryl Ginsberg Maureen and David Ginsburg Irwin Goldstein and
Martha Mayo Enid M. Gosling Charles and Janet Goss James W. and Maria J. GousserT Helen M. Graves Mr. and Mrs. Saul A. Green Ingrid and Sam Gregg Ann H.and
G. Robinson 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 Gottlieb Harrison and
Theodore Harrison DDS Jeannine and Gary Hayden J. Lawrence and
Jacqueline Stearns Henkel Kathy and Rudi Hentschel Lee Hess
Herb and Dee Hildebrandt James Hilton Peter Hinman and
Elizabeth Young MabeUe Hsueh Harry and Ruth Huff Jane H. Hughes Robert B. Ingling Beverly P. Jahn Elizabeth E. Jahn Christopher P. and
Sharon Johnson Elizabeth Judson Johnson Paul and Olga Johnson Dr. and
Mrs. Mark S. Kaminski Arthur A. Kaselemas Allan S. Kaufman, MD Evan Cohen and
Deborah Keller-Cohen Frank and Patricia Kennedy George L. Kenyon and
Lucy A. Waskell Mr. and Mrs. Roland Kibler Donald F. and Mary A. Kiel Dana and Paul Kissner James and Jane Kister Steve and Shira Klein Peter and Judith Kleinman Laura Klem Anne Kloack Thomas and Ruth Knoll John Koselka and
Suzanne DeVine Dr. and Mrs. Gerald Krause
Bert and Catherine La Du David Lebenbom John and Theresa Lee Derick and Diane Lenters Sue Leong
Myron and Bobbie Levinc Jacqueline H. Lewis Daniel Little and
Bernadette Lintz Vi-Cheng and Hsi-Ycn Liu Dr. and
Mrs. Lennart H. Lofstrom Naomi E. Lohr Ronald Longhofer and
Norma McKenna Florence LoPatin Pamela J. MacKintosh Mark Mahlberg Claire and Richard Malvin Latika Mangrulkar Melvin and Jean Manis Esther Martin
Chandler and Mary Matthews Margaret E. McCarthy Margaret and Harris
McClamroch Peggy McCracken Eileen Mclntosh and
Charles Schaldenbrand Bill and Ginny McKeachie Joann McNamara Nancy A. and Robert E. Meader Gcrlinda S. Melchiori Ph.D. Mr. and Mrs. Eugene A. Miller Dr. and Mrs.
William G. Moller, Jr. Robert and Sophie Mordis Ms. Patricia Morgan Frieda H. Morgenstern Mark and Lesley Mozola Thomas and Hedi Mulford Gavin Eadie and
Barbara Murphy Lisa Murray and Michael Gatti James G. Nelson and
Katherine M. Johnson Richard and Susan Nisbett Laura Nitzberg and
Thomas Carli William and Hedda Panzer Karen M. Park Zoe and Joe Pearson Mr. and
Mrs. Frederick R. Pickard Juliet S. Pierson Donald and Evonne Plantinga Bill and Diana Pratt Jerry and Lorna Prescott Larry and Ann Preuss Jenny Pruitt Rebecca Minter and
John Rectenwald Molly Resnik and John Martin Judith Revells Constance O. Rinehart Kathleen Roelofs Roberts Richard Z. and
Edie W. Rosenfeld Mr. Haskell Rothstcin Ms. Rosemarie Rowney Ina and Terry Sandalow Robert E. Sanecki Michael and Kimm Sarosi Albert J. and Jane L. Sayed David and Marcia Schmidt Susan G. Schooner
Paul and Penny Schrciber Joe and Alicia Schuster Mrs. Harriet Selin David and Elvera Shappirio Jean and Thomas Shope Mrs. Patricia Shure Sandy and Dick Simon Nancy and Brooks Sitterley Carl and Jart Smith Mrs. Robert W. Smith Arthur and Elizabeth Solomon Cheryl Lynn Soper Yoram and Eliana Sorokin Ralph and Anita Sosin Jeffrey D. Spindler Mr. and Mrs. Gary Stahle Eric and Virginia Stein Barbara and Bruce Stevenson James L Stoddard Ellen M. Strand and
Dennis C. Regan Donald and Barbara Sugcrman Judy and Lewis Tann Eva and Sam Taylor Bruce Thelen Edwin IThomas Patricia and Terril Tompkins Claire and Jerry Turcotte Bill and Jewell Tustian Mr. James R. Van Bochove Douglas and
Andrea Van Houweling Hugo and Karla Vandcrsypen Keith P. Walker Charles R. and
Barbara H. Wallgren Jo Ann Ward Lawrence A. Weis Iris and Fred Whitehousc Nancy Wiernik Beverly and Hadley Wine Lawrence and Mary Wise Charlotte A. Wolfe Richard E. and Muriel Wong Frances A. Wright David and April Wright Robert and Betty Wurtz Don and Charlotte Wyche MaryGrace and Tom York Scott Zeleznik and
$100,000 and above
