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UMS Concert Program, Friday Apr. 01 To 10: University Musical Society: Winter 2005 - Friday Apr. 01 To 10 --

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University Musical Society
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Season: WINTER 2005
The University Of Michigan, Ann Arbor

university musical society
winter 05
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 General Information Tickets
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 & Advertising Internships & College Work-StudyUshers Support UMS Advertisers
Free Conr loan Muni (Chris In). Engraving of A Midsummer Nighfs Dream, Malouma Back Cmr Amc-Sopha Muttaf. Robart Lapaga's The Far Side of the Moon, DJ Spooky. SmntoSospal Choir
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 Night's 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
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.
I 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 cencert 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
David Smith
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
Very best wishes,
Kenneth C. Fischer UMS President
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!
Prue Rosenthal
Chair, UMS Board of Directors
Sandra Ulsh
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."
David Canter
Senior Vice President, Pfizer, Inc. "The science of discovering new medicines is a lot like the art of music: To make it all come together, you need a diverse collection of brilliant people. In order to get people with world-class talent you have to offer them a special place to live and work. UMS is one of the things that makes Ann Arbor quite special. In feet, 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."
Habte Dadi
Manager, Blue Nile Restaurant "At the Blue Nile, we believe in giving back to the community that sustains our business. We are proud to support an organization that provides such an important service to Ann Arbor"
Greg Josefowicz
President and CEO, Borders Group, Inc. "As a supporter of the University Musical Society, Borders Group is pleased to help strengthen our community's commitment to and appreciation for artistic expression in its many forms."
Clayton Wilhite
Managing Partner, CFI Group, Inc. "We're pleased to be in the group of community businesses that supports UMS Arts and Education. We encourage those who have yet to participate to join us. Doing so feels good."
Edward Surovell
President, Edward Surovell Realtors "Edward Surovell Realtors and its 300 employees and sales associates are proud of our 20-year relationship with the University Musical Society. We honor its tradition of bringing the world's leading performers to the people of Michigan and setting a standard of artistic leadership recognized internationally."
Leo Legatski
President, Elastizell Corporation of America "UMS has survived the cancellations of September 2001, the renovation of Hill Auditorium, and budget cutbacks this past season. They need your support-more than ever--to continue their outstanding pro?gramming and educational workshops."
Yousif Ghafari
Chairman, The Ghafari Companies "The Ghafari Companies 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."
Mohamad Issa
Director, Issa Foundation
"The Issa Foundation is sponsored by the Issa family, which has been established in Ann Arbor for the last 30 years, and is involved in local property management as well as area public schools. The Issa Foundation is devoted to the sharing and acceptance of culture in an effort to change stereotypes and promote peace. UMS has done an outstanding job bringing diversity into the music and talent of its performers."
Erin R. Boeve
Director of Sales, Kensington Court Ann Arbor "The Kensington Court Ann Arbor is a proud supporter and sponsor of the University Musical Society. The dedication to education through the arts is a priceless gift that continually enriches our community."
Rick M. Robertson
Michigan District President, KeyBank "KeyBank is a proud supporter of the performing arts and we commend the University Musical Society on its contributions to the cultural excellence it brings to the community."
Albert M. Berriz
President and CEO, McKinley Associates, Inc. "The success of UMS is based on a commitment to present a diverse mix of quality cultural performances. McKinley is proud to support this tradition of excellence which enhances and strengthens our community."
Erik H. Serr
Principal, Miller, Canfield, Paddock & Stone, P.L.C. "Miller Canfield is a proud supporter of the University Musical Society and its superior and diverse cultural events, which for 125 years, has brought inspiration and enrichment to our lives and to our community."
Alan Aldworth
Chairman and CEO, ProQuest Company "ProQuest Company is honored to be a new supporter of the University Musical Society's educational programs. 1 believe UMS is a major contributor to the cultural richness and educational excellence of our community."
Joe Sesi
President, Sesi Lincoln Mercury Volvo Mazda "The University Musical Society is an important cultural asset for our community. The Sesi Lincoln Mercury Volvo Mazda team is delighted to sponsor such a fine organization."
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, Tliomas 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."
Thomas McDermott
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 Am 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 Altia Group, Inc. Arts Midwest
Heartland Arts Fund
Issa Foundation
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 ol the
New England Foundation for
the Arts
Sams Ann Arbor Fund Vibrant of Ann Arbor
of the University of Michigan
Prudence L. Rosenthal,
Chair Clayton E. Wilhite,
Vice-Chair Sally Stegeman
DiCarlo, Secretary Michael C. Allemang,
Kathleen Benton Charles W. Borgsdorf Kathleen G. Charla Mary Sue Coleman Hal Davis Aaron P. Dworkin George V. Fornero Maxine J. Frankel Patricia M. Garcia Deborah S. Herbert
Carl W. Herstein Toni Hoover Gloria James Kerry Marvin Krislov Barbara Meadows Lester P. Monts Alberto Nacif Jan Barney Newman Gilbert S. Omenn Randall Pittman
Philip H. Power A. Douglas Rothwell Judy Dow Rumelhart Maya Savarino John J. H. Schwarz Erik H. Serr Cheryl L. Soper James C. Stanley Karen Wolff
(former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Lee C. Bollinger lanice Stevens Botsford Paul C. Boylan Carl A. Brauer Allen P. Britton William M. Broucek Barbara Everitt Bryant Letitia J. Byrd Leon S. Cohan Jill A. Corr Peter B. Corr Jon Cosovich Douglas Crary Ronald M. Cresswell
Robert F. DiRomualdo lames J. Duderstadt David Featherman Robben W. Fleming David J. Flowers Beverley B. Geltner William S. Hann Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Kay Hunt Alice Davis Irani Stuart A. Isaac Thomas E. Kauper David B. Kennedy Richard L. Kennedy Thomas C. Kinnear F. Bruce Kulp
Leo A. Legatski Earl Lewis Patrick B. Long Helen B. Love 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 John W. Reed Richard H. Rogel Ann Schriber Daniel H. Schurz Harold T. Shapiro George I. Shirley
John O. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A. Solis Peter Sparling Lois U. Stegeman Edward D. Surovell lames L. Telfer Susan B. Ullrich Eileen Lappin Weiser Gilbert Whitaker B. Joseph White Marina v.N. Whitman Iva M. Wilson
Raquel Agranoff, Chair Norma Davis, Vice Chair Louise Townley, Past Chair Lois Baru, Secretary Lori Director, Treasurer
Barbara Bach Tracey Baetzel Paulett M. Banks Milli Baranowski Kathleen Benton Mimi Bogdasarian Jennifer Boyce Mary Breakey
Jeannine Buchanan Victoria Buckler Heather Byrne Laura Caplan Cheryl Cassidy Nita Cox
H. Michael Endres Nancy Ferrario Anne Glendon Alvia Golden Ingrid Gregg Kathy Hentschel Phyllis Herzig Meg Kennedy Shaw
Anne Kloack Jean Kluge Jill Lippman Stephanie Lord Judy Mac
Morrine Maltzman Mary Matthews Joann McNamara Candice Mitchell Danica Peterson Lisa Psarouthakis Wendy Moy Ransom Swanna Saltiel Jeri Sawall
Penny Schreiber Suzanne Schroeder Aliza Shevrin Alida Silverman Maryanne Telese Mary Vandewiele Dody Viola Enid Wasserman Wendy Woods Mary Kate Zelenock
Kenneth C. Fischer, President Elizabeth E. Jahn, Assistant to the
President John B. Kennard, Jr., Director of
Patricia Hayes, Senior Accountant John Peckham, Information Systems
Manager Alicia Schuster, Gift Processor
Choral Union
Jerry Blackstone, Conductor and
Music Director
lason 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 Marnie 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
EducationAudience Development
Ben Johnson, Director Rowyn Baker, Youth Education
Manager Bree Doody, Education and Audience
Development Manager William P. Maddix, Education
MarketingPublic Relations Sara Billmann, Director Susan Bozell, Marketing Manager Nicole Manvel, Promotion Coordinator
Michael J. Kondziolka, Director Emily Avers, Production Operations
Jeffrey Beyersdorf, Technical Manager Suzanne Dernay, Front-of-House
Coordinator Susan A. Hamilton, Artist Services
Coordinator Mark Jacobson, Programming
Manager 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
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 ScholfUld Andrew Smith Sean Walls Amy Weatherford
Kristen Armstrong Steve Hall David Wilson
Honorary Conductor of Philanthropy
Herbert E. Sloan, M.D.
Fran Ampey Lori Atwood Robin Bailey loe Batts Kathleen Baxter Gretchen Baxtresser Elaine Bennett Lynda Berg Gail Bohner Ann Marie Borders
David Borgsdorf Sigrid Bower Susan Buchan Diana Clarke Wendy Day Jacqueline Dudley Susan Filipiak Lori Fithian Jennifer Ginther Brenda Gluth
Barb Grabbe loan Grissing Carroll Hart Susan Hoover Linda Jones Rosalie Koenig Sue Kohfeldt Laura Machida Christine Maxey-Reeves Patty Meador
Don Packard Michelle Peet Wendy Raymond Katie Ryan Kathy Schmidt Debra Sipas-Roe Tulani Smith Julie Taylor Dan Tolly Barbara Wallgren
UMS services
GENERAL INFORMATION Barrier-Free Entrances
For persons with disabilities, all venues have barrier-free entrances. Wheelchair locations vary by venue; visit www.ums.orgtickets or call 734.764.2538 for details. Ushers are available for assistance.
Listening Systems
For hearing-impaired persons, Hill Auditorium, Power Center, and Rackham Auditorium are equipped with assistive listening devices. Earphones may be obtained upon arrival. Please ask an usher for assistance.
Lost and Found
For items lost at Hill Auditorium, Lydia Mendelssohn Theatre, Power Center, or Rackham Auditorium please call University Productions at 734.763.5213. For items lost at St. Francis of Assisi Catholic Church or Michigan Theater please call the UMS Production Office at 734.615.1444.
Please allow plenty of time for parking as the campus area may be congested. Parking is avail?able in the 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
Refreshments are available in the lobby during intermissions at events in the Power Center, in the lower lobby of Hill Auditorium, and in the Michigan Theater. Refreshments are not allowed in the seating areas.
Smoking Areas
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Start Time
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.
Group Tickets
When you bring your group to a UMS event, you will enjoy the best the performing arts has to offer. You can treat 10 or more friends, co-workers, and family members to an unforget?table performance of live music, dance, or theater. Whether you have a group of students, a business gathering, a college reunion, or just you and a group of friends, the UMS Group Sales Office can help you plan the perfect outing. You can make it formal or casual, a special cele?bration, or just friends enjoying each other's company. The many advantages to booking as a group include:
reserving tickets before tickets go on sale to the general public
discounts of 15-25 for most performances
accessibility accommodations
no-risk reservations that are fully refundable up to 14 days before the performance
1-3 complimentary tickets for the group organizer (depending on size of group). Comp tickets are not offered for performances with no group discount.
For information, contact the UMS Group Sales Hotline at 734.763.3100 or e-mail
Discounted Student Tickets
Since 1990, students have purchased over 150,000 tickets and have saved more than $2 million through special UMS student programs! UMS's commitment to affordable student tickets has permitted thousands to see some of the most important, impressive, and influential artists from around the world. For the 0405 season, students may purchase discounted tickets to UMS events in three ways:
1. Each semester, UMS holds a Half-Price Student Ticket Sale, at which students can pur?chase tickets for any event for 50 off the pub?lished price. This extremely popular event draws hundreds of students every fall. Be sure to get there early as some performances have limited numbers of tickets available.
2. Students may purchase up to two Rush Tickets 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.
Gift Certificates
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 each month!
Why should you log onto
Last season, UMS launched a new web site, with more information for your use:
Tickets. Forget about waiting in long ticket lines. Order your tickets to UMS performances online. You can find out your specific seat loca?tion before you buy.
UMS E-Mail Club. You can join UMS's E-Mail Club, with information delivered directly to your inbox. Best of all, you can customize your account so that you only receive information you desire -including weekly e-mails, genre-specific event notices, encore information, education events, and more.
Maps, Directions, and Parking. To help you get where you're going...including insider parking tips.
Education Events. Up-to-date information detailing educational opportunities surround?ing each performance.
Online Event Calendar. A list of all UMS per?formances, educational events, and other activi?ties at a glance.
Program Notes. Your online source for per?formance programs and in-depth artist infor?mation. Learn about the artists and repertoire before you enter the performance.
Sound and Video Clips. Listen to audio record?ings and view video clips and interviews from UMS performers online before the concert.
Development Events. Current information on Special Events and activities outside the concert hall. Make a tax-deductible donation online.
UMS Choral Union. Audition information and performance schedules for the UMS Choral Union.
Photo Gallery. Archived photos from recent UMS events and related activities.
Student Ticket Information. Current info on rush tickets, special student sales, and other opportunities for U-M students.
UMS annals
Through a commitment to Presenta?tion, Education, and the Creation of new work, the University Musical Society (UMS) serves Michigan audiences by bringing to our com?munity an ongoing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 125 years, strong leadership coupled with a devoted community has placed UMS in a league of internationally recognized performing arts presenters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, bal?anced by a commitment to dynamic and cre?ative visions of where the performing arts will take us in this new millennium. Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
UMS grew from a group of local university and townspeople who gathered together for the study of Handel's Messiah. Led by Professor Henry Simmons Frieze and conducted by Professor Calvin Cady, the group assumed the name The Choral Union. Their first perform?ance of Handel's Messiah was in December of 1879, and this glorious oratorio has since been performed by the UMS Choral Union annually.
As a great number of Choral Union mem?bers also belonged to the University, the University Musical Society was established in December 1880. UMS included the Choral Union and University Orchestra, and through-
out the year presented a series of concerts fea?turing local and visiting artists and ensembles.
Since that first season in 1880, UMS has expanded greatly and now presents the very best from the full spectrum of the performing arts -internationally renowned recitalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and theater. Through educational endeavors, com-
Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
missioning of new works, youth programs, artist residencies, and other collaborative proj?ects, UMS has maintained its reputation for quality, artistic distinction and innovation. UMS now hosts over 70 performances and more than 150 educational events each season. UMS has flourished with the support of a gen?erous community that this year gathers in six different Ann Arbor venues.
While proudly affiliated with the University of Michigan, housed on the Ann Arbor campus, and a regular collaborator with many University units, UMS is a separate not-for-profit organi?zation that supports itself from ticket sales, corporate and individual contributions, foun?dation and government grants, special project support from U-M, and endowment income.
Throughout its 125-year history, the UMS Choral Union has performed with many of the world's distin?guished orchestras and conductors. Based in Ann Arbor under the aegis of the University Musical Society, the 150-voice Choral Union is known for its definitive performances of large-scale works for chorus and orchestra. Eleven years ago, the Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra (DSO). Among other works, the chorus has joined the DSO in Orchestra Hall and at Meadow Brook for 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 or call 734.763.8997.
