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UMS Concert Program, Friday Jan. 13 To 19: University Musical Society: Winter 06 - Friday Jan. 13 To 19 --

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Day
19
Month
January
Year
2006
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Rights Held By
University Musical Society
OCR Text

Season: Winter 06
University Of Michigan Ann Arbor

university musical society
Winter 06
University of Michigan Ann Arbor
2 Letters from the Presidents 4 Letter from the Chair
UMSLeadership 6 Corporate LeadersFoundations
12 UMS Board of DirectorsSenateAdvisory Committee
13 UMS StaffTeacher Advisory Committee
UMSServices 15 General Information
17 UMS Tickets
19 www.ums.org
19 Student Information
UMSAnnals 23 UMS History
24 UMS Choral Union
25 Venues and Burton Memorial Tower
UMSExperience 27 The 127th UMS Winter Season
29 UMS Education Programs
35 UMS Preferred Restaurants and Businesses
35 UMS Delicious Experiences
UMSSupport 37 UMS Advisory Committee
37 UMS Ushers
39 Sponsorship and Advertising
41 Annual Fund Support
51 Annual Endowment Support
52 UMS Advertisers

Cover: Dancers from Nrityagram appearing at the Power Center Wednesday, April 19, 2006.
FROM THE U-M PRESIDENT
T
he University of Michigan joins the University Musical Society (UMS) in welcoming you to the distinctive and diverse events scheduled for the Winter 2006 season. Thank you for attending this performance.
We are proud of the U-MUMS Partnership Program where the University provides financial
support to UMS, enabling it to offer educational programs to students, faculty, and townspeople that animate and provide context to many of the performances on the UMS roster. UMS's partners throughout the University include a wide range of schools, colleges, departments, programs, institutes, centers, museums, and libraries.
Before noting our collaborative programs during this term, I want to congratulate UMS for securing a third residency of the Royal Shakespeare Company (RSC) for the Fall 2006 season. Three years in development, the three-week residency will be a US exclusive event, feature three classic Shakespeare plays with stellar casts, and include complementary educational programs for the entire community that will enhance what will appear on stage. The University is pleased to support the residency and looks forward to the excitement that always unfolds when the cast, crew, and officials of the RSC become engaged with members of the University and local commu?nity and with the hundreds of visitors expected to come to Ann Arbor from other states and countries to see the world-renowned theater company.
The Winter 2006 U-MUMS Partnership Program includes educational events surrounding UMS's programming of its Operas in Concert, Commemoration of the 250th Anniversary of Mozart's birth, Shostakovich symphonies, and Africa Festival, as well as the performances of spoken-word artist Marc Bamuthi Joseph, the Japanese dance and theater ensemble Pappa Tarahumara, Nrityagram Dance Ensemble, and the Arab World Music Summit's Voices of the Levant, with artists Abdullah Chhadeh and Nara from Syria, Rami Khalife from Lebanon, and Trio Joubran from Palestine.
In May 2004, we launched "The Michigan Difference," our ambitious capital campaign for the future of the University. 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 tomorrow's performers and artisans, and showcase the world from diverse points of view. I hope you will join me and many others in moving our University to even greater levels of excellence and aspiration.
I want to thank the faculty and staff of the University and UMS for their hard work and dedica?tion in making our partnership a success. The University of Michigan is pleased to support the University Musical Society during the exhilarating 0506 season. We share the goal of celebrating the arts in an exciting academic milieu.
Sincerely,
! O1
VKflU
Mary Sue Coleman
President, University of Michigan
FROM THE UMS PRESIDENT
T
hank you for attending this UMS performance. I hope we'll see you at other distinctive UMS events in the Winter 2006 season: Opera in Concert. Following Renee Fleming's triumphant Daphne last October, Polish contralto Ewa Podles stars in Rossini's Tancredi on March 25. This performance features the Detroit Symphony
Orchestra under the direction of Alberto Zedda, artistic director of the Rossini Festival in Pesaro, Italy.