Ford Motor Company Fund
Forest Health Services
Corporation Pfizer Global Research and
Development: Ann Arbor
$20,000-$49,999 Bank of Ann Arbor Borders Group, Inc. CFI Group
The Ghafari Companies Kaydon Corporation KeyBank TIAA-CREF
Arts at Michigan
DTE Energy Foundation
Edward Surovcll Realtors
MASCO Charitable Trust McKinley Associates ProQuest Company Scsi Lincoln Mercury Volvo
Mazda Universal Classics Group
$5,000-$9,999 Ann Arbor Automotive Butzel Long Attorneys Elastizell Corporation
of America Kensington Court
Ann Arbor Miller Canfield Paddock
and Stone P.L.C. Standard Federal Wealth
Management Thomas B. McMullen
Tisch Investment Advisory Toyota Technical Center
Sl,000-S4,999 Blue Nile Restaurant Charles Reinhart Company
Realtors TCF Bank Western Union
American Spoon Garris, Garris, Garris &
Garris, P.C. Great Harvest Bread
Michigan Car Services, Inc. Red Hawk Bar & Grill Schakolad Chocolate Factory The Taubman Corporation Zanzibar
$100,000 and above Doris Duke Charitable
Foundation JazzNet Michigan Council for Arts
and Cultural Affairs The Power Foundation The Wallace Foundation
The Japan Foundation
$10,000-$49,999 Cairn Foundation Chamber Music America Community Foundation for
Southeastern Michigan Maxine and Stuart Frankel
Foundation National Endowment for
the Arts The Whitney Fund
Sl,000-$9,999 Akers Foundation Altria Group, Inc. Arts Midwest Heartland Arts Fund Issa Foundation Japan Business Society of
Detroit Foundation Martin Family Foundation Mid-America Arts Alliance THE MOSAIC FOUNDATION
(of R. and P. Heydon) National Dance Project of
the New England
Foundation for the Arts Sams Ann Arbor Fund Vibrant Ann Arbor Fund
Contributions have been received in honor andor memory of the following individuals:
H. Gardner Ackley
Valerie Castle, MD
Mr. and Mrs. Thomas Caterino
Kenneth C. Fischer
Beverley and Gerson Geltner
Toni M. Hoover
Elizabeth Earhart Kennedy
Richard L. Kennedy
Dr. Josip Matovinovic
Gwen and Emerson Powrie
Mr. Gail W. Rector
Margaret E. Rothstcin
Eric H. Rothstein
Nona R. Schneider
Charles R. Ticman
Norman R. Vandewiele
Francis V. Viola III
Carl Huntington Wilmot,
Class of 1919 Peter Holdcrness Woods Barbara E. Young
Burton Tower Society
The Burton Tower Society recognizes and honors those very special friends who have included UMS in their estate plans. UMS is grateful for this important support, which will continue the great traditions of artistic excel?lence, educational oppor?tunities and community partnerships in future years.
Bernard and Raquel AgranofF Carol and Herb Amster Mr. Neil P. Anderson Dr. and
Mrs. David G. Anderson Catherine S. Arcure Maurice and Linda Binkow Elizabeth S. Bishop Mr. and
Mrs. W. Howard Bond Mr. and Mrs. Pal E. Borondy Carl and Isabelle Brauer Barbara Everitt Bryant Pat and George t li.il.i-. Mr. and
Mrs. John Alden Clark Douglas D. Crary H. Michael and
Judith L. Endres Dr. James F. Filgas Ken and Penny Fischer Ms. Susan Ruth Fisher Beverley and Gerson Geltner Paul and Anne Glendon John and Martha Hicks Mr. and Mrs. Richard Ives Marilyn G. Jeffs Thomas C. and
Constance M. Kinnear Diane Kirkp.it rii k Charlotte McGeoch Michael G. McGuire Dr. Eva Mueller M. Haskell and
Jan Barney Newman Len Niehoff Dr. and
Mrs. Frederick C.O'Dell Mr. and
Mrs. Dennis M. Powers Mr. and
Mrs. Michael Radock Mr. and Mrs. Jack W. Ricketts Mr. and
Mrs. Willard L. Rodgers Prudence and
Amnon Rosenthal Margaret and
Haskell Rothstein lrma J. Sklenar Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wetzel Ann and Clayton Wilhite Mr. and
Mrs. Ronald G. Zollars
The UMS Board of Directors extends its deepest appreciation to all members of the UMS staff for their dedication, talent and 100 participation in the 0405 Membership Campaign.