Rfter an 18-month $38.6-million dollar renovation overseen by Albert Kahn Associates, Inc. and historic preservation archi?tects Quinn EvansArchitects, Hill Auditorium has re-opened. Originally built in 1913, reno?vations have updated Hill's infrastructure and restored much of the interior to its original splendor. Exterior renovations include the reworking of brick paving and stone retaining wall areas, restoration of the south entrance plaza, the reworking of the west barrier-free ramp and loading dock, and improvements to landscaping.
Interior renovations included the demolition of lower-level spaces to ready the area for future improvements, the creation of additional rest-rooms, the improvement of barrier-free circula?tion by providing elevators and an addition with ramps, the replacement of seating to increase patron comfort, introduction of barrier-free seating and stage access, the replacement of the?atrical performance and audio-visual systems, and the complete replacement of mechanical and electrical infrastructure systems for heating, I'entilation, and air conditioning.
Re-opened in January 2004, Hill Auditorium seats 3,575.
Power Center
The Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage (theater for the performing arts. Hill Auditorium was too massive and technically limited for most productions, and the Lydia Mendelssohn Theatre was too small. The Power Center was built to supply this missing link in design and seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University, and amidst a list of University priorities "a new theater" was men?tioned. The Powers were immediately interest?ed, realizing that state and federal governments
were unlikely to provide financial support for the construction of a new theater.
Opening in 1971 with the world premiere of The Grass Harp (based on the novel by Truman Capote), the Power Center achieved the seem?ingly contradictory combination of providing a soaring interior space with a unique level of intimacy. Architectural features included two large spiral staircases leading from the orchestra level to the balcony and the well-known mirrored glass panels on the exterior. The lobby of the Power Center presently features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes (Arabesque) by Pablo Picasso.
The Power Center seats approximately 1,400 people.
Arbor Springs Water Company is generously providing complimentary water to UMS artists backstage at the Pom Center throughout the 0405 season.
Rackham Auditorium
Fifty years ago, chamber music concerts in Ann Arbor were a relative rarity, presented in an assortment of venues including University Hall (the precursor to Hill Auditorium), Hill Auditorium, Newberry Hall, and the current home of the Kelsey Museum. When Horace H. Rackham, a Detroit lawyer who believed strong?ly in the importance of the study of human his?tory and human thought, died in 1933, his will established the Horace H. Rackham and Mary A. Rackham Fund, which subsequently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School which houses Rackham Auditorium, but also to establish a $4 million endowment to further the development of graduate studies. Even more remarkable than the size of the gift, which is still considered one of the most ambitious ever given to higher-level education, is the fact that neither of the Rackhams ever attended the University of Michigan.
Designed by architect William Kapp and architectural sculptor Corrado Parducci, Rackham Auditorium was quickly recognized as the ideal venue for chamber music. In 1941,
UMS presented its first chamber music festival with the Musical Art Quartet of New York performing three concerts in as many days, and the current Chamber Arts Series was born in 1963. Chamber music audiences and artists alike appreciate the intimacy, beauty, and fine acoustics of the 1,129-seat auditorium, which has been the location for hundreds of chamber music concerts throughout the years.
Lydia Mendelssohn Theatre
Notwithstanding an isolated effort to estab?lish a chamber music series by faculty and students in 1938, UMS recently began present?ing artists in the Lydia Mendelssohn Theatre in 1993, when Eartha Kitt and Barbara Cook graced the stage of the intimate 658-seat theater as part of the 100th May Festival's Cabaret Ball. This season the superlative Mendelssohn Theatre hosts UMS's return of the Song Recital series and continues to serve as the venue of choice for select chamber jazz performances.
Michigan Theater
The historic Michigan Theater opened January 5, 1928 at the peak of the vaude?villemovie palace era. Designed by Maurice Finkel, the 1,710-seat theater cost around $600,000 when it was first built. As was the custom of the day, the theater was equipped to host both film and live stage events, with a full-size stage, dressing rooms, an orchestra pit, and the Barton Theater Organ. At its opening, the theater was acclaimed as the best of its kind in the country. Since 1979, the theater has been operated by the not-for-profit Michigan Theater Foundation. With broad community support, the Foundation has raised over $8 million to restore and improve the Michigan Theater. The beautiful interior of the theater was restored in 1986.
In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addi?tion, which also included expanded restroom facilities for the historic theater. The gracious facade and entry vestibule was restored in 2000.
St. Francis of Assisi Catholic Church
In June 1950, Father Leon Kennedy was appointed pastor of a new parish in Ann Arbor. Seventeen years later ground was broken to build a permanent church building, and on March 19,1969, John Cardinal Dearden dedicat?ed the new St. Francis of Assisi Church. Father James McDougal was appointed pastor in 1997.
St. Francis of Assisi Catholic Church has grown from 248 families when it first started to more than 2,800 today. The present church seats 900 people and has ample free parking. In 1994 St. Francis purchased a splendid three manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedi?cation, a commitment to superb liturgical music and a vision to the future, the parish improved the acoustics of the church building, and the reverberant sanctuary has made the church a gathering place for the enjoyment and contem?plation of sacred a cappella choral music and early music ensembles.
Burton Memorial Tower
Seen from miles away, Burton Memorial Tower is one of the most well-known University of Michigan and Ann Arbor land?marks. Completed in 1935 and designed by Albert Kahn, the 10-story tower is built of Indiana limestone with a height of 212 feet.
UMS administrative offices returned to their familiar home at Burton Memorial Tower in August 2001, following a year of significant renovations to the University landmark.
This current season marks the fourth year of the merger of the UMS Ticket Office and the University Productions Ticket Office. Due to this partnership, the UMS walk-up ticket window is now conveniently located at the Michigan League Ticket Office, on the north end of the Michigan League building at 911 N. University Avenue. The UMS Ticket Office phone number and mailing address remains the same.
of the University of Michigan, Ann Arbor
Winter 2005
Event Program Book Friday, April 1 through Sunday, April 10, 2005
General Information
Children of all ages are welcome at UMS Family and Youth Performances. Parents are encour?aged not to bring children under the age of three to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS perform?ance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditorium. Please use dis?cretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time 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.
Rimasto Orfano 5
Emio Greco PC
Friday, April 1,8:00 pm Saturday, April 2, 8:00 pm Power Center
Haydn's The Creation 9
Saturday, April 2, 8:00 pm Hill Auditorium
Trio Mediaeval 21
Friday, April 8, 8:00 pm
St. Francis of Assisi Catholic Church
Malouma 27
Saturday, April 9, 8:00 pm Michigan Theater
Songs of the Sufi Brotherhood 29
Sunday, April 10, 4:00 pm Rackham Auditorium
Greetings Everyone,
Spring is just around the corner, and it will be great to see you all at upcoming cultural events. As many of you know, the variety of artistic offerings to the community each season can be either staggering or invigorating; I tend to go with the latter, as I know that UMS has done its global research in combing the world for exciting, new artistic performances. Four of the five artists in the next couple of weeks represent debuts to the UMS pro?gram, and each ensemble, in their own way, is breaking new ground in their respective genre.
In the field of contemporary modern dance, Emio Greco I PC (PC stands for Pieter C. Scholten co-artistic director of the group) are a fresh force in the European artistic scene. One is an Italian choreographer and dancer and the other is a Dutch theater director. Together they have created a new hybrid of visual movement termed "extremalism" rep?resenting the merging of extreme dancing and choreography with theatrical intensity!
Then, under the astute leadership of Conductor Jerry Blackstone, Haydn's tour-de?force composition The Creation (1798) will be delivered in all of its glory by the 180-member strong UMS Choral Union and our own Ann Arbor Symphony Orchestra. The Creation is considered one of the most important choral works ever composed; the basis for its text is the Bible and Milton's Paradise Lost.
Trio Mediaeval comes from the new artis?tic hotspot of Norway. This hip ensemble of three voices has turned the early music world on its ears, specializing in medieval ballads and songs from Norway, England, and France. Ethereal, vivid, and peaceful are a few ways to describe the glorious sounds that will be heard at St. Francis of Assisi Catholic Church.
The Arab World Music Festival Finale Weekend will feature four amazing artists from the countries of Mauritania, Morocco, Sudan, and Pakistan. Single handedly, Malouma changed the cultural climate of Mauritania
through her activism and artistry, garnering the title "Singer of the People." She is making her US debut with this very special concert.
The peaceful and spiritual music of Sufism will be explored by three artists who have come to represent the leading voices in their commu?nities, both nationally and internationally. Songs of the Sufi Brotherhood features Hassan Hakmoun who will bring his Gnawan and Moroccan influences to bear in his portion of the concert, while Hamza El Din, godfather of Nubian music, will mesh his esteemed passion and nobility with Sudanese melodies to pay tribute to the memories of his youth. The new faces of Sufi music from Pakistan, Rizwan-Muazzam Qawwali, will offer their renditions of songs dedicated to peace and love and to their legendary great uncle, Nusrat Fateh Ali Khan.
There are many people to thank for the efforts to cultivate, educate, and promote the audiences for the Arab World Music Festival. We would like to gratefully thank the U-M Center for Middle Eastern and North African Studies and the Dearborn-based Arab Community Center for Economic and Social Services who were both equal partners on the Arab World Music Festival. We would also like to thank all of the members of the Arab World Festival Advisory Committee and four special women: Rabia Shafie, Liz Othman, Wadad Abed, and Huda Rosen, for their total commit?ment to this festival in all ways. Thank you so much!
And with many thanks to all of you,
Ben Johnson
UMS Director of Education and Audience
UMS Educational EVentS through Sunday, April 10,2005
All UMS educational activities are free, open to the public, and take place in Ann Arbor unless otherwise noted. Please visit for complete details and updates. For more information, contact the UMS Education Department at 734.647.6712 or e-mail umsed@'
Haydn's The Creation
Study Club:
Exploring the Libretto of Haydn's The Creation Haydn's The Creation is considered one of the great choral works of all time. A combination of early chapters of Genesis and sections of John Milton's Paradise Lost, U-M Professor of English Ralph Williams will examine and place in context the rich texts Haydn used to create this epic piece.
Tuesday, March 29, 7:00-8:30 pm, Michigan League, Vandenberg Room, 2nd Floor, 911 N. University
The Evolution of The Creation
UMS Choral Union conductor Jerry Blackstone
will give a talk setting Haydn's The Creation
in a musical and historical context immediately
prior to the evening's performance. Haydn's
highly imaginative use of musical figures to
paint the visual elements of the Creation story
will also be discussed.
Please note that due to the time and loca?tion of this event, all attendees will be required to have a ticket to the presentation of Haydn's The Creation upon entry. Saturday, April 2, 7:00-7:30 pm, Hill Auditorium, Lower Lobby
RoundtableArtist Interview: Arab Women Activism in the 21st Century Participants will include: Malouma, Mauritanian musician and activist; Nadine Naber, moderator, Assistant Professor of American Culture and Women's Studies, University of Michigan and Arab Movement of Women Arising for Justice (AMWAJ); Anan Amiri, Director, Cultural Arts Program, Arab Community Center for Economic and Social Services; Amal Hassan Fadlallah, Assistant Professor of Afroamerican and African Studies and Women's Studies, University of Michigan; Huda Karaman, local Palestinian activist and AMWAJ; Saja Raoof, AMWAJ; May Seikaly, Chair of Near Eastern and Asiaji Studies, Wayne State University
Malouma is both a respected artist and a controversial advocate for women and chil?dren's rights in her homeland of Mauritania and around the world. With the power of her artistry and activism, she single handedly changed the culture and attitudes in Mauritania while using her music to denounce inequalities, oppression, and injustice, earning her the title, "the singer of the people." In this roundtable, activists representing a large cross-section of the Arab World and its Diaspora join Malouma to talk about the issues facing Arab women and activism in the 21st century.
A collaboration with the U-M Center for the Education of Women, U-M Center for Middle Eastern and North African Studies, and U-M International Institute. Saturday, April 9, 4:00-6:00 pm, Michigan League, Kalamazoo Room, 2nd Floor, 911 N. University
Songs of the Sufi Brotherhood
Community Reception
An all-community reception after the perform?ance of Songs of the Sufi Brotherhood. The event will feature local Arab artists and DJs.
A collaboration with Oz. Presented with support from the Whitney Fund. For a com?plete listing of events associated with the U-M Theme Semester Cultural Treasures of the Middle East, please visit http:www.lsa.umich.edulsa theme Sunday, April 10, post-performance, Oz, 210 S. Fifth Avenue
Ann Arbor Family Days
UMS has teamed up with 10 other cultural organizations to present the second annual Ann Arbor Family Daw on Saturday and Sunday, April 9 and 10, 2005. Ann Arbor Family Days will offer free and low-cost family-friendly cul?tural events to members of the Ann Arbor area community in several venues throughout the city. Participating organizations include:
Ann Arbor Art Center
Ann Arbor District Library
Ann Arbor Hands-On Museum
Ann Arbor Youth Chorale
Dance Gallery Studio
Swing City Dance Studio
U-M Exhibit Museum of Natural History
U-M Museum of Art
Ann Arbor Family Days is presented with support from the Ann Arbor Observer.. For more information on events and tickets, please visit v-v-vv.annarbor.orgrami]ydays.
Chamber Orchestra of Philadelphia Jerusalem Quartet
Study Club:
The Works of Beethoven
Led by Steven Whiting, Associate Dean for Graduate Studies, U-M School of Music
In preparation for the two spectacular UMS April performances to feature the works of Beethoven, Professor Whiting will discuss the life and compositions of this celebrated com?poser. Works to be discussed include Coriolanus Overture, Op. 62, Piano Concerto No. 5 in E-flat Major, Symphony No. 4, Op. 60, and the Quartet in G Major, Op. 18, No. 2. Tuesday, April 12, 7:00-8:30 pm, Ann Arbor District Library, Downtown Branch, Basement Level, 343 S. Fifth Avenue
Rimasto Orfano
Choreography by Emio Greco I Pieter C. Scholten
Performed by
Sawami Fukuoka
Barbara Meneses Gutierrez
Emio Greco
Jordi Martin de Antonio
Nicola Monaco
Suzan Tunca
Tatiana Seguin (cover)
Lighting, Set and Sound Concept by Emio Greco I Pieter C. Scholten Music by Michael Gordon Lighting Design by Henk Danner Costume Design by Clifford Portier Realization of Sound Collage by Wim Selles
Program Friday Evening, April 1, 2005 at 8:00
Saturday Evening, April 2, 2005 at 8:00 Power Center Ann Arbor
Tonight's performance runs approximately 70 minutes and does not contain an intermission.
61st and 62nd Performances of the 126th Annual Season
14th Annual Dance Series
The photographing or sound recording of this concert or possession of any device for such photo?graphing or sound record?ing is prohibited.