Shostakovich Centennial Festival. During Dmitri Shostakovich's centenary in 2006, the Kirov Orchestra led by Valery Gergiev performs nearly all of the Shostakovich symphonies over five concerts in Hill Auditorium. Two of these
concerts take place March 17 and 19. The remain?ing concerts will take place in October 2006.
Mozart 250. Wolfgang Amadeus Mozart has been given credit for everything from changing the face of music composition to increasing babies' IQs. We celebrate the 250th birthday of this musical genius in a seven-event series this winter that includes both music that he wrote and music and dance that he inspired centuries later.
Cultural Survey of Africa. As Americans, we often think of Africa as a place instead of an umbrella for 54 different countries with diverse people and cultural expressions. Tall Horse and Youssou N'Dour were highlights of our fall Africa programming, continuing this term with Soweto Gospel Choir in February and the Children of Uganda in March.
Louis Andreissen in Concert. Culminating a two-week residency on campus, maverick Dutch composer Louis Andriessen's music will be presented at the Power Center on February 15 in a screen?ing of filmmaker Peter Greenaway's M is for Man, Music, Mozart. The film will be accompanied by live music by the U-M School of Music Symphony Band under the direction of Michael Haithcock.
Vienna Philharmonic. Returning to Hill Auditorium for the first time since Leonard Bernstein's 1988 performance with the orchestra during his historic four-city 70th-birthday tour, the Vienna Philharmonic performs Strauss, Mozart, and Schubert on March 9 under the direction of Riccardo Muti.
Ford Honors Program. The 11th Ford Honors Program on May 13 features jazz legend Dave Brubeck in an evening that chronicles his life through his music and compositions. A gala dinner supporting UMS's education program follows the Hill Auditorium concert.
For a list of all remaining performances, go to page P27 in this program book. You can learn more about these events in our winter brochure or at www.ums.org.
With UMS part of "The Michigan Difference" campaign, I'm focusing more of my time on securing UMS's long-term financial future. I'm enjoying my visits with the many friends and supporters of our organization as I learn how UMS experiences have enriched their lives and we discuss ways they can help ensure that future gen?erations will be similarly moved by the arts. I hope that you will consider making a gift. Please read UMS Board Chair Clayton Wilhite's letter on page P4 for more information about the campaign and about how you can help.
It's wonderful to have you with us for this performance. Feel free to get in touch with me if you have any questions or problems. If you don't see me in the lobby at this performance, please send me an e-mail message at kenfisch@umich.edu or call me at 734.647.1174.
Kenneth C. Fischer UMS President
Very best wishes,

A TIMELY MESSAGE FROM THE CHAIR
Your Donations Matter -Now More Than Ever!
Beginning my term as Chair of the University Musical Society, I have one overriding initial goal. On behalf of my fellow Board members and our UMS colleagues, I want to make a
compelling case for convinc?ing you to share your phil?anthropic giving with this world-renowned cultural asset and jewel of artistic expression.
The timing of our request is particularly oppor?tune, since for the first time in our 127-year history, UMS
is an official part of a University of Michigan giving campaign -in this instance the $2.5 billion "Michigan Difference," which publicly commenced in 2004 and concludes on December 31, 2008.
To make my case, I'm going to address a few myths about UMS which may have pre?vented you from making a personally meaning?ful gift before now.
Myth 1:
The University of Michigan provides the necessary annual funding to ensure a balanced budget for UMS.
In reality, while affiliated with the University, UMS is an independent organization governed by its own Board of Directors. While the University has been a very generous direct and indirect contributor over many decades for spe?cial andor ad hoc purposes (as an example, the Royal Shakespeare Company visits in 2001 and 2003), in recent years, it has regularly funded only 5-10 percent of our Annual Operating Budget.
Myth 2:
I buy tickets to several UMS events each year which, when added to those pur?chased by 15,000 other ticket holders, covers the financial needs of UMS. Once again, reality is quite different. Ticket revenues cover, on average, only 47 of the annual UMS Operating Budget -which means the remaining funds to finance per?formance fees, educational outreach, produc?tion costs, and administrative expenses must come from government agencies, foundations, corporate friends, and private individuals.