Emily Avers Rowyn Baker Jeffrey Beyersdorf Sara Billmann Jerry Blackstone Susan Bozell Sally A. Cushing Suzanne Dernay Bree Doody Kenneth C. Fischer Jenny Graf Susan Hamilton Patricia Hayes Mark Jacobson Elizabeth Jahn Ben M.Johnson John B. Kennard, Jr. Michael Kondziolka
William Maddix Nicole Manvel Susan McClanahan Lisa Michiko Murray M. Joanne Navarre Kathleen Operhall Nicole Paoletti John Peckham Alexis Pelletier Marnie Reid Claire Rice Lisa Rozek Alicia Schuster Shelly Soenen Mac Steele Cynthia Straub Doug Witney
The future success of the University Musical Society is secured in part by income from UMS's endowment. UMS extends its deepest appreciation to the many donors who have established andor contributed to the following funds:
H. Gardner Ackley
Endowment Fund Herbert S. and
Carol Amster Fund Catherine S. Arcure
Endowment Fund Carl and Isabelle Brauer
Endowment Fund Choral Union Fund Hal and Ann Davis
Endowment Fund Ottmar Eberbach Funds Epstein Endowment Fund JazzNet Endowment Fund William R. Kinney
Endowment Fund NEA Matching Fund Palmer Endowment Fund Mary R. Romig-deYoung
Music Appreciation Fund Charles A. Sink Endowment
Fund Catherine S. ArcureHerbert
E. Sloan Endowment Fund University Musical Society
A-1 Rentals, Inc.
Raquel and Bernard AgranofT
Nizar and Nada Al-Awar
Alexandra's in Kerrytown
Alumni Association of the
University of Michigan American Spoon Ann Arbor Art Center The Ann Arbor News Ann Arbor Women's
City Club Dr. N.iii Arwashan Atlanta Bread Company Lois and David Baru Kathy Benton and Bob Brown Big Ten Party Store The Blue Nile Restaurant Mimi and Ron Bogdasarian Borders Books and Music Bob and Victoria Buckler Margot Campos Chelsea Flowers Cottage Inn Restaurant Kathleen and Robert Dolan The Earle Restaurant The Earle Uptown
i.iiniaii and (Catherine Farrell
Ken and Penny Fischer
Beverley and Gerson Geltner
Great Harvest Bread Company
Debbie and Norman Herbert
Carl and Charlene Herstein
The Issa Family
Abe and Elaine Karem
Kensington Court Ann Arbor
Kerrytown Concert House
King's Keyboard House
Kahled and Susan Mari
M. Haskell and Ian Barney
Newman Liz Othman Paesano's Restaurant Randy Parrish Fine Framing Deanna Relyea Huda Rosen
Prue and Ami Rosenthal Jim and Adrienne Rudolph Savitski Design Jeri Sawall Schlanderer & Sons Penny and Paul Schreiber Tom and Ann Schriber Rabia Shafie Meg Kennedy Shaw Muaiad and Aida Shihadeh Herbert Sloan Jim and Nancy Stanley Natalie and Edward Surovell Tom Thompson Flowers Louise Townley Weber's Inn and Restaurant Ann and Clayton Wilhite Joe Yunkman Amer Zahr Zanzibar Mary Kate and Jay Zelenock
48 Ann Arbor Symphony
Orchestra 19 ARTSearch 48 Automated Resource
Management 48 Bank of Ann Arbor
21 Bellanina Day Spa
27 Borders Downtown
51 Charles Reinhart Realtors
52 Christian Tennant Custom Homes
22 Comerica, Inc. 28 Cottage Inn Restaurant 14 Custom DesignBuild 28 Dance Gallery Studio 40 Dr. Regina Dailey 16 The Earle Uptown 42 Edward Surovell Realtors 40 Forest Health Services 22 Format Framing &
30 Glacier Hills 50 Grizzly Peak Brewing Co. 44 Herb David Guitar
Studio 34 Howard Cooper
31 Interlochen Center for
the Arts 30 Jaffe Raitt Heuer and
20 Kellogg Eye Center 16 King's Keyboard House
39 Lewis Jewelers
30 Mundus and Mundus 27 Performance Network
40 Psarianos Violins 30 Red Hawk
38 St. Joseph Mercy
16 Tisch Investments 50 Tom Thompson
Flowers 18 Totoro Japanese
Restaurant 27 Toyota 16 Ufer&Co. 18 U-M Museum of Art 42 WDET 46 WEMU 34 WGTE 44 WKAR FC WUOM 30 Zanzibar
The "Michigan Difference" mpkes p 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.
YOU CBN MAKE fi DIFFERENCE, TOO.
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.
CPLL 734-647-1178 to Start a
conversation with UMS about making a planned gift, or visit the UMS website at WWW.UMS.ORG.
O jtp The
CAMPAIGN FOR WCMOAN