Funded in part by the Netherlands Culture Fund, Consulate General of The Netherlands in New York, Theater Instituut Nederland, and the National Dance Project (NDP) of the New England Foundation for the Arts. Lead funding for NDP is provided by the National Endowment for the Arts and Doris Duke Charitable Foundation. Additional funding provided by The Andrew W. Mellon Foundation and The Ford Foundation.
The US tour has also been made possible through support from the Netherlands American Dance and Theatre Project, a joint collaboration between the Consulate General of The Netherlands in New York, the Royal Netherlands Embassy in Ottawa, and Theater Instituut Nederland.
Media partnership for these performances is provided by Michigan RadioMichigan Television and Detroit Jewish News.
Emio Greco I PC appears by arrangement with MAPPMultiArts Projects & Productions, New York, NY.
Large print programs are available upon request.
North American Tour is produced by MAPP
MultiArts Projects & Productions:
Ann Rosenthal, Executive Director and Producer
Cathy Zimmerman, Co-Director and Producer
Jordana Phokompe, Associate Producer
Lisa Phillips, Director of Booking, MAPP on Tour
Rimasto Orfano is a Production of Emio Greco I PC.
Co-production: Holland Festival (Netherlands), KunstenFESTIVALdesArts Kaaitheater, Brussels (Belgium), Theatre de la Ville, Paris (France), Festival Oriente Occidente Rovereto (Italy)
Premiere: May 22, 2002, Kaaitheater, Brussels (Belgium)
Rimasto Orfano
The search for synchronicity; the desire for a perfect unisono as well as for the unity of mind and body, is an ever present theme in Emio Greco I PC's work. Rimasto Orfano, literally meaning Abandoned Orphan, echoes the first seven years of collaboration between Emio Greco and Pieter C. Scholten. It is a synthesis of past investigations but also a new beginning in which the six dancers advance, withdraw, and regroup in their exploration between control and chaos, togetherness and individuality.
This is the first time Greco and Scholten have created a piece that uses the material of one specific contemporary composer alongside a soundscape. American composer Michael Gordon's powerful music brings a dynamic ele?ment into this work, emphasizing and contrast?ing the need for silence and contemplation.
Italian choreographer Emio Greco and Dutch theater director Pieter C. Scholten have worked together in their search for new dance forms since 1995. They present their work under the name of Emio Greco PC, expressing the collaborative effort of their artistic partnership.
For Greco and Scholten the curiosity towards the body and its inner motives serve as the starting point for creating dance. In their performances, movement is seen as self-suffi?cient and capable of creating its own time and space. Dance is not used as a medium to convey a message or decorate theatrical space, instead it is seen as having an intelligence of its own, capable of communicating a wisdom of the body that needs no added explanations.
Throughout the working process, all the elements of performance stage design, sound, and lighting are there to support, contradict, provoke, compel, and evolve with the body in a state of discovery.
These performances mark the UMS debut of Emio Greco I PC.
Emio Greco (Choreographer, Director, Dancer, Italy) merges classical and contemporary ele?ments to arrive at a new movement language in order to articulate the connection between body and mind. Following his classical ballet training in Cannes, Emio Greco danced for sev?eral years with Ballet Antibes Cote d'Azur. From 1993 onwards he performed in several stage productions of Belgian visual artist and theater director Jan Fabre as well as in Japanese choreographer Saburo Teshigawara's work. He formed his company Emio Greco I PC in 1995 with collaborate Pieter C. Scholten.
The search for a new dramaturgy of the body has always been a central motivator in the work of theater director and dramaturge Pieter C. Scholten {Choreographer, Director, The Netherlands). His early stage productions include performances on Oscar Wilde, Yukio Mishima, and Pier Paolo Pasolini. Mr. Scholten worked for several years as a dance dramaturge and advisor to a number of choreographers and initiated Dance Instants, a work-in-progress program for Netherlands-based dance makers.
Photo: Liu RjtI
Sawami Fukuoka {Dancer, Japan) studied visual arts at the Art College of Kyoto. In 2001 Fukuoka was chosen for the European Scholarship Program for Contemporary Dance, danceWEB, at ImpulzTanz in Vienna. Sawami Fukuoka joined Emio Greco I PC in 2002.
Barbara Meneses Gutierrez (Dancer, Spain) started her dance training in Barcelona. In 1999 she graduated from the Performing Arts Research and Training Studios (P.A.R.T.S.) in Brussels and was invited to ImpulsTanz in Vienna on a danceWeb scholarship. In 2000 Barbara Meneses Gutierrez received a Spanish artist grant to study in New York where she worked with choreographer Lance Gries. Barbara Meneses Gutierrez joined Emio Greco I PC in 2000.
Jordi Martin de Antonio {Dancer, Spain) started his classical ballet training at the age of seven. He received his diploma from the Madrid Conservatorio de Danza in 1998. He was a member of the Victor Ullate Ballet from 1998 to 2003 where he danced in pieces by Ullate, Hans van Manen, and Maurice Bejart. He has also performed in productions by Roberto Zappala, Nacho Duato, and Rui Lopes Graca.
Nicola Monaco (Dancer, Italy) started training in classical ballet and contemporary dance at the age of 19. In 2001 he was admitted to the Professional Training Course for Young Dancers at Centro della Danza and continued to study and perform with Artemis Danza and Compagnia Aterballetto. Nicola Monaco joined Emio Greco I PC in 2003.
Suzan Tunca (Dancer, Germany) graduated from the dance department of the Arts Academy of Arnhem, The Netherlands in 1997. She has worked with several internationally known Dutch dance makers Krisztina de Chatel, Dylan Newcomb, Jerome Meijer, and Marie-Ccile de Bont.
Tatiana Seguin (Dancer, France) has studied classical ballet, jazz, and contemporary dance as well as hip-hop and African dance. She gradu?ated in 2003 from the Paris Conservatory of Music and Dance and has performed in pro?ductions by Mark Tompkins, Yvann Alexandre, Odile Duboc, and Herv6 Robbe.
MultiArts Projects & Productions (MAPP)
is a NYC-based arts organization dedicated to producing and sustaining performing artists as they develop multidisciplinary projects that raise questions about the complexities of our time. MAPP works in close collaboration with artists, arts organizations, and other arts pro?fessionals to provide a holistic set of produc?tion and touring services tailored to the specific nature and needs of each project. MAPP was founded in 1994 by Executive Director Ann Rosenthal and since 1998 has been co-directed by Ann Rosenthal and Cathy Zimmerman. MAPP has managed, produced, and toured music, dance, and theater projects by more than 40 artists from eight countries.
For further information about Emio Greco I PC please visit
For further information about MAPP on Tour, please visit
Franz Joseph Haydn's
The Creation
Oratorio in Three Parts
Text by Gottfried, Baron von Swieten
UMS Choral Union
Ann Arbor Symphony Orchestra
Jerry Blackstone, Conductor and Harpsichord
Arianna Zukerman, Soprano (Gabriel and Eve)
John Tessier, Tenor (Uriel)
Stephen Morscheck, Bass (Raphael and Adam)
Tracy Parron, Mezzo-soprano
Program Saturday Evening, April 2, 2005 at 8:00
Hill Auditorium Ann Arbor
Part II Part III
63rd Performance of the 126th Annual Season
The photographing or sound recording of this concert or possession of any device for such photo?graphing or sound record?ing is prohibited.
Special thanks to Ralph Williams, U-M Department of English Language and Literature, Jerry Blackstone, and the U-M School of Music for their participation in this residency.
Special thanks to Joseph Daniel, Carillon Graduate Student Instructor, for his performance of the pre-concert music on the Charles Baird Carillon.
Ms. Zukerman appears by arrangement with Herbert Barrett Management, Inc.
Mr. Tessier appears by arrangement with IMG Artists, New York, NY.
Mr. Morscheck appears by arrangement with Vincent and Farrell Associates, Inc.
Large print programs are available upon request.
Die Schopfung (The Creation)
Franz Joseph Haydn
Born March 31, 1732 in Rohrau, Lower Austria
Died May 31, 1809 in Vienna
The two great oratorios Haydn wrote late in life The Creation and The Seasons are that rare thing: supreme masterpieces of optimism, celebrating universal harmony and rejoicing in a flawless world order with no con?flicts or adversity of any kind. Usually, such overflowing happiness is reserved for the genre of comedy, not for works with serious philo?sophical and theological content. Even the Mass text has its dark, dramatic moments (the "Crucifixus"). But in the Haydn oratorios, such moments can hardly be found at all. The forces of darkness are disposed of in the first aria of The Creation in a matter of seconds. Unlike Voltaire in his Candide, another 18th-century landmark, Haydn never entertains the shadow of a doubt that this world is, in fact, the best of all possible worlds. The fact that he was able to present this philosophy convincingly, without ever falling into cliches, is an act of genius unparalleled in history. In fact, the music sounds as fresh today as it did when it was first written.
The world view expressed in The Creation was entirely consistent with Haydn's own outlook on life. Georg August Griesinger, who conducted extensive interviews with the composer before writing his invaluable biography, reported:
Haydn was very religiously inclined, and was loyally devoted to the faith in which he was raised. He was very strongly con?vinced that all human destiny is under God's guiding hand, that God rewards good and evil, that all talents come from above.... His devotion was not of the gloomy, always suffering sort, but rather cheerful and reconciled, and in this char?acter, moreover, he wrote all his church music. His patriarchal, devout spirit is par?ticularly expressed in The Creation__
Even as he was writing it, Haydn thought of The Creation as the summit of his entire life's work, and certainly, that is how many genera?tions of music-lovers have perceived the orato?rio. As Haydn told Griesinger: "I was never so religious as during the composition of The Creation. Daily I fell on my knees and asked God for strength."
The story of how this work came to be -the creation of The Creation began several years before Haydn actually started writing it. During his first London sojourn in 1791, he attended a Handel festival at Westminster Abbey. He was not entirely unfamiliar with the music of the Baroque master, since he was well acquainted with Baron Gottfried van Swieten, the Austrian diplomat, scholar, and music-lover, who had been promoting both Bach and Handel in Vienna for years. Yet Haydn had never heard anything like this London event, which featured as many as a thousand perform?ers, singers, and instrumentalists, presenting a wide selection of Handel's music, including sev?eral of the greatest oratorios either in full or in excerpts. It was said that, upon hearing the "Hallelujah" Chorus from Messiah, Haydn burst into tears and exclaimed: "He is the master of us all!"
Haydn, honored in England as the greatest living composer, was presented with a libretto for an oratorio titled The Creation, which had been intended for Handel but never set to music by him. Haydn took this libretto, whose author is not known, back with him to Austria and showed it to Baron van Swieten, who pro?ceeded to make a German version for Haydn. The original English libretto has since been lost, so we don't know how faithful van Swieten was in his translation. Yet although Haydn com?posed the work in German, both he and van Swieten wished to provide an English version as well. In fact, the first printed edition, which came out in 1800, did include the text in both languages. The problem was that the original English words did not always fit Haydn's music, so van Swieten had to re-translate certain lines into English. Since his command of the lan?guage was less than perfect, this resulted in
numerous infelicities that other editors have since been trying to correct not an easy task due to the very special flavor of the libretto, which combines Biblical quotes and near-quotes with passages derived from, or influ?enced by, John Milton's great 17th-century epic poem, Paradise Lost.
Milton's retelling of the creation story in the voice of a subjective narrator is reflected in the oratorio's libretto by the appearance of three angels, commenting on the work of God as it unfolds. In van Swieten's manuscript, the angels are nameless: only in the first edition did they become the archangels Gabriel (soprano), Uriel (tenor), and Raphael (bass). With the dif?ferent voice types came differences in the nature of their comments: Raphael chronicles the major cosmological events, often accompa?nied by mighty upheavals, and the appearance of large animals like whales and lions. Gabriel strikes a more lyrical tone, celebrating flowery meadows and soaring birds in arias that make ample use of coloratura. Uriel appears gentle but resolute as he tells of the defeat of the forces of darkness and rejoices in the appear?ance of Man and Woman as the crowning glory of creation.
The Creation is divided into three parts, instead of two as in most oratorios of the time. But the work that Haydn himself regarded as his most important model, Messiah, had a ter?nary structure, as did most of Handel's orato?rios. Far from being a superficial matter, the tri?partite design possesses a profound meaning, both in Handel (Nativity Passion -Resurrection) and in Haydn (the creation of the inanimate world the animate world -humans).
Part one of Haydn's oratorio begins with one of the most astonishing introductions ever written, "The Representation of Chaos" (No. 1). The unformed world, to Haydn, is a harmonic labyrinth in which the tonal rules guiding clas?sical composition are non-existent. The music uncannily anticipates the 20th century in the way it refuses to settle in any key or to conform to the conventions of phrase structure. Utterly unpredictable woodwind solos (a rapid scale in
the clarinet, a lightning-like ascent in the bas?soon) flit by like comets in a dark sky. At the end of the recitative for Raphael and the chorus (No. 2), a spectacular outburst in C Major greets the words "Let there be light and there was light."
Uriel's aria with chorus (No. 3) starts out as a lyrical commentary on the First Day. At the mention of Hell's Spirits, a sudden shift of mood occurs with a modulation into a star-tlingly remote key; but by the end of the move?ment, the blissful feelings are restored, along with the home tonality.
Haydn seems to have set the "big bang" to music in the agitated storm music between the phrases of Raphael's recitative telling about the separation of heaven and earth amidst thunder, lightning, rain, and snow (No. 4). Yet the next moment, the skies are already clear. Gabriel's jubilant aria, accompanied by the chorus, resounds with the praise of the Second Day (No. 5). The fanfare-like melody reaches a glo?rious high 'C just before the end of the aria.
Dramatic contrast is provided as Raphael, in a recitative (No. 6), recountsthe separation of the waters and the continents and, in the fol?lowing aria (No. 7), evokes the savage power of the elements at sea and on land. The "dramatic" key of d minor with its attendant syncopations evokes Mozart's "stormy" piano concerto in the same key; yet true to the work's unconquerable optimism, the elements are tamed soon enough. As our glance shifts from the wild seas to the "limpid brook," the key changes to D Major and the world, once again, is a calm and peaceful place. It becomes even more so when vegetation appears: Gabriel proclaims the cre?ation of green grass and fruit-bearing trees in a recitative (No. 8) and elaborates on it in an aria that begins in simple pastoral style but soon erupts in the most virtuosic coloratura passages (No. 9). A brief tenor recitative (No. 10) intro?duces a choral movement (No. 11) that was clearly inspired by Handel: the words "For he the heavens and earth has clothed" inspires a massive fugue, armed with the full arsenal of Baroque contrapuntal techniques such as aug?mentation (the theme sung at half its original
speed) and stretto (the successive entrances fol?lowing upon one another as close as possible). There is, however, no time to relax after this intense moment as another highlight follows immediately. Uriel makes us see the sun, the moon, and the stars appear in the sky: a simpler recitativo secco or "dry" recitative (accompanied only by "dry" chords, No. 12) is followed by a recitativo accompagnato (No. 13) in which the flutes and violins play a slowly ascending scale, with dynamic crescendo, symbolizing the sun?rise. A slower, more introspective passage, with a quiet motion in the strings, announces the moon. The stars of the firmament prompt "the sons of God" to sing a song of praise even more exuberant than the two that have preceded it. In "Die Himmel erzahlen die Ehre Gottes" (The heavens are telling the glory of God, No. 14), the three soloists are reunited for the first time as an ensemble, which alternates with the cho?rus as the smaller and larger groups do in a concerto grosso. After a brief contrapuntal episode, the movement and Part I concludes in a blaze of sound in the triumphant key of C Major.