Myth 3:
UMS has been around since 1879 so surely income from its endowment provides any cushion required to cover cost increases.
Unfortunately, UMS has only in recent years begun to focus on building its endowment assets, so the fund totals only a few million dollars -well below benchmark levels for comparable organizations. This need is one reason why we are so eager to approach many potential donors for the first time as a part of the official "Michigan Difference" campaign.
Before I finish and you sit back to enjoy anoth?er memorable artistic performance from UMS, let me ask you a question, the answer to which could, in large measure, determine your willingness to contribute to UMS.
"How has UMS made a difference in the per?sonal lives of you and your family over the last five, 15, or 30 years"
Was it by being able to drive a few minutes from your home and see a world-class perform?ance otherwise witnessed only in New York, London, or Vienna
Was it when your child participated in a UMS educational outreach program that helped inaugurate a life-long love of the arts
Was it when you or a colleague decided to join the U-M faculty partly because you didn't have to leave your artistic appetite behind on the East or West Coasts
While you're mulling over your own answer, let me close with a few specifics about the UMS portion of the "The Michigan Difference" cam?paign.
We have a goal of $25 million: $15 million for annual operations and $10 million for endowment.
Each category is vital to UMS right now.
@@@@Donations to our annual fund will help ensure continued, high-level performance excellence during 0506 and immediately thereafter, and;
Donations to our endowment will help ensure that same level of excellence in com? ing decades for future generations.
Thank you for the opportunity to lay out the case for your donating in a personally mean?ingful way to UMS. If you are like many of us who have made a decision to help, either for the first time or with an increased gift, it will be in part because your generosity will offer you the chance, after many years of rewarding music, dance, and theater events, to demon?strate a heartfelt "Thank you, UMS."
For more information on the many available giving options, please contact the office of Susan McClanahan, Director of Development, at 734.647.1177 or visit our website at www.ums.org and click on "Make a Gift."
@@@@Clayton Wilhite
Chair, UMS Board of Directors
Sincerely,
Leadership
CORPORATE LEADERS FOUNDATIONS
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 acknowledge the important role it plays in our community."
Brian P. Campbell
Chairman and CEO, Kaydon Corporation "For over a century, the University Musical Society has been a national leader in arts presentation. Kaydon Corporation is honored to be counted among the supporters of the proud tradition of musical and artistic excellence."
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. UM5 is one of the things that makes Ann Arbor quite special. In fact, if one were making a list of things that define the quality of life here, UMS would be at or near the very top. Pfizer is honored to be among UMS's patrons."
Douglass R. Fox
President, Ann Arbor Automotive "We at Ann Arbor Automotive are pleased to support the artistic variety and program excellence given to us by the University Musical Society."
Laurel R. Champion
Publisher, The Ann Arbor News "The people at The Ann Arbor News are honored and pleased to partner with and be supportive of the University Musical Society, which adds so much depth, color, excite?ment, and enjoyment to this incredible community."
Timothy G. Marshall
President and CEO, Bank of Ann Arbor "A commitment to the community can be expressed in many ways, each different and all appropriate. Bank of Ann Arbor is pleased to continue its long term support of the University Musical Society by our sponsorship of the 0506 season."
Greg Josefowicz
Chairman, 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."
Claes Fornell
Chairman, CFI Group, Inc.
"The University Musical Society is a marvelous magnet for attracting the world's finest in the performing arts. There are many good things in Ann Arbor, but UMS is a jewel. We are all richer because of it and we are proud to lend our support."
Charles E. Crone, Jr.
Ann Arbor Region President, Comerica Bank "Our communities are enriched when we work together. That's why we at Comerica are proud to support the University Musical Society and its tradition of bringing the finest in performing arts to our area."
Brian G. Glowiak
Wee President, DaimlerChrysler Corporation Fund "We are pleased to support the University Musical Society and numerous other community programs that encourage appreciation for the arts and culture, enhance our quality of life, and improve the world around us.