Part II opens with a brief recitative in which Gabriel announces the creation of birds (No. 15). The subsequent aria (No. 16) is, above all, a showpiece for soprano, as No. 9 was earli?er. But the orchestra is at least an equal partner. The lengthy introduction is almost like the orchestral exposition of a concerto. The first clarinet and the first flute vie with the singer in rendering the song of the lark and the nightin?gale, respectively. A pair of bassoons, doubled by violins, represents the cooing dove. After the birds come the whales: Raphael's recitative (No. 17) tums into an arioso at the words "Be fruit?ful all and multiply," in a regular tempo and accompanied by a polyphonic string texture (with divided violas and no violins!). He con?tinues by announcing the Fifth Day in a recita?tive (No. 18) followed by a grandiose trio with chorus (No. 19) in which everything created thus far is surveyed again. Each of the three archangels admires different aspects of creation, according to their own personalities: Gabriel sings about the beauties of nature, Uriel about
songbirds, and Raphael about the giant Leviathan. Then they (with the chorus) all join their voices in a lively trio praising all the won?ders of the world.
More wildlife appears in the following scene: in his recitativo secco (No. 20) Raphael announces the creation of animals on the dry land and, in his accompagnato (No. 21), he liter?ally brings them alive: the energetic figures of the orchestra evoke, in turn, the lion, the tiger, the stag, and the steed. The cattle and the sheep prompt another pastoral episode with flute and bassoon solos, and the crawling worm sends the singer into the lowest part of his range. In a quiet and dignified Maestoso aria (No. 22), Raphael rejoices in seeing "heaven in fullest glory," yet in the second half of the same aria notes that "all the work was not complete," since there were no knowing creatures as yet who could give God the praise that was His due. This provides the logical connection to Uriel's recitative (No. 23) and aria (No. 24) in which the creation of the first human couple is retold. "Mit Wiira" und Hoheit angetan" (In native worth and honor clad) is perhaps one of the most famous arias in the whole oratorio. It has often been noted how, in its two sections, Haydn characterizes Adam with "masculine" music (energetic melody, bold modulations) and Eve with "feminine" softness and grace. In his book-length essay about The Creation in the Cambridge Music Handbook Series, Nicholas Temperley comments on the "Eve" section: "Like the text, the music reflects man's feelings about her rather than her actual character; but it is a superb example of Haydn's ability to fashion conventional forms to the needs of his text." The Sixth Day is now over, the work of the Creation complete, and it is time after a bass recitative (No. 25), which states that God found everything "very good" for Haydn's great "Hallelujah" chorus. "Vollendet ist das grosse Werk" (Achieved is the glorious work, No. 26) is cast in a large ABA form. Between two exuberant choral sections, each making ample use of contrapuntal development, comes an introspective trio for the soloists in a slow tempo. The duo of the soprano and the tenor,
though still "officially" embodying Gabriel and Uriel, begins to sound a little like a love duet, foreshadowing Adam and Eve in Part III. They sing about God's blessings, while Raphael, amidst remote modulations and extreme vocal depths, describes (but only for a moment) what happens if God hides His face. The bass solo forms the middle section within a middle sec?tion, followed first by a trio in which Raphael joins his two fellow archangels in their gentle song of praise, and then by the return of the chorus "Achieved is the glorious work," even more powerful then before.
Part III opens with a graceful introduction scored, most unusually in Haydn, for three solo flutes. The setting is the Garden of Eden, where Uriel, in an affecting accompagnato (No. 27), introduces the new protagonists, the human couple. (In most performances, the singers per?forming the roles of Raphael and Gabriel take on the roles of Adam and Eve, respectively, though occasionally, new singers are engaged for these parts.) Adam and Eve's first duet, accompanied by the chorus (No. 28), begins as a heartfelt song of thanksgiving. It continues with an allegretto that sounds simple on the surface but is in fact extremely rich in modula?tions, as Creation is examined under its various aspects once more: the panorama includes the sun, the moon, the stars, inanimate nature, plants, and animals. In other words, Haydn offers, near the end of his monumental work, a retrospective summary of the ground that has been covered. There are plenty of musical refer?ences to past movements, but no literal repeats and nothing ever sounds repetitive or redun?dant. The final portion of the movement brings a personal touch to the praise that was missing earlier: the transition from angelic to human voices may be felt in the special warmth of Adam and Eve's vocal lines. The concluding choral section, with its long-held notes on Ewigkeit (literally: "eternity" in the sung text: "evermore") and the unmistakable excitement throughout, also indicate the new human dimension, which continues in Nos. 29 and 30, the recitative and duet in which Adam and Eve turn from God to each other and affirm their
love. To our modern sensibilities, there is cer?tainly something chauvinistic about a libretto in which he says "I'll guide you" and she says, "Your will is law to me; from obedience grows my pride and happiness." Yet Haydn's music renders these modern charges quite irrelevant: it focuses on the great love these two people share and makes their feelings sound totally sincere. The first half of the love duet, in a slow tempo, is an affecting declaration of love; then Adam and Eve give voice to their bliss in a lively and playful allegro.
In his short recitative (No. 31), Uriel briefly, and somewhat obliquely, warns about "false conceits" and the misguided desire to know "more than you should." But the story of the apple like anything negative is entirely outside the purview of this masterpiece of opti?mism, which ends with a great hymn of praise (No. 32) with a monumental fugue filled with Handel's spirit. The three soloists are briefly joined by a fourth one, an alto, usually selected from the ranks of the chorus. No "Amen" at the end of a piece of music has ever sounded hap?pier or more powerful.
The first public performance in 1799 was awaited in Vienna with the greatest anticipa?tion. Audiences were so excited that Haydn had to make a specific request that they not demand any movements to be encored so as not to dis?rupt the dramatic flow. In the course of the next decade, The Creation was presented some 40 times in Vienna alone, with the rest of Europe not staying far behind. One particular performance, that conducted by Antonio Salieri in March 1808, deserves special mention, for this occasion marked Haydn's last appearance in public. According to eyewitness descriptions,
Haydn, sitting in an armchair, was borne along aloft, and at his entrance into the hall, to the sound of trumpets and tim?pani, was received by the numerous assem?blage and greeted with the joyful cry, "Long live Haydn!" The greatest nobility of that palace and from afar had chosen their places in Haydn's vicinity.
When Haydn heard the thunderous applause interrupting the performance at the words "And there was light,"
...tears streaming down his pallid cheeks and as if overcome by the most violent emotions, raised his trembling arms to heaven, as if in prayer to the Father of Harmony.
A year later (on May 31, 1809), Haydn passed away at the age of 77. The world he left behind was hardly the Paradise he had described so eloquently in his great master-work: 19 days earlier, on May 12, Vienna had been invaded by Napoleon's army. Yet despite the wars that continued to ravage Europe for six more years, the message of Haydn's two ora?torios did not get lost. The world has been thirsty for this enthusiastic affirmation of life ever since.
Program note by Peter Laki.
Jerry Blackstone is Director of Choirs and Chair of the Conducting Department at the University of Michigan School of Music where he conducts the Chamber Choir, teaches conducting at the graduate and undergraduate levels, and administers a choral program of 11
choirs. In February 2003, the Chamber Choir presented three enthusiasti?cally received performances in New York City at the National Convention of the American Choral Directors Association (ACDA). In addi?tion to his choral
conducting work at the University, he has con?ducted operatic productions with the University of Michigan Opera Theatre, includ?ing a 2002 production of Janacek's The Cunning Little Vixen.
Professor Blackstone is considered one of the country's leading conducting teachers and his students have received first place awards and been finalists in both the graduate and under?graduate divisions of the ACDA biennial National Choral Conducting Awards competi?tion. US News and World Report ranks the grad?uate conducting programs at the University of Michigan first in the nation.
Professor Blackstone has appeared as festi?val guest conductor and workshop presenter in 28 states as well as in Hong Kong and Australia. Guest appearances in the current season include all-state choirs in Vermont, South Dakota, Florida, Tennessee, Maryland, Missouri, and Rhode Island; the MENC All-Eastern Choir in Baltimore; the TTBB Honor Choir at the ACDA North Central Division Convention; a choral residency with PCA Great Performances in Maine; the University of Miami Music Camp; and featured workshop and conference presentations in New Zealand, Texas, Florida, New York, Maryland, and Michigan.
In April 2004, Dr. Blackstone was named Conductor and Music Director of the University Musical Society Choral Union. Prepared by Dr. Blackstone, the Choral Union and the School of Music Chamber Choir, University Choir, and Orpheus Singers recently performed and recorded William Bolcom's Songs of Innocence and of Experience for Naxos, led by American conductor Leonard Slatkin. Choirs prepared by Dr. Blackstone have also appeared under the batons of Neeme Jarvi, Nicholas McGegan, and Yitzak Perlman.
As conductor of the University of Michigan Men's Glee Club from 1988-2002, Professor Blackstone led the ensemble in per?formances at ACDA national and division con?ventions and on extensive concert tours throughout Australia, Eastern and Central Europe, Asia, South America, and the US.
Jerry Blockstone
Santa Barbara Music Publishing distrib?utes Dr. Blackstone's acclaimed educational video, Working with Male Voices, and publishes the Jerry Blackstone Choral Series, a set of choral publications that presents works by several composers in a variety of musical styles.
As a strong advocate for the training of young musicians, Professor Blackstone serves as Director of the University of Michigan's All-State Summer Programs, held at the Interlochen Center for the Arts and on the U-M Ann Arbor campus, as well as the Michigan Youth Ensembles organization which offers advanced instrumental and choral ensemble opportunities in Ann Arbor for tal?ented high school students.
Prior to coming to the University of Michigan in 1988, Professor Blackstone served on the music faculties of Phillips University in Oklahoma, Westmont College in California, and Huntington College in Indiana. He holds degrees from the University of Southern California, Indiana University, and Wheaton College.
Tonight's performance marks Jerry Blackstone's fifth appearance under UMS auspices. Dr. Blackstone made his UMS debut leading the UMS Choral Union in performances of Handel's Messiah in December 2003 at Michigan Theater. In April 2004, Dr. Blackstone was named Conductor and Music Director of the University Musical Society Choral Union.
Possessing a luminous voice with "the breadth of dramatic inflec?tion to make for a powerfully effective performance" (Opera), soprano Arianna Zukerman is equally in demand for opera and concert per?formances. The Boston Globe agrees and lauds her "vocal poise, elegant control of style and dynamics, and real spunk" as elements that continually bring her acclaim on national and international stages.
Arianna Zukerman debuts with Arizona
Opera in the cur?rent season as Despina in Cost fan tutte and sings Micaela in Carmen with the Dallas Symphony Orchestra at the Vail Valley Music Festival. She joins the American Bach Soloists as soprano soloist in Messiah; the Rochester
Philharmonic in Mahler's Symphony No. 4 and performances of Libby Larsen's Notes Slipped Under the Door (a work which she premiered in 2001); and the U.C. Davis Symphony in Mahler's Symphony No. 2. Ms. Zukerman's sea?son also includes performances with Red (an orchestra}, the Vermeer Quartet, and the Pro Musica Chamber Orchestra.
Ms. Zukerman recently sang the Governess in The Turn of the Screw with Ghicago Opera Theater. She has appeared three times with the Berkshire Opera Company: as Barbarina in Le Nozze di Figaro, Anna Gomez in The Consul, and Zerlina in Don Giovanni. She sang her first performances of Susanna in Le Nozze di Figaro with Opera Illinois and returned to the compa?ny as Nanetta in Fahtaff.
Equally comfortable in oratorio and popu?lar repertoire, Ms. Zukerman's appearances on the concert stage include performances with the National Symphony Orchestra, Minnesota Orchestra, Israel Philharmonic, National Arts Centre Orchestra, and the Colorado Symphony; Handel's Messiah and Solomon; Verdi's Requiem; Frank Martin's In Terra Pax; and Vivaldi's Gloria.
Ms. Zukerman appears frequently in solo recitals in the US and Europe and in duo recitals with her mother, flutist Eugenia Zukerman. An accomplished chamber musician, she also per?forms regularly at the Vail Valley Music Festival and Caramoor Music Festival.
A 2002 Sullivan Foundation Award Winner, Arianna Zukerman was a member of
Rriqnnr Zukermqn
the Bavarian State Opera Junges Ensemble. She studied theater at Brown University and received her BM from The Juilliard School.
Tonight's performance marks Arianna Zukerman's UMS debut.
On the international stages of opera, concert, and recital, Canadian tenor John Tessier has gained attention and praise for the beauty and honesty of his voice, a refined style and artistic versatility, and for his youthful presence in the lyric tenor repertoire. He regularly works with many of the most notable conductors including Martin Haselboeck, Bernard Labadie, Nicholas McGegan, John Nelson, and Robert Spano. During the current season Mr. Tessier's operatic roles include Gerald in Lakme for the operas of Calgary and Edmonton, and Ferrando in Cost fan tutte at Vancouver Opera
and in a new pro?duction by Tim Albery at Glimmerglass Opera. His inter?national concert schedule includes performances of Haydn's Creation with Jane Glover and Chicago's Music of the Baroque, John Nelson and Ensemble
Orchestral de Paris, and Bernard Labadie and the Columbus Symphony Orchestra; Messiah with the Los Angeles Philharmonic and the Philadelphia Orchestra; the Mozart Requiem with the Vancouver Symphony Orchestra; Bach's St. Matthew Passion with Nicholas McGegan and the Toronto Symphony Orchestra; and performances and a recording of Carmina Burana with Pro Coro Canada. He
also offers solo recital debuts in Edmonton, Calgary, and in San Francisco under the aus?pices of the Schwabacher Foundation.
In the past season Mr. Tessier's operatic roles included Ernesto in Don Pasquale with Opera Lyra Ottawa and Arizona Opera, Almaviva in Barbiere di Siviglia at Vancouver Opera and Opera Colorado, Camille in The Merry Widow with L'Opera de Montreal, the title role of Handel's Imeneo at Glimmerglass Opera, and Agenore in Mozart's II Re Pastore at Lincoln Center's Mostly Mozart Festival con?ducted by Nicholas McGegan.
Mr. Tessier has joined Robert Spano and the Brooklyn Philharmonic Orchestra as Fenton in concert performances of Falstaff.
Tonight's performance marks John Tessier's UMS debut.