Fred Shell
Wee President, Corporate and Government Affairs, DTE Energy "The DTE Energy Foundation is pleased to support exemplary organizations like UMS that inspire the soul, instruct the mind, and enrich the community."
James M. Cameron, Jr.
Ann Arbor Office Managing Member, DykemaGossett, PLLC "Dykema Gossett is honored to be a part of the University Musical Society team. We are particularly proud to be involved in UMS programs supporting education in the fine arts through its training and enrichment programs for students and teachers in the public schools of our com?munity. We will all reap the benefits of UMS's fine work with our young people."
Edward Surovell
President, Edward Surovell Realtors
"Edward Surovell Realtors and its 300 employees and sales asso?ciates 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 "Elastizell is pleased to be involved with UMS. UMS's strengths are its programming--innovative, experimental, and pioneering --and its education and outreach programs in the schools and the community."
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 pub?lic 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."
Erik W. Bakker
Senior Vice President, JPMorgan Chase, Michigan "JPMorgan Chase is honored to be a partner with the University Musical Society's proud tradition of musical excellence and artistic diversity."
Rick M. Robertson
Michigan District President, KeyBank "KeyBank is a proud supporter of the performing arts and we commend the University Musical Society on the cultural excellence it brings to the community. Thank you UMS. Keep up the great work!"
Paul A. Phillips
Wee President Business Development, LaSalle Bank "LaSalle Bank appreciates and understands the value that arts and music bring to the community. We are proud to be supporters of the University Musical Society."
Dennis Serras
Owner, Mainstreet Ventures, Inc. "As restaurant and catering service owners, we consider ourselves fortunate that our business provides so many opportunities for supporting the University Musical Society and its continuing success in bringing internationally acclaimed talent to the Ann Arbor community."
Albert M. Berriz
CEO, McKinley
"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 126 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 supporter of the University Musical Society. I believe UMS is a major contrib?utor 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."
Nicholas C. Mattera
Director, Client Services, TIAA-CREF
"TIAA-CREF is privileged to be a sponsor of the University Musical Society and to work with the University of Michigan and its employees. In fact, for more than 85 years, we've been proud to serve those whose life work serves the greater good."
Thomas B. McMullen
President, Thomas B. McMullen Co., Inc. "I used to feel that a U-M-Ohio State football ticket was the best ticket in Ann Arbor. Not anymore. UMS provides the best in educational and artistic entertainment."
Robert R. Tisch
President, Tisch Investment Advisory "Thank you, Ann Arbor, for being a wonderful community in which to live, raise a family, and build a successful business."
Yasuhiko "Yas" Ichihashi
President, Toyota Technical Center, USA Inc.
"Toyota Technical Center is proud to support UMS, an organiza-
tion with a long and rich history of serving diverse audiences through a wide variety of arts programming. 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."
Jim Mattson
President, University of Michigan Credit Union "Thank you to the University Musical Society for enriching our lives. The University of Michigan Credit Union is proud to be a part of another great season of performing arts."
"Universal Classics Group, home of Deutsche Grammophon, Decca, and Philips Records -three great labels long synony?mous with the finest in classical music recordings -is proud to support our artists performing as part of the University Musical Society's 127th season."
FOUNDATION AND GOVERNMENT SUPPORT
UMS gratefully acknowledges the support of the following foundations and government agencies.