Bass Stephen Morscheck has appeared in operatic roles in opera houses around the world including The Metropolitan Opera, The Lyric Opera of Chicago, The New York City Opera, The Washington Opera, The Los Angeles Opera, and Montreal Opera in Canada, as well as Bonn Opera in Germany, Madrid Opera, Barcelona Opera in Spain, Orchestral Ensemble de Paris in France, and Lisbon Opera in Portugal.
During the current season Mr. Morscheck appears as Alidoro in La Cenerentola in his debut with the Kansas City Lyric Opera, Colline in La Boheme in his debut at the Los Angeles Opera, and the role of Alidoro with the Florentine Opera. Mr. Morscheck also retums to Paris where he will sing and record the role of Jesus in St. John Passion with John Nelson and the Orchestral Ensemble de Paris.
Mr. Morscheck has also been active in recitals and oratorios. Among his repertoire is Mozart's Requiem and the Mass in c minor, Bach's B Minor Mass, Magnificat, St. John Passion, and St. Matthew Passion, Beethoven's Symphony No. 9, Mendelsshon's Elijah, Handel's
John Tessier
Messiah and Judas Maccabaeus, Rossini's Stabat Mater, Haydn's The Seasons and Teresian Mass, Philip Glass' The Civil Wars at Carnegie Hall and in a recording with Jessye Norman, George Crumb's Songs, Drones, and Refrains of Death,
Stephen Morscheck
Montgeverdi's Madrigals, and Kurt Weill's Der Lindbergflugh.
Future seasons have Mr. Morscheck returning to the Florentine Opera for the role of Rocco in Beethoven's Fidelio and other houses for Mose in Egitto and La Damnation de Faust.
Stephen Morscheck graduated from Wheaton College and completed advance degrees at the University of Michigan. In 1995, he was awarded the Richard Tucker Career Grant.
Tonight's performance marks Stephen Morscheck's UMS debut. Mr. Morscheck is a graduate of the University of Michigan School of Music.
lease refer to UMS Annals, page 24 of the white pages of your program, for biographical information on the UMS Choral Union.
The UMS Choral Union began performing in 1879 and has presented Handel's Messiah in annual performances. Tonight's performance marks the UMS Choral Union's 398th appear?ance under UMS auspices.
The Ann Arbor Symphony Orchestra (A2SO) has been part of Ann Arbor's cultural life for 76 years. It was founded in 1928 as a "mom-and-pop" orchestra. In 1986, the A2SO became a fully professional orchestra, first under the baton of Carl St. Clair, then fol?lowed by Sam Wong from 1992-1999, and now under the inspired leadership of Arie Lipsky. The A2SO is Washtenaw County's largest arts employer, with over 70 professional musicians, supported by a staff of six, and a volunteer corps logging more than 1,500 hours annually. During the Symphony's 75th Anniversary Season last year, the A2SO presented the world premiere of Michael Daugherty's Once Upon a Castle for orchestra and theater organ. Mr. Daugherty is the 2004 recipient of the ArtServe Michigan Governor's Artist Award. The pre?miere performance received national attention and was broadcast on Michigan Public Radio's Pipe Dreams in November 2004.
In December 2002, the A2SO was chosen as the runner-up for Crain's Detroit Business Best Managed Nonprofit in the'category of businesses whose budgets are under $3 million; in May 2003 the A2SO was the recipient of NEW Nonprofit Excellence in Management Award. Since Maestro Lipsky's Season of Firsts in the 200001 season, the A2SO has received steady critical acclaim while simultaneously growing audiences by 17. The A2SO now serves over 10,000 concertgoers on main stage Saturday night concerts, 5,000 family members, 30,000 area students, and 1,000 senior citizens across southeastern Michigan each season.
Tonights performance marks the Ann Arbor Symphony Orchestra's 47th appearance under UMS auspices.
Ann Arbor Symphony Orchestra
Arie Lipsky, Music Director and Conductor
Violin I Andrew Jennings
Elizabeth A. H. Green
Concertmaster Chair Bethany Mennemeyer Yuki Numata
Arnold and Susan Coran
Violin Chair Daphne Tzu-Yin Su
Sarah and Jack Adelson
Violin Chair Katie Rowan Elaine Sargous
Violin II
Barbara Sturgis-Everett The A2 Principal Second Violin Chair Honoring Anne Gates and Annie Rudisill
David Lamse
Abraham Weiser Violin Chair
Brian Etter
Sharon Quint
Jackie Livesay
Anne Ogren
Kathleen Grimes Tim and Leah Adams Principal Viola Chair
Megan Mason
David Ford
Elvis Chan
Carolyn Tarzia
Sarah Cleveland
Sundelson Endowed Principal
Cello Chair Eileen Brownell
Weiblen Cello Chair Sabrina Lackey Yan Jin
Gregg Emerson Powell Anna Jensen Michael Brownell
Penelope Fischer
Penelope Fischer Principal
Flute Chair Lori Newman
William Hartley Flute Chair Claudia White
Kristin Reynolds
Gilbert Omenn Principal
Oboe Chair Kristy Meretta
Clarinet Celia Eidex
Jim and Millie Irwin Endowed
Principal Clarinet Chair Jonathon Troy
Amy and Jim Byrne Clarinet
Roger Maki-Schramm
E. Daniel Long Principal
Bassoon Chair Christine Marsh Prince Eric Varner, Contrabassoon
French Horn Willard Zirk Andrew Pelletier
Trumpet David Kuehn
David S. Evans III Principal
Trumpet Chair Jean Moorehead-Libs
Ava Ordman Scott Hartley Greg Lanzi
Timpani James Lancioni
Justin Burleson, Operations Manager Gregg Emerson Powell, Personnel
Kathleen Grimes, Librarian Mary Steffek Blaske, Executive
UMS Choral Union
Jerry Blackstone, Conductor and Musical Director Jason Harris, Assistant Conductor Steven Lorenz, Assistant Conductor Jean Schneider, Accompanist Kathleen Operhall, Chorus Manager Donald Bryant, Conductor Emeritus
Soprano I Megan Bonde Kathryn Borden Ann Marie Borders Jamie Bott Tekla Bude Ann Burke Susan F. Campbell Marie Ankenbruck Davis Rene Forsythe Jennifer Freese Kathleen Gage Keiko Goto Kelly Karakashian Kyoung Kim Allison Lamanna Toni Marie Micik Katie Mitchell-Koch Motoko Osawa Nancy K. Paul Margaret Dearden Petersen Marie Phillips Julie Pierce Jennifer Rothschild Vera Sacharin Jennifer Wagner Sobocinski Elizabeth Starr Jennifer Tomko Mary Wigton Linda Kaye Woodman Karen Woollams
Soprano II Katie Balaam Mary Bowman Debra Joy Brabenec Carol Callan Young Cho Hyun Jung Choi Cheryl Clarkson Joy Collman Nancy Kyro Loretta Lovalvo Melissa Hope Marin Linda Selig Marshall Kirsten Meister Caroline E. Mohai Ulrike Peters Nichols
Ann Orwin Sara Peth Dana Rossiter Mary A. Schieve Sue Ellen Straub Li Wang Tower Jane VanSteenis Barbara Hertz Wallgren Dr. Rachelle B. Warren Kathleen A. Young Denise Rae Zellner
Alto I
Olga Astapova Jennifer Berry Dody Blackstone Anne Casper Jeanette Faber Norma Freeman Jennifer James Heather Kaye Maren Keyt [Catherine Klykylo Jan Leventer Jean Leverich Carolyn Loh Jessica McEntee Marilyn Meeker Carol Milstein Betty Montgomery Mary Morse Tracy Parron Jennifer Rosenbaum Cindy Shindledecker Rhonda Sizemore Jari Smith
Katherine R. Spindler Emily Swan Ruth A. Theobald Patricia Tompkins Barbara Trevethan Barbara Tritten Jennifer Williams
Alto II
Siobhan Armstrong Carol Barnhart Ellen Bryan Alison Cohen Joan Cooper
Marilyn A. Finkbeiner Kat Hagedorn Allison Halerz Nancy Heaton Milena Hering Carol Kraemer Hohnke Jessica Lehr Cynthia Lunan K.irl.i K. Manson Patricia Kaiser McCloud Beth McNally Kathleen Operhall Connie Pagedas Abigail Peters Beverly N. Slater Gail Beck Stevens Cheryl Utiger Madeleine Vala Alice VanWambeke Iris Wei Sandra K. Wiley
Tenor I Steven Fudge Dan Gotkin Arthur Gulick Jason Harris Steve Heath Eiki Isomura J. Derek Jackson Mark A. Krempski Robert MacGregor Nicholas J. Pharris Elizabeth Sklar
Tenor II Daniel Albert John W. Etsweiler III Albert P. Girod Roy Glover Michael J. Gordon Matthew Gray Henry Johnson Bob Klaffke Richard A. Marsh A.T. Miller Carl Smith Jim Van Bochove
Bass I
David Bowen Michael Coster Roger Craig Cliff Davidson John Dryden Greg Fleming Kenneth A. Freeman Andrew Hartley David W. Hoffman Jeff Landau Craig LeMoyne George Lindquist Lawrence Lohr Steven Lorenz Charles Lovelace William Malone Joseph D. McCadden Stephen Merino MichaU Pratt Daniel R. Ruge David Sandusky Donald Sizemore Rodney Smith Robert Stevenson William Stevenson Steve Telian Thomas L. Trevethan Jesse Turner
Bass II
Robert Aylesworth William Baxter Joel Beam Kee Man Chang Jeff Clevenger George Dentel Don Faber James Head Frank W. Klett Rod Little Gerald Miller Edward Morris Jeremy Peters Jeff Spindler Robert Stawski Michael Steelman Robert Strozier Terril O. Tompkins Donald Williams
Kensington Court Ann Arbor
Trio Mediaeval
Anna Maria Friman Linn Andrea Fuglseth Torunn Ostrem Ossum
Friday Evening, April 8, 2005 at 8:00
St. Francis of Assisi Catholic Church Ann Arbor
Words of the !Angel
Anonymous, Kyrie and Gloria from Messe de Tournai
France, 13th Century
Andrew Smith
Ave Maris Stella
13th Century,
Notre Dame Conductus
Veni Creator Spiritus
13th Century,
Notre Dame Conductus
Dum Sigillum
Ms. Friman
13th Century,
Notre Dame Conductus
Beata Viscera
Gavin Bryars
Ave Regina Gloriosa
Anonymous, Sanctus from Messe de Tournai
France, 13th Century
Andrew Smith Regina Caeli
Anonymous, Quern Trina Polluit
England, 13th Century
Anonymous, Beata Viscera
England, 13th Century
Anonymous, Flos Regalis
England, 13th Century
Anonymous, Dou way Robyn Sancta Mater
England, 13th Century
Ivan Moody Words of the Angel
64th Performance of the 126th Annual Season
10th Annual Divine 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 Kensington Court Ann Arbor.
Trio Mediaeval appears by arrangement with Herbert Barrett Management, New York, NY.
Large print programs are available upon request.
Words of the Angel
Medieval and Contemporary Music from France and England
The movements of La Messe de Tournai were re-discovered in the 19th century in the library of Tournai cathedral. They are part of a 14th-century manuscript, which contains only two other polyphonic pieces (a "Kyrie" and a "Sanctus" unrelated to this mass) and a great deal of miscellaneous plainchant in honor of the Virgin Mary. It is very unlikely that they are all by the same composer. The fact that they all come together in one manuscript is probably due to an executive decision in the Tournai scriptorium, based on use rather than authorship. The "Kyrie," "Sanctus," and "Agnus dei" seem to pre-date the other three move?ments on stylistic grounds, and were probably composed in the late-13th century. (The "Gloria," "Credo," and "Ite missa est" show the freer rhythms and more advanced triadic har?mony of the Ars Nova. In other words, the com?piler of the manuscript drew together pieces which were stylistically divergent, reminding us that stylistic development doesn't run in the straight lines that history books sometimes imply. Singers of the 14th century were clearly happy with what today we might consider a bit of a stylistic mishmash.)
It's hard for us to imagine now, but until quite late in the medieval period relatively little sacred polyphony was heard at all (either in church or elsewhere). Monophonic chant was the rock on which almost all musical experience was founded. In this context, even music com?posed for just two voices would have made a very special impression. Perhaps even more remarkable is that four-voice polyphony appears quite early (in the form of Perotin's great conducti, composed in Notre Dame, Paris) but then in effect disappeared for hundreds of years before becoming the norm. It's as though
singers and clerics were aware of the potential complexities of multi-voiced music, but pre?ferred to keep their music focused on clear, light textures, which enable the words to be clearly heard (even if they were not always understood). Polyphony seems to have origi?nated in France, and in a remarkably short time, pieces for two or more voices appeared in monastic foundations all over Europe. The first half of tonight's program has two of the great?est works by Perotin. Beata Viscera is a Marian monophonic conductus and shows Perotin's wonderful gift for melody. Dum Sigillum is a neglected contrapuntal masterpiece, virtuosic and elaborately crafted, with syncopations that would not be out of place in more recent music.
Andrew Smith's Ave Maris Stella (2004), written for Trio Mediaeval, attempts to convey the words of the beautiful prayer in gently dis?sonant tonal colors, while at the same time echoing medieval modality. In Regina Caeli (2002), also written specifically for the Trio, this is more pronounced. The piece is built around the eponymous Gregorian antiphon, incorpo?rating it into a modern tonal texture.
Wars, the church, and changing tastes all contributed to the destruction of medieval manuscripts, especially in England where the pattern of survival is extremely fragmentary. What is left is probably only a small proportion of what there was; some of the music survived in the most extraordinary circumstances. The second half of tonight's program, a mixture of English polyphonic motets and chants, are also from the 14th century, and survives in bits and pieces of what were once substantial manu?scripts. The Marian cult, which proved a great stimulus to polyphonic composition, would reach its apogee in the following century, espe?cially with the increased sense of security and well-being that came with the ending of the Hundred Years War. Dou way RobynSancta Mater is an English 14th-century motet that, uniquely, combines a Latin hymn to the Virgin with a secular English tenor. This is a short phrase (from a folk song perhaps) that trans?lates as "Hush Robin, the baby will cry..."
None of the medieval music would have been sung by women. Medieval manuscripts show that women were just as likely as men to be singing secular music, but the unremitting hostility of the papacy to women in positions of power ensured that female religious houses could rarely support significant musical estab?lishments. So the sound world that we enter here is an imaginary one, based on the question "What if...."
Ivan Moody's Words of the Angel was writ?ten for Trio Mediaeval in 1998, with a text taken from the Orthodox Easter day liturgy of St. John Chrysostom. The angel exhorts Mary to rejoice, for her son has defeated death.
The brilliant young sopranos of Trio Mediaeval, founded in Oslo in 1997, specialize in Norwegian medieval ballads and songs, poly?phonic medieval music from England and France, and contemporary works, many of which have been written for, and com?missioned by, the ensemble. Trio Mediasval developed its unique repertory during intense periods of work at the Hilliard Summer Festivals in England and Germany between 1998 and 2000, and subsequently with Linda Hirst and John Potter. "The fruits of Trio Mediaeval's work," declared Early Music News (UK), "are compelling and exciting. It is fasci?nating to see how contemporary this repertoire sounds, and how comfortably it sits beside the modem music...a fascinating journey with music of timeless beauty."
Trio Medieval
Trio Mediaeval has collaborated with a multitude of contemporary composers, includ?ing Gavin Bryars, Piers Hellawell, Roger Marsh, Ivan Moody, Paul Robinson (UK), Gonzalo Macias (Mexico), Markus Ludwig (Germany), Thoma Simaku (Albania), Oleh Harkavyy, Bjorn Kruse, and Andrew Smith (Norway).
Titled "Debutants 2001" from Rikskonsertene (Norwegian Concert Institute), Trio Mediaeval gave concerts and radio broad?casts in Austria, Finland, Germany, Ireland, Norway, Sweden, and the UK (including a BBC Radio 3 lunch-time concert), at such venues as the Oslo Concert House, Trinity College Chapel in Cambridge, the Vienna Konzerthaus, and Wigmore Hall. The threesome also toured Norway that spring with tenors Rogers Covey-Crump, Steven Harrold, and John Potter, as the Trio Mediaeval Sextet.
Trio Mediaeval made its US debut in June 2003, performing two sold-out concerts at New Haven's International Festival of Arts and Ideas. The Trio embarked on its first US tour in February 2004 with performances at Boston's Early Music Festival Concert Series, University of Chicago's International Early Music Series, New York's Angel Orensanz Foundation, and Washington DC's National Cathedral. Their visit to the US was highly anticipated, and the airwaves on National Public Radio crackled with feature stories, announcements of their concerts, and of course their ECM recordings. The 0405 season marks their return to North America and marks their Canadian debut at Festival des Musiques Sacrees de Saint-Roch Church.
Trio Mediaeval released its first CD on ECM Records in October 2001. Words of the Angel immediately went to The Billboard Top 10 Bestsellers list and was the April 2002 Stereophile "Recording of the Month." "These three women have astonishingly beautiful voic?es, with individual timbres that nonetheless mingle seamlessly. Trio Mediaeval sings with feeling, depth, and dare I say it soul" (Stereophile). Trio Mediaeval's second ECM CD, Soir, dit-elle, was released in February 2004 and features commissioned works and Leonel Power's Missa Alma Redemptoris Mater. The Trio is looking forward to releasing their third CD in the fall of 2005.
Tonight's performance marks Trio Medi&val's UMS debut.
with the
University of Michigan Credit Union
and the
Sahel Hawl Blues Band
Malouma, Vocals, Leader
Ould el Moktar Mohamed Yahya, Keyboards
Aly Ndao, Guitar
Athie Mohamed Mechri Ekhtou, Vocals
Aichetou Athie Bintou Wehbin, Vocals
Amadou Lamine Kane, Drums
Cheikh Ould Breika, Tebeul
Ousmane Diamorol Toure, Bass
Program Saturday Evening, April 9, 2005 at 8:00
Michigan Theater Ann Arbor
Tonight's program will be announced by the artists from the stage.
65th Performance of the 126th Annual Season
Arab World Music Festival
The photographing or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
This performance is sponsored by University of Michigan Credit Union. This performance is made possible in part by Arts at Michigan.
This performance is co-presented with the Arab Community Center for Economic and Social Services (ACCESS). Special thanks to Ismael Ahmed, Executive Director of ACCESS, for participating in this collaboration.
Funded in part by the Whitney Fund.
Funded in part by the James A. & Faith Knight Foundation.
Media partnership for this performance provided by Michigan RadioMichigan Television, WEMU 89.1 FM, and Arab American News.
Special thanks to Nadine Naber, Anan Amiri, Amal Hassan Fadlallah, Huda Karaman, Saja Raoof, May Seikaly, Sarah Ely, the U-M Center for the Education of Women, U-M Center for Middle Eastern and North African Studies, and U-M International Institute for their participation in this residency.
Malouma appears by arrangement with ALIA Agency, Alison Loerke, President.
Large print programs are available upon request.
Malouma Mint Moktar Ould Meidah was born in the 1960s in Mederdra (Traiza), into a family of griots. Her life seemed all mapped out. The daughter of Moktar Ould Meidah, a prominent traditional musician as well as a highly skilled poet, she is also the granddaughter of Mohamed Yahya Ould Boubane, another virtuoso of words and the tidinit (a small traditional guitar used by griots).
Malouma grew up in Charatt (a small town near Mederdra), where her parents taught her the basics of traditional harp (ardine) play?ing. She started to sing at a very young age, and performed for the first time at the age of 12, an age when tradition requires that the daughters of important families already be prepared for a "responsible" life (marriage and self-sufficien?cy). She started to draw from the traditional repertoire that her parents, especially her father, had enriched. By the age of 15, she was already an accomplished griot, not only accompanying her parents but performing full-length concerts on her own. At the same period, along with her father, she started to listen to songs by Oum Kalthoum, Adbel Hlim Hafez, Fairouz, Nasri Cherns, Dine, and Sabah. As she grew up she also discovered another musical style that was not far from the music she mastered: blues.
It took until the late 1980s for her to appear on stage again in Mauritania. With a new repertoire, she created a true musical revo?lution. Such pieces as "Habibi habeytou "cyam ezzaman tijri" and "awdhu billah" disrupted the established order. Malouma was aiming to impose a style that drew from the purest tradi?tion and then modernized it. She insisted on contemporary instrumentation and its approach, while utilizing her culture's rich tra?ditional repertoire. Malouma became a singer-songwriter, introducing a unity of themes in her songs (oughniya) and not refraining from broaching subjects that were more or less taboo such as love, conjugal life, or inequalities.
In her commitment to encourage justice and equality in Mauritania, Malouma commit?ted herself to the performance of activist songs,
singing for AIDS campaigns, for the vaccination of children, for the elimination of illiteracy, and for the promotion of women. While her music soon became popular among the youth, it was at first rejected by the dominating class (intel?lectual groups, griots, and decision-makers). She was introducing too many ideas at once: the evolution of both customs and culture, even questioning the traditional social order giving artists an importance they had not had before. Today, Malouma is recognized as "the singer of the people" (mutribatou echa'b). She continues to strive to open Mauritanians to the outside world and to make foreigners discover the treasures of her country's national heritage. Malouma is a national pride; the griot-artist community acknowledges her as the first true composer in Mauritania and one of the greatest singers on the African continent.
Tonight's performance marks Malouma's UMS debut.
For more information on the ALIA Agency, please visit
Songs of the Sufi Brotherhood
Hamza El Din, Oud, Tar, Vocals
Hassan Hakmoun Hassan Hakmoun, Vocals and Sintir Abdel Rahim Hakmoun, Percussion Brahim Fribgane, Guitar and Percussion Adam Rudolph, Percussion
Ali Khan-Rizwan, Vocals Ali Khan-Muazzam, Vocals Aourangzaib-Muhammad, Vocals Ali Khan-Zubair, Harmonium, Vocals Ali-Rahat, Harmonium, Vocals Magbool Chishti-Asif, Harmonium Ali-Zafar, Tabla Rashid Amid-Din, Vocals
Program Sunday Afternoon, April 10, 2005 at 4:00
Rackham Auditorium Ann Arbor
This afternoon's program will be announced by the artists from the stage and will contain one intermission following Hassan Hakmoun's performance set.
66th Performance of the 126th Annual Season
Arab World Music Festival
The photographing or sound recording of this concert or possession of any device for such photo?graphing or sound record?ing is prohibited.
This performance is co-presented with the Arab Community Center for Economic and Social Services (ACCESS). Special thanks to Ismael Ahmed, Executive Director of ACCESS, for participating in this collaboration.
Funded in part by the Whitney Fund.
Media partnership for this performance provided by Michigan RadioMichigan Television, WEMU 89.1 FM, and Arab American News.
Special thanks to Oz, Amer Zahr, the U-M Center for Middle Eastern and North African Studies, and the U-M International Institute for their participation in this residency.
Songs of the Sufi Brotherhood appears by arrangement with Folklore Productions, Inc.
Large print programs are available upon request.
In difficult times, intercultural exchange becomes vital to the health and collective wisdom of our socie?ty. As war and economic hardship divides us, music has the healing power to bring people together to overcome adversity. As professionals working in the arts, we are uniquely placed to introduce American audiences to the talent, inspiration, and wis?dom embodied in various world music tradi?tions.
Sufism, the peaceful, universal, and mystic tradition of Islam, has for centuries intrigued the world's musical communities. Rizwan-Muazzam Qawwali from Pakistan, Hassan Hakmoun from Morocco, and Hamza El Din of Nubia now join forces to offer a joint concert entitled "Songs of the Sufi Brotherhood," expressing different strains of this ancient tradi?tion. Their timely message of universal love and harmony offer audiences an opportunity to appreciate spiritual music from various corners of the Islamic world.
Qawwali music burst onto the scene with the inspired performances of the late Nusrat Fateh Ali Kahn. His nephews now continue this centuries-old tradition of Sufi devotional song with Rizwan-Muazzam Qawwali. The music is both rhythmic and intense, with text evoking romantic love imagery as a metaphor for the spiritual journey. This is the Pakistani face of Sufism.
In Morocco, the music of the Sufis is the traditional trance music of the Gnawa, with Hassan Hakmoun being arguably its foremost practitioner. From his early days as a street entertainer in Marrakesh's legendary lamaa el-Fna through appearances at Lincoln Center and the Hollywood Bowl, with side collaborations with Peter Gabriel and Paula Cole, Hassan Hakmoun has moved the music out into the wider world, while remaining true to its roots. His performances are marked by impossible leaps and twirls, as he plays the indigenous sintir, a three-stringed bass.
Hamza El Din was born in Nubia, Egypt, and is considered the father of modern Nubian music. Performing on the oud (the Arabian
short-necked lute) and the tar (the ancient sin?gle-skinned frame drum of the upper Nile), along with his gentle voice and original compo?sitions, Hamza combines the subtleties of Arabic music with the indigenous music of his native land. He has single-handedly forged a new music, essentially a NubianArabic fusion but one both in line with tradition and informed by Western conservatory training. His artistry, including collaborations with Kronos Quartet and Peter Sellars, has captured the interest of listeners worldwide.
"Songs of the Sufi Brotherhood" is a strong, positive concert, in which Rizwan-Muazzam Qawwali, Hassan Hakmoun, and Hamza El Din present wonderful music, as well as a glimpse into an intriguing and little-under?stood corner of world culture.
Hamza El Din was born in Nubia, Egypt, and is considered the father of modern Nubian music. First discovered by Western audi?ences through his performance at the Newport Folk Festival and Vanguard recordings in 1964, his 1971 (re-released in 1998) Nonesuch recording, Escalay: The Water Wheel is legendary among musicians and con?noisseurs. His best-known recording in the US is Eclipse, produced and engineered by Grateful Dead percussionist Mickey Hart.
Hamza's music has also appeared in movie soundtracks including Control Room, The Black Stallion, You Are What You Eat, and The Passion in the Desert. He has appeared regularly with the Kronos Quartet, who commissioned him to arrange "Escalay: The Waterwheel" for their chart-topping Pieces of Africa album released in 1992. Hamza's compositions have been per?formed by ballet companies including Maurice Beajrt Ballet, Paris Opera Ballet, San Francisco Ballet, and Lines Contemporary Ballet. Hamza has performed at prestigious venues around the world including the U.N. Hall, Town Hall, and Lincoln Center (NY); The Opera House (Vienna); and The Opera House (Cairo). In
recent years, he has performed at major festivals including Edinburg, Salzburg, Paris, Berlin, Montreux, Barcelona, Los Angeles, and Monterey.
Hamza El Din studied at King Fouad University (now the University of Cairo), then enrolled in the Popular University and at Ibrahim Shafiq's Institute of Music (Shafiq was renowned as a master of Arabian music and of the Muwashshah form). Following graduation, he continued his studies at the King Fouad Institute for Middle Eastern music, mastering the oud. Later, with an Italian government grant, he studied Western music and classical guitar at the Academy of Santa Cecilia in Rome.
In the early 1960s, he immigrated to the US, where he lived and worked as a recording and concert artist, and taught as an ethnomusi-cologist at several American universities, including the University of Ohio (Athens), the University of Washington (Seattle), and the University of Texas (Austin). Aided by a grant from the Japan Foundation, he went to Tokyo to make a comparative study between the Arabian oud and the Japanese biwa during the 1980s. He currently resides in the San Francisco Bay area.
This afternoon's performance marks Hamza El Din's UMS debut.
Hassan Hakmoun's latest record?ing, The Gift, has received the 2003 AFIM Indie Award as "Best Contemporary World Recording." In the words of Peter Gabriel, quoted in Rolling Stone, "I love his extraordi?nary voice, and he has a fantastic way of blend?ing his Moroccan roots with a variety of Western and African styles to produce music that is fresh, modern, yet familiar."
Born in Marrakech in 1963, Hassan Hakmoun began to study tagnawit, the Gnawa-related arts and lore, at age seven. Starting with a few dances and songs, he gradually moved on to learn drumming, sintir playing, litanies, chants, costume, and knowledge of the spirits. At 14 he left school to pursue a less formal edu?cation on the road. He traveled throughout Morocco and up into France, learning from his experiences and from the Gnawa masters he visited on his journey. Returning to Marrakech, Hassan continued to work as a Gnawi, per?forming as an entertainer on Jamaa el-Fna and
Hassan Hrkmoun
as a m'allem (master musician) in the derdeba. Eventually his repertory of Gnawa songs broad?ened to include Arab and Berber material in the Gnawi style.
His first New York appearance was at Lincoln Center as part of Trio Gna. Since that 1987 concert he has appeared at BAM, Symphony Space, and at the Hollywood Bowl, as well as numerous festivals throughout North America, Europe, and Africa. The New York Times has been effusive in its praise of Hassan's "spellbinding fusion of Moroccan and Arabic sounds," while The Los Angeles Times calls his music "penetrating" and "emotional."
This afternoon's performance marks Hassan Hakmoun's UMS debut.
It was the energetic recordings and concerts of the late, great Nusrat Fateh All Khan that first introduced Qawwali music to Western audi?ences. His singing effortlessly tran?scended language and cultural barriers, and his spirit reached and moved people all over the
world. Today, Qawwali is recognized as one of the world's most passionate and vibrant forms of music.
The master's nephews Rizwan and Muazzam All Khan continue his legacy in Rizwan-Muazzam Qawwali. Coming from a direct family line of Qawwali vocal music that spans over five centuries, their inventive reinter-pretations of spiritual love songs based upon classical Islamic and Sufi texts was first show?cased in the UK, in July 1998, at the WOMAD Festival in Reading, and has since journeyed to the far corners of the globe. They are, in the words of the Rough Guide to World Music, "the best group of young qawwals to emerge in Pakistan for over a decade."