$100,000 or more
Doris Duke Charitable
Foundation JazzNet Michigan Council for Arts
and Cultural Affairs The Power Foundation The Wallace Foundation
$50,000-99,999
Anonymous
National Endowment for the Arts
$20,000-49,999
Cairn Foundation Community Foundation for
Southeastern Michigan The Whitney Fund
$10,000-19,999
Arts Midwest Chamber Music America Maxine and Stuart Frankel
Foundation Heartland Arts Fund James A. and Faith Knight
Foundation
National Dance Project of the New England Foundation for the Arts
NBA Jazz Masters on Tour
S5,000-9,999
Issa Foundation
THE MOSAIC FOUNDATION
(of R. and P. Heydon)
S1.000-4.999
Akers Foundation Japan Business Society of
Detroit Foundation Sarns Ann Arbor Fund
UNIVERSITY MUSICAL S 0 C I E T Y of the University of Michigan
UMS BOARD OF DIRECTORS
Clayton E. Wilhite,
Chair Carl W. Herstein,
Vice-Chair Jan Barney Newman,
Secretary Michael C. Allemang,
Treasurer
Wadad Abed Carol L. Amster Kathleen Benton Charles W. Borgsdorf Robert J. Buckler Mary Sue Coleman Hal Davis Cynthia M. Dodd Sally Stegeman DiCarlo Aaron P. Dworkin George V. Fornero
Maxine J. Frankel Patricia M. Garcia Deborah S. Herbert Toni Hoover Christopher Kendall Marvin Krislov Barbara Meadows Joetta Mial Lester P. Monts Roger Newton Gilbert S. Omenn
Philip H. Power Prudence L. Rosenthal A. Douglas Rothwell Edward R. Schulak John J. H. Schwarz Erik H. Serr Cheryl L Soper James C. Stanley
UMS SENATE (former members of the UMS Board of Directors)
Robert G. Aldrich Herbert S. Amster Gail Davis Barnes Richard S. Berger Maurice S. Binkow Lee C. Bollinger Janice Stevens Botsford Paul C. Boylan Carl A. Brauer Allen P. Britton William M. Broucek Barbara Everitt Bryant Letitia J. Byrd Kathleen G. Charla Leon S. Cohan Jill A. Corr Peter B. Corr Jon Cosovich Douglas Crary Ronald M. Cresswell
Robert F. DiRomualdo James J. Duderstadt David Featherman Robben W. Fleming David J. Flowers Beverley B. Geltner William S. Hann Randy J. Harris Walter L. Harrison Norman G. Herbert Peter N. Heydon Kay Hunt Alice Davis Irani Stuart A. Isaac Gloria James Kerry 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 Alberto Nacif Shirley C. Neuman Len Niehoff Joe E. O'Neal John D. Paul Randall Pittman John Psarouthakis Rossi Ray-Taylor John W. Reed Richard H. Rogel Judy Dow Rumelhart Maya Savarino Ann Schriber
Harold T. Shapiro George I. Shirley John 0. Simpson Herbert Sloan Timothy P. Slottow Carol Shalita Smokier Jorge A. Solis Peter Sparling Lois U. Stegeman Edward D. Surovell James L. Telfer Susan B. Ullrich Eileen Lappin Weiser Gilbert Whitaker B. Joseph White Marina v.N. Whitman Iva M. Wilson Karen Wolff
ADVISORY COMMITTEE
Norma Davis, Chair Meg Kennedy Shaw,
Vice Chair
Raquel Agranoff, Past Chair Phyllis Herzig, Secretary Milli Baranowski, Treasurer
Barbara Bach Paulett M. Banks Lois Baru
Elizabeth (Poage) Baxter Kathleen Benton Nishta Bhatia Mimi Bogdasarian Mary Breakey
Jeannine Buchanan Heather Byrne Laura Caplan Cheryl Cassidy Jean Connell Phelps Connell Nita Cox
H. Michael Endres Mary Ann Faeth Anne Glendon Charlene Hancock Alice Hart Kathy Hentschel Anne Kloack Jean Kluge
Julaine LeDuc Stephanie Lord Judy Mac Jane Maehr Mary Matthews Joann McNamara Jeanne Merlanti Kay Ness Thomas Ogar Danica Peterson Lisa Psarouthakis Paula Rand Wendy Moy Ransom Ginny Reilly Stephen Rosoff
Swanna Saltiel Jeri Sawall Penny Schreiber Bev Seiford Aliza Shevrin Alida Silverman Loretta Skewes Andrea Smith Louise Townley Mary Vandewiele Dody Viola Enid Wasserman Wendy Woods Mary Kate Zelenock
UMS STAFF
AdministrationFinance
Kenneth C. Fischer, President Elizabeth E. Jahn, Assistant to the
President John B. Kennard, Jr., Director of
Administration
Patricia Hayes, Senior Accountant John Peckham, Information
Systems Manager Alicia Schuster, Gift Processor
Choral Union
Jerry Blackstone, Conductor and
Music Director
Jason Harris, Assistant Conductor Steven Lorenz, Assistant
Conductor Kathleen Operhall, Chorus
Manager
Jean Schneider, Accompanist Donald Bryant, Conductor Emeritus
Development
Susan McClanahan, Director Lisa Michiko Murray, Manager of
Foundation and Government
Grants M. Joanne Navarre, Manager of
Annual Giving 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 Bree Juarez, Education and
Audience Development Manager Omari Rush, Education Manager
MarketingPublic Relations
Sara Billmann, Director Susan Bozell, Marketing and
Media Relations Manager Nicole Manvel, Community
Relations Manager Erika B. Nelson, Marketing Assistant
Production
Douglas C. Witney, Director Emily Avers, Production Operations
Director Jeffrey Beyersdorf, Technical
Manager
Programming
Michael J. Kondziolka, Director Mark Jacobson, Programming
Manager Claire C. Rice, Associate
Programming Manager
Ticket Services
Nicole Paoletti, Manager Sally A. Cushing, Assistant Suzanne Dernay, Front-of-House
Coordinator Jennifer Graf, Assistant Ticket
Services Manager Alexis Pelletier, Assistant Rosie Donaldson, Assistant Dennis Carter, Bruce Oshaben,
Brian Roddy, Head Ushers
Students
Dave Abed Mutiat Ade-Salu Catherine Allan Addison Amer Patrick Chu Aaron Clausen Elizabeth Crabtree Caleb Cummings Rebecca Dragonetti Rabihah Davis Sarah Fike Jonathan Gallagher Liz Georgoff Josh Hayward Bethany Heinrich Lauren Hill Rachel Hooey William Hubenschmidt Sarah Hucal Cortney Kellogg Michael Lowney Ryan Lundin Natalie Malotke Parmiss Nassiri-Sheijani Rachel Parker Sinthia Perez Sarah Peterson Alex Puett Noah Reitman Erica Ruff Andrew Smith Liz Stover Robert Vuichard Amy Weatherford Marc Zakalik
Honorary Conductor of Philanthropy
Herbert E. Sloan, M.D.
UMS TEACHER ADVISORY COMMITTEE
Fran Ampey Lori Atwood Robin Bailey Joe Batts Kathleen Baxter Gretchen Baxtresser Elaine Bennett Lynda Berg Gail Bohner Ann Marie Borders
David Borgsdorf Sigrid Bower Susan Buchan Wendy Day Jacqueline Dudley Susan Filipiak Lori Fithian Jennifer Ginther Brenda Gluth Barb Grabbe
Joan Grissing Carroll Hart Susan Hoover Linda Jones Jeff Kass 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
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.
Parking
Please allow plenty of time for parking as the campus area may be congested. Parking is available 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 0506 Choral Union series. Cars may be dropped off in front of Hill Auditorium beginning one hour before
each performance. There is a $20 fee for this service. UMS members at the Leader level and above are invited to use this service at no charge.
If you have a blue or gold LJ-M permit with the gate controlled access feature, please con?sider using the Palmer Drive parking structure. There is a light at the 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 LJ-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 performance venues, $2 after 3 pm weekdays and all day SaturdaySunday.
For up-to-date parking information, please visit www.ums.org.
Refreshments
Refreshments are available in the lobby during intermissions at events in the Power Center, in the lower lobby of Hill Auditorium (beginning 75 minutes prior to concerts entering through the west lobby doors), 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 several events occurring simultaneously in different theaters. Please allow plenty of extra time to park and find your seats.
Latecomers
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 suitable 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 performances.
Returns
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 returns do not count toward UMS membership.
Subscription Ticket Exchanges
Subscribers may exchange tickets free of charge. Exchanged tickets must be received by the Ticket Office (by mail or in person) at least 48 hours prior to the performance. You may fax a 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
Treat 10 or more friends, co-workers, and family members to an unforgettable performance of live music, dance, or theater. Whether you have a group of students, a business gathering, a college reunion, or just you and a group of friends, the UMS Group Sales Office can help you plan the perfect outing. You can make it formal or casual, a special celebration, or just friends enjoying each other's company. The many advantages to booking as a group include:
Reserving tickets before 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
One to three complimentary tickets for the group organizer (depending on size of group). Comp tickets are not offered for performances with no group discount.
For information, please contact Nicole Manvel at the UMS Group Sales Hotline at 734.763.3100 or e-mail umsgroupsales@umich.edu.
Gift Certificates
Available in any amount and redeemable for any of up to 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 no longer expire at the end of the season. For more information, please visit www.ums.org.
WWW.UMS.ORG
Why should you log onto www.ums.org
Tickets. Forget about waiting in ticket lines. Order your tickets to UMS performances online. You can find out your specific seat location before you buy.
UMS E-Mail Club. You can join UMS's E-Mail Club, with information delivered directly to your inbox. Best of all, you can customize your account so that you only receive information you desire -including weekly e-mails, genre-specific event notices, encore information, and education events.
Education Events. Up-to-date information detailing educational programs planned around each performance.
Online Event Calendar. A list of all UMS performances, educational events, and other activities at a glance.
Sound and Video Clips. Check out the new UMS Playlists at the iTunes Music Store! Also view video clips from UMS performers online before the concert.
Program Notes. Your online source for performance programs and in-depth artist information. Learn about the artists and repertoire before you enter the venue.
Development Events. Current information on special events and activities outside the concert hall. Make a tax-deductible donation online.
Student Ticket Information. Current info on rush tickets, special student sales, and other opportunities for U-M students.
Maps, Directions, and Parking. To help you get where you're going...including insider parking tips.
UMS Choral Union. Audition information and performance schedules for the UMS Choral Union.
STUDENT INFORMATION
UMS offers four programs designed to fit students' lifestyles and save students money. Since 1990, students have purchased over 150,000 tickets and have saved more than $2 million through these special student programs.
UMS Student Card
The UMS Student Card is a pre-paid punch card for Rush Tickets. The Card is valid for any event for which Rush Tickets are available, and can be used up to two weeks prior to the per?formance. The UMS Student Card is available for $50 for 5 performances or $100 for 10 performances plus a bonus CD. Please visit the "Welcome Students!" section of www.ums.org for more information.
Half-Price Student Ticket Sales
Each semester, UMS holds a Half-Price Student Ticket Sale, at which students can purchase tickets for any event for 50 off the published
price. A limited number of tickets are available for each event in select seating areas, and are sold on a first-come, first-served basis. Students must have a valid college ID and may purchase up to two tickets per event for as many events as desired.
Sponsored by U-M Credit Union. Supported by Arts at Michigan.
Rush Tickets
Sometimes it pays to procrastinate! For weekday performances, $10 Rush Tickets are available the day of the performance from 9 am-5 pm in person only at the Michigan League Ticket Office, located on the first floor of the Michigan League. For weekend performances, $10 Rush Tickets are available on the Friday before the performance. Students may also purchase 50 Rush Tickets starting 90 minutes prior to an event at the performance venue. 50 Rush Tickets are 50 off the original ticket price. All rush tickets are subject to availability and ticket office discretion. Students may purchase up to two rush tickets per valid student ID.
Arts Adventure Series
UMS, the U-M School of Music, and Arts at Michigan have teamed up to offer the Arts Adventure Series, including four performing arts events each semester offered at discounted prices.
Arts at Michigan provides a gateway to arts and cultural opportunities at the University of Michigan for undergraduate students. Please visit www.arts.umich.edu for the latest on events, auditions, contests, funding for arts initiatives, work and volunteer opportunities, arts courses, and much more.
Student Advisory Committee
As an independent council drawing on the diverse membership of the University of Michigan community, the UMS Student Advisory Committee works to increase student interest and involvement in the various programs offered by UMS by fostering increased communication between UMS and the student community, promoting awareness and accessibility of student programs, and promoting the student value of live performance.