The two lead singers (Rizwan and Muazzam), five secondary singers, two harmo?nium players, and tabla player perform in tradi?tional Qawwali style sitting on the ground rather than on seats which they believe brings them closer to God. They sing in Farsi (Persian), Punjabi, and Urdu, with an intensity that has led one commentator to call them, only half in jest, "the Qawwali Clash."
Romantic love is used as a metaphor for spiritual adoration and mystical enlightenment,
drawing upon a rich vein ot poetic imagery. It is not surprising that Qawwali has become a staple of Bollywood film scores and an increas?ingly central focus of world music pro?grams in concert halls and festivals throughout the world.
This afternoon's performance marks Rizwan-Muazzam Qawwali's UMS debut.
MS experience
January 05
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
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
Please note that a complete listing of all UMS Educa?tional programs is conveniently located within the concert pro?gram section of your program book and is posted on the UMS website at
Fri-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's Education and Audience Development Program deepens the relationship between audiences and art, and raises awareness of the impact the performing arts can have on our community. The program creates and presents the highest quality arts education experience to a broad spectrum of community constituencies, proceeding in the spirit of partnership and collaboration.
The UMS Education and Audience Develop?ment Department coordinates dozens of events with over 100 partners that reach more than 50,000 people annually. It oversees a dynamic, comprehensive program encompassing com?munity receptions; artist interviews; workshops; in-school visits; master classes; lectures; youth, teen, and family programs; educator profes?sional development; curriculum development; and much more.
UMS Community Education Program
Details about educational events are posted at one month before the per?formance date. To receive information and e-mail reminders about UMS educational events, join the UMS E-Mail Club at For immediate information, e-mail, or call the numbers listed below.
UMS Partnership Program
If you represent an organization that would like to work in collaboration with UMS to create education events or attend performances and community receptions, please call 734.764.6179.
African American Arts Advocacy Committee -The NETWORK
If you are interested in networking with the African American community and supporting African American artistry and performance, please call 734.764.6179.
Arab World Festival Honorary Committee
If you would like to be involved in the Arab World Music Festival and support Arab World programming, education, and community building, please call 734.764.6179.
Educational Programs
UMS hosts a wide variety of educational opportunities that provide context and inform audiences about the artists, art forms, and cul?tures we present. For more information about this program, please call 734.647.6712 or e-mail Events include:
PREPs pre-performance lectures
Meet the Artists post-performance artist interviews
Artist Interviews public dialogues with performing artists
Master Classes interactive workshops
PanelsSymposia expert-led, university-based presentations
Study Clubs in-depth adult education related to a specific art form
Artist-in-Residence artists teach, create, and meet with community groups, university units, and schools.
UMS Youth, Teen, and Family Education
UMS has one of the largest K-12 arts educa?tion initiatives in the State of Michigan. For more information, or to become involved, please call 734.615.0122 or e-mail
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
UMS is a partner with the Ann Arbor Public Schools and the Washtenaw Intermediate School district as part of the Kennedy Center: Partners in Education program. UMS also participates in the Ann Arbor Public School's
Partners in Excellence program.
The UMS Youth Education Program was designated as a "Best Practice" program by ArtServe Michigan and the Dana Foundation.
Join us in thanking these fine area restaurants and businesses for their generous support of UMS:
American Spoon
539 East Liberty997.7185
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
Laky's Salon
512 South Main 668.8812
Michigan Car Services, Inc.
30270 Spain Court, Romulus 800.561.5157
Paesano's Restaurant
3411 Washtenaw 971.0484
Pen in Hand
207 South Fourth 662.7276
Red Hawk Bar & Grill 316 South State 994.4004
Schakolad Chocolate Factory 110 East Washington 213.1700
Weber's Restaurant and Hotel 3050 Jackson Avenue 769.2500
216 South State 994.7777
UMS Delicious Experiences
Back by popular demand, friends of UMS are offering a unique donation by hosting a variety of dining events to raise funds for our nationally recognized educational programs. Thanks to the generosity of the hosts, all proceeds from these delightful dinners go to support these important activities. Treat yourself, give a gift of tickets, or come alone and meet new people! For more information or to receive a brochure, call 734. 647.8009 or visit UMS online at
UMS support
UMS Volunteers are an integral part of the success of our organization. There are many areas in which vol?unteers can lend their expertise and enthusiasm. We would like to wel?come you to the UMS family and involve you in our exciting programming and activities. We rely on volunteers for a vast array of activities, including staffing educational residency activi?ties, assisting in artist services and mailings, escorting students for our popular youth per?formances, and a host of other projects. Please call 734.936.6837 to request more information.
The 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.
When you advertise in the UMS program book you gain season-long visibility among ticket buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to the performance experience. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book.
As a UMS corporate sponsor, your organization comes to the attention of an educated, diverse and growing segment of not only Ann Arbor, but all of southeastern Michigan. You make possible one of our community's cultural treas?ures, and also receive numerous benefits from your investment. For example, UMS offers you a range of programs that, depending on your level of support, provide a unique venue for:
Enhancing corporate image
Cultivating clients
Developing business-to-business relationships
Targeting messages to specific demographic groups
Making highly visible links with arts and education programs
Recognizing employees
Showing appreciation for loyal customers
For more information, please call 734.647.1176.
Internships 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
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 Aranon Rosenthal Ann and Clayton Wilhite
Michael Allemang
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
Barbara Everitt Bryant
Thomas and Marilou Capo
Dave and Pat Clyde
Ralph Conger
Douglas D. Crary
Jack and Alice Dobson
Molly 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
Concertmasters, com.
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
Karl Bartscht
Raymond and Janet Bernreuter
Suzanne A. and
Frederick J. Beutler Joan 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 lean 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
Principals, com.
Julian and Diane Hoff Carolyn Houston Raymond and Monica Howe Robert M. and Joan F. Howe Drs. Linda Samuelson and
Joel Howell
Dr. H. David and Dolores Humes John and Patricia Huntington Thomas and Kathryn Huntzicker Susan and Martin Hurwitz Timothy and Jo Wiese Johnson Robert L. and Beatrice H. Kahn Dr. and Mrs. Robert P. Kelch James and Patricia Kennedy Connie and Tom Kinnear Diane Kirkpatrick Philip and Kathryn Klintworth Carolyn and Jim Knake 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
Maya Savarino
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
Jim Toy
Joyce A. Urba and David J. Kinsella
Jack and Marilyn van der Velde
Mary C. Vandewiele
Rebecca W. Van Dyke
Florence S. Wagner
Elise Weisbach
Robert O. and Darragh H. Weisman
Scott Westerman
Roy and JoAn Wetzel
Harry C. White and
Esther R. Redmount Max Wicha and Sheila Crowley Prof, and Mrs. Charles Witke Paul Yhouse Edwin and Signe Young
Thomas and In.inn Adler
Dr. and Mrs. Robert G. Aldrich
Anastasios Alexiou
Christine Webb Alvey
Dr. and Mrs. Rudi Ansbacher
Robert L. Baird
Lisa and Jim Baker
Norman E. Barnett
Mason and Helen Barr
L. S. Berlin
Donald and Roberta Blitz
Tom and Cathie Bloem
Paul and Anna Bradley
David and Sharon Brooks
Morton B. and Raya Brown
June 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. Fajans
Elly and Harvey Falit
Dr. and Mrs. James L.M. Ferrara
Sidney and Jean Fine
Carol Finerman
Jason I. Fox
Professor and Mrs. David M. Gates
Beverly Gershowitz
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. Haefher and Cynthia J. Stewart
Helen C. Hall
Yoshiko Hamano
Mr. and Mrs. Elmer F. Hamel
Susan Harris
Sivana Heller
Mrs. W.A. Hiltner
Sun-Chien and Betty Hsiao
Mrs. V. C Hubbs
Ann D. Hungerman
Eileen and Saul Hymans
Jean Jacobson
Dr. and Mrs. David W. Jahn
Rebecca S. Jahn
Wallie and Janet Jeffries
Marilyn G. Jeffs
Lester Johns
John B. and Joanne Kennard
Rhea Kish
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
Benefactors, com.
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 [ eland and
Elizabeth Quackenbush Margaret Jane Radin Mrs. Joseph S. Radom Jeanne Raisler and Jon Cohn Ms. Claudia Rast Anthony L. Reffells and
Elaine A. Bennett Rudolph and Sue Reichert 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 '.iin.i 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 Jeff and Lisa Tulin-Silver William C. Tyler Dr. Sheryl S. Win and
Dr. Lynn T. Schachinger Elly Wagner lack 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
Mr. and
Mrs. Arthur J. Ashe HI Dan and Monica Atkins Reg and Pat Baker Paulett Banks lohn and Ginny Bareham David and Monika Barera Lois and David Bam 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 Sheryl Hirsch Ilene 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 Ellie Davidson Hal and Ann Davis John and Jean Debbink Nicholas and Elena Dclbanco Elizabeth Dexter Judy and Steve Dobson Cynthia Dodd
Heather and Stuart Dombey Rev. Dr. Timothy J. Dombrowski Thomas and Esther Donahue Elizabeth Duell Aaron Dworkin Dr. Alan S. Eiser Dr. Stewart Epstein John W. Etsweiler III Phil and Phyllis Fellin Dr. James F. Filgas Susan FilipiakSwing City
Dance Studio
Herschel and Adrienne Fink C. Peter and Beverly Fischer Susan Fisher and John Waidley Jessica Fogcl and
Lawrence Weiner Paula L. Bockenstcdt and
David A. Fox
Howard and Margaret Fox Betsy 1 oni,iu and
Michael Boehnke
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
Tom Gasloli
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. Gousseff Helen M. Graves Mr. and Mrs. Sau! 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 Mabelle 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 Kiblcr Donald F. and Mary A. Kiel Dana and Paul Kissner James and Jane Kister Steve and Shira Klein Peler and Judith Klcinman 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 Levine Jacqueline H. Lewis Daniel Little and
Bernadette I mi Vi-Cheng and Hsi-Yen 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 lean 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. Meadcr Gerlinda 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
(Catherine 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 Re veils Constance O. Rinehart Kathleen Roelofs Roberts Richard Z. and
Edie W. Rosenfeld Mr. Hasketl Rothstein Ms. Rosemarie Rowney Ina and Terry Sandalow Robert E. Sanecki Michael and Kimm Sarosi Albert I. and Jane L. Sayed David and Marcia Schmidt Susan G. Schooner
Paul and Penny Schreibcr Joe and Alicia Schuster Mrs. Harriet Selin David and Elvera Shappirio lean and Thomas Shope Mrs. Patricia Shure Sandy and Dick Simon Nancy and Brooks Sitterley Carl and Jari 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 lames L. Stoddard Ellen M. Strand and
Dennis C. Regan Donald and Barbara Sugerman Judy and Lewis Tann Eva and Sam Taylor Bruce Thelen Edwin J. Thomas Patricia and Terril Tompkins Claire and Jerry Turcottc Bill and Jewell Tustian Mr. James R. Van Bochove Douglas and
Andrea Van Houwcling Hugo and Karla Vandersypen Keith P. Walker Charles R. and
Barbara H. Wallgren Jo Ann Ward Lawrence A. Weis Iris and Fred Whitehouse Nancy Wiernik Beverly and Hadley Wine Lawrence and Mary Wise Charlotte A. Wolfe Richard E. and Muriel Wong Trances A. Wright David and April Wright Robert and Betty Wurtz Don and Charlotte Wyche MaryGrace and Tom York Scott Zeleznik and
Nancy Bums
Corporate Fund
$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 i Companies Kaydon Corporation KeyBank TIAA-CREF
SW,000-$19,999 Arts at Michigan Bank One
DTE Energy Foundation Edward Surovell Realtors
MASCO Charitable Trust McKinley Associates ProQuest Company Sesi Lincoln Mercury Volvo
Mazda Universal Classics Group
S5,000-S9,999 Ann Arbor Automotive Butzel Long Attorneys Elastizell Corporation
of America Kensington Court
Ann Arbor Miller Canficld Paddock
and Stone P.L.C. Standard Federal Wealth
Management Thomas B. McMullen
Tisch Investment Advisory Toyota Technical Center
$l,000-$4,999 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
Foundation &
$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
$W,0O0-$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
$l,0OO-S9,999 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
Tribute Gifts
Contributions have been received in honor andor memory of the following individuals:
H. Gardner Ackley
Gertrude Barnes
Isabelle Brauer
Valerie Castle, MD
Mr. and Mrs. Thomas Caterino
Heidi Cohan
Benning Dexter
Lorna Donnelly
David Eldund
Elizabeth Fiedorczyk
Kenneth C. Fischer
Minnie Friedman
Beverley and Gerson Geltner
Lila Green
Harold Haugh
Toni M. Hoover
JonesWilliams Families
Elizabeth Earhart Kennedy
Richard L. Kennedy
Leslie Kish
Michael Kondziolka
Gordon Laing
Alexandra Lofstrom
Dr. Josip Matovinovic
Gwen and Emerson Powrie
Mr. Gail W. Rector
Kathryn Rector
Steffi Reiss
Prue Rosenthal
Margaret E. Rothstein
Eric H. Rothstein
Nona R. Schneider
Herbert Sloan
Charles R. Tieman
Norman R. Vandewiele
Francis V.Viola III
Carl Huntington Wilmot,
Class of 1919 Peter Holderness Woods Barbara E. Young
Burton Tower Society
The Burton Tower Society recognizes and honors those very special friends who have included VMS in their estate plans. VMS is grateful for this important support, which will continue the great traditions of artistic excel?lence, educational oppor?tunities and community partnerships in future years.
Bernard and Raqucl 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 Evcritt Bryant Pat and George Chatas 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 Bevcrley 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 Kirkpatrick Charlotte McGeoch Michael G. McGuire Dr. Eva Mueller M. Haskell and
Jan Barney Newman Lcn 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 hin.i J. 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. dishing 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 Mamie Reid Claire Rice Lisa Rozek Alicia Schuster Shelly Soenen Mac Steele Cynthia Straub Doug Witney
Endowed Funds
The future success of the University Musical Society is secured in part by income from UMS's endowment. UMS extends its deepest appreciation to the many donors who have established andor contributed to the following funds:
H. Gardner Ackley
Endowment Fund Herbert S. and
Carol Amster Fund Catherine S. Arcure
Endowment Fund Carl and Isabelle Brauer
Endowment Fund Choral Union Fund Hal and Ann Davis
Endowment Fund Ottmar Eberbach Funds Epstein Endowment Fund JazzNet Endowment Fund William R. Kinney
Endowment Fund NEA Matching Fund Palmer Endowment Fund Mary R. Romig-deYoung
Music Appreciation Fund Charles A. Sink Endowment
Fund Catherine S. ArcureHerbert
E. Sloan Endowment Fund University Musical Society
Endowment Fund
In-Kind Gifts
A-1 Rentals, Inc.
Wadad Abed
Acme Mercantile
Raquel and Bernard Agranoff
Nizar and Nada Al-Awar
I .mil
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. Naji Arwashan Atlanta Bread Company Lois and David Bam Kathy Benton and Bob Brown Big Ten Party Store The Blue Nile Restaurant Miini 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
Damian and Katherine Farrell
Ken and Penny Fischer
Sara Frank
Beverley and Gerson Geltner
Great Harvest Bread Company
Claire Harding
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
Laky's Salon
Gene Laskowski
Richard LcSueur
Catherine Lilly
Kahled and Susan Mari
M. Haskell and Ian Barney
Newman Liz Othman Paesano's Restaurant Randy Parrish Fine Framing Deanna Relyea Huda Rosen
Pruc and Ami Rosenthal Jim and Adrienne Rudolph Savitski Design Jeri Sawall Schlandercr & Sons Penny and Paul Schreiber Tom and Ann Schriber Rabia Shafie Meg Kennedy Shaw Muaiad and Aida Shihadeh Herbert Sloan fiin 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
22 BodmanLLP
27 Borders Downtown
28 Butzel Long
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 8(
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 "Michigpn Difference" mpkes p difference for ums.
The Compoign for the University Musical Society is about the people who attend our performances and who support us. The following people are a few of our dedicated individual supporters who have made a commitment to the future of UMS through a planned gift: Carol and Herb Amster, Maurice and Linda Binkow, Carl and Isabelle Brauer, Barbara Everitt Bryant, Ken and Penny Fischer, Beverley and Gerson Geltner, Thomas and Connie Kinnear, Diane Kirkpatrick, Eva Mueller, M. Haskell and Jan Barney Newman, Prue and Ami Rosenthal, and Ann and Clayton Wilhite.
With a charitable gift to UMS, you can preserve for future generations the quality of our artistic programming and enrich?ing educational events. University of Michigan's investment professionals will expertly manage your gift and work with you and your financial advisor to help you select the plan that's best for you. Whatever you choose, your gift will make a difference and will continue the world-class standards of the University Musical Society.
Coll 734-647-H78 to start a conversation with UMS about making a planned gift, or visit the UMS website at WWW.UMS.ORG.
Kensington Court Ann Arbor
Trio Mediaeval
Anna Maria Friman Linn Andrea Fuglseth Torunn 0strem Ossum
Words of the Angel
Kyrie and Gloria from Messe de Tournai
Anonymous, France, 13th Century
Kyrie eleison. Christe eleison. Kyrie eleison.
Gloria in excelsis Deo.
Et in terra pax
hominibus bonas voluntatis.
Laudamus te; benedicimus te; adoramus te; glorificamus te. Gratias agimus tibi propter magnam gloriam tuam.
Domine Deus, Rex coelestis,
Deus Pater omnipotens.
Domine Fili unigenite Jesu Christe.
Domine Deus, Agnus Dei, Filius Patris.
Qui tollis peccata mundi,
miserere nobis. Qui tollis peccata mundi,
suscipe deprecationem nostram. Qui sedes ad dextram Patris,
O miserere nobis.
Quoniam tu solus Sanctus,
tu solus Dominus,
tu solus Altissimus, Jesu Christe.
Cum Sancto Spiritu
in gloria Dei Patris.
Lord have mercy. Christ have mercy. Lord have mercy.
Glory be to God in the highest. And on earth peace to men of good will.
We praise Thee; we bless Thee; we worship Thee; we glorify Thee. We give thanks to Thee for Thy great glory.
O Lord God, Heavenly King,
God the Father Almighty.
O Lord Jesus Christ, the only begotten son.
Lord God, Lamb of God, Son of the Father.
Thou that takest away the sins of the world,
have mercy upon us. Thou that takest away the sins of the world,
receive our prayer. Thou that sittest at the right hand of the Father,
have mercy upon us.
For thou only art holy,
thou only art the Lord,
thou only art the most high, Jesus Christ.
Together with the Holy Ghost
in the glory of God the Father.
Ave Maris Stella Andrew Smitii
Ave maris Stella, Dei rater alma, atque semper Virgo, felix caeli pona.
Solve vincula reis, proter lumen caecis nuij nostra pelle, bona cuncta posce.
Yitam praesta puram, iter para tutum: ut videntes Iesum semper collaetemur.
Sit iaus Deo Patri, summo Christo decus, Spiritui Sancto, tribus honor unus.
Veni Creator Spiritus
I5th Century; Notre Dame Conductus
Veni creator spiritus, spiritus recreator, tu dans, datus celitus, tu donum to donator, tu rex, tu digirus, aiens et aiitus, spirans et spiritus. spiratus et spirator.
Ntentes tuorum Tsita, mentium isitator, visicando inhabira. visorum habitator. tu tons, tu rivolus. firunex et surculus, doctor, discipulus. ser-orum coronator.
Hail, O Star of the ocean, God's own Mother blest, ever sinless Virgin, gate of heavnly rest.
Break the sinners' fetters, make our blindness day, Chase all evils from us, for all blessings pray.
Keep our life all spotless, make our way secure till we find in Jesus, joy for evermore.
Praise to God the Father, honor to the Son, in the Holy Spirit, be the glory one.
Come, creator spirit.
Spirit restorer,
Thou giving, thou art heavenly given,
Thou the gift, thou the giver,
Thou the king, thou the finger (of authority),
Thou nourishing art the nourished,
Thou the breathing and the breath,
Thou the breath and the breath-giver.
Visit the souls of thy faithful.
Visitor of souls.
And by visiting dwell within.
Inhabitant of the visited,
Thou the fount, thou the stream.
Living trunk and sprout,
Teacher, pupil,
Crowner of slaves.
Tu septi formis gratiae, Dans septiforme donum, vurtutis septipharie, septem petetionum. tu nix non deflucns, ignis non destruens, pugil non metuens, propinator sermonum.
Tu gratis data gratia, et tu faciens gratos, tu primo purges vitia, post conservas purgatos, absolve debita, extolle merita, virtute solita salvans predestinatos.
Ergo accende sensibus tu te,
lumen et flamen,
tu te inspira cordibus,
qui es vite spiramen,
tu sol, tu radius,
mittens et nuntius,
persona tercius, salva nos.
Amen, amen.
Dum Sigillum
13th Century, Notre Dame Conductus
Dum sigillum summi patris signatum divinitus, in sigillo summi matris signatur humanitus. Nee sigillum castitatis in puella frangitur; nee sigillum deitatis detrimentum patitur.
Dum humanum osculatur naturam divinitas, ex contactu recundatur intacta virginitas. Mira virus osculandi, miranda sunt oscula, que dant vires tecundandi sine carnis copula.
Thou of sevenfold grace. Granting a sevenfold gift, A gift of sevenfold virtue, Of the seven petitions; Thou the snow not melting, The tire not destroying, The fighter not fearing, The giver of words of wisdom.
Thou art grace freely given, And thou makest people grateful. For thou at first didst purge our sins, And then thou didst save the purged; Absolve our merits, By thy wonted virtue, Saving those predestined.
Therefore, inflame thyself in our senses,
Thou, light and spirit,
Thou, breathe thyself into our hearts,
Thou who art the spirit,
Thou who art the sun, the sun's ray,
The sender and the messenger,
The third person, save us.
Amen, amen.
When the seal of the highest father Became manifest, Divinity appeared; In the seal of the highest mother Was displayed Humanity; Nor was chastity's seal In the maid broken, Nor did Divinity s seal Suffer any harm.
When Divinity kissed
Human nature,
By this touch fruitful made
Was untouched virginity;
O wondrous kiss of virtue!
Much to be wondered at are the kisses
Which gave power to make fruitful
Without conjunction of flesh.
Beata Viscera
15tii Century, Notre Dame Conductus
Besta viscera Marie virginis, cuius ad ubera rex nominis; veste sub altera vim celans numinis, dictavit federa Dei et hominis.
O mira novitas et novum gaudium, matris integrita post puerperium!
Populus gentium sedens in tenebris surgit ad gaudium partus tarn Celebris: Iudea tedium Fovet in latebris, cor ferens conscium delicti funebris.
O mira...
Solem, quem libere, Dum purus oritur in aura cernere visus non patitur, cernat a latere dum repercutitur, alvus puerpere, qua totus clauditur.
O mira...
The blessed flesh Of the virgin Mary, To whose fruitfulness was entrusted The king of mighty name; Beneath another cloak Hiding the power of his spirit. Has enriched the conjunction Of God and man.
O new wonder,
A new joy,
The mother's chastity prevails
After child-birth!
The Gentile people
Seated in darkness
Have arisen to the joys
Of a birth so renowned.
Judea in darkness
Cherishes her weariness,
Her heart bearing the knowledge
Of her impending doom.
O new wonder...
The vision cannot bear to look,
However boldly, at the sun
When it uncovered arises
Into the heavens;
But the womb of the child-bearer,
By which it is wholly covered,
Can gaze unimpaired
When from the side it is reflected.
O new wonder...
Ave Regina Gloriosa Gavin Bryars
Ave regina gloriosa, Plena d'ogne consoianca.
Ave pulcra margarita, Spiendida luce clarita; Fresca rosa et aulorita, Nostro gaudio et alegranca.
Ave regina...
Ave regina adorata, Vergene madre beata; Poi ke fosti salutata, Madre se" degran pietanca.
Ave regina...
Ave porto de salute; Ki ben t'amatu l'aiute; Guardane di far cadute, Traici tor de dubitanca.
Ave regina...
from Messe de Tonrnai
France, 13th Century
Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Osanna in excelsis.
Regina Caeli Andrew Smith
Regina caeli, laetare, alleluia: Quia quem meruisti portare, alleluia, Resurrexit sicut dixit, alleluia. Ora pro nobis Deum, alleluia.
Hail, glorious queen, full of all consolation.
Hail, beautiful pearl, clear shining light; fresh rose and fragrance. our joy and delight.
Hail, glorious queen...
Hail, adored queen
blessed virgin mother;
since you received your salutation,
you have been our mother of great holiness.
Hail, glorious queen...
Hail, gateway of salvation;
you help whoever loves you well;
save him from falling into error,
and keep us free from doubting thoughts.
Hail, glorious queen...
Holy, Holy, Holy,
Lord God of Hosts.
Heaven and earth are full of Thy glory.
Hosanna in the highest.
O Queen of heaven rejoice! alleluia:
For He whom thou didst merit to bear, alleluia.
Hath arisen as he said, alleluia.
Prav for us to God, alleluia.
Quem Trina Polluit
Anonymous, England, 13th Century
Quem trina poiluit Prius negatio, Peccatum diluit Trina confessio: Qui purum abliut, Petrum admonuit Veri iudicio. A petra diceris, O Petre, rectius. Eo quod ceteris. In fide firmius; Mille sustinuit Penas martyrio, Mille sustinuit Palmas in premio. Post lapsum steteris, Et dimicaveris Cruce nobilius; Qui sic promeruit Nobis ut meruit Perfrui gaudio.
Beata Viscera Anonymous, England, 13th Century
Beata viscera Marie virginis, Que fructo gravida Eterni germinis; In vite poculo Propinat seculo [Pro mala hominis Potum] dulcedinis
Flos Regalis Anonymous, England, 13th Century
Flos regalis
Chori dux egregia
Quam Iesse
Natam esse
Stripe constat regia.
Whom earlier the threefold
Denial defiled,
His sin was softened
By a threefold confession;
He who washed him pure,
Chided Peter
By a judgment of truth.
Thou wast said to come from a rock,
O Peter, more righteously
Than the others,
And in faith more firm;
He who sustained a thousand
Punishments in martyrdom.
Now holds a thousand
Palms in reward.
After they lapsed thou didst hold firm,
And did fight
By the Cross most gloriously;
Thus as he gained merit
For us, so did he deserve
To enjoy eternal joy.
Hail the blessed flesh Of the Virgin Mary, Which was laden with fruit Of the eternal seed; In the cup of life. She offers to the world, On behalf of mans evils. The draught of sweetness.
The royal flower The glorious leader Of the virginal chorus, Whom, they say, Was born From (esse's royal stem.
Rosa fragrans, primula vernalis,
Servos tuos libera de malis.
Rex te salem
Ad regalem
Introduxit thalamum
Flos decoris
Et honoris
Precellentis balsamum.
Tu glorie speculum,
Solis umbraculum.
Da tamulis gaudium.
Dou way Robyn Sancta Mater
England, 13th Century
Sancta mater gratiae, Stella claritatis visita nos hodie plena pietatis.
Veni, vena veniae mox
incarceratis, solamen angustiae, fons suavitatis.
Recordare, mater Christi, quam amare
tu flevisti; juxta crucem tu stetisti, suspirando
viso tristi.
O, Maria, flos regalis, inter omnes
nuila talis; Tuo nato specialis nostrae carnis
parce malis.
O, quam corde supplici locuta fuisti, Gabrielis nunci i cum verba cepisti.
'En ancilla Domini,' propere
dixisti; vernum vivi gaudii post
hoc perperisti.
Gaude, digna, tarn benigna
caeli solio; tuos natos, morbo stratos,
redde filio.
Dou way, Robyn, the child wile weepe; dou wav Robvn.
O fragrant rose, first bud of spring,
Free thy servants from evils.
The King has led
Three pure
Into royal chamber,
O flower of elegance
And honor,
Surpassing all fragrance.
Thou art a mirror of glory,
Shade for the sun,
Grant joys for thy family.
Holy mother of grace, star of brightness, visit us today, full of compassion.
Come soon, channel of pardon, to those
in prison, as a solace of misery, a source of sweetness.
Remember, mother of Christ, how bitterly
thou didst weep; thou didst stand beside the cross sighing
at the sad sight.
O Mary, royal flower, among all women
nonesuch, in thy son unequalled, forgive the sins
of our flesh.
O, with how humble a heart thou didst speak, when thou didst receive the words of Gabriel the messenger.
'Behold the handmaid of the Lord,' thou
didst quickly say; thereafter thou didst bear the springtime
of living joy.
Rejoice, worthy lady, so gracious, in the
throne of heaven; restore thy children, brought low by vice,
to the Son.
Stop it, Robin, the child will weep; stop it, Robin.
Words of the Angel Ivan Moody
Khere, Khere, Khere, Khere,
The Angel spake to her that is full of grace, saying:
O pure virgin, rejoice; and I say also rejoice:
For her son is risen from the tomb on the third day.
Khere, Khere, Khere, Khere,
Shine, shine, shine, shine, O new Jerusalem,
For the glory of the Lord hath risen upon thee.
Khere, Khere, Khere, Khere,
Rejoice and be glad, O Sion,
And thou, O pure Theotokos,
Exult in the resurrection of him whom thou didst bear.
Khere, Khere, Khere, Khere.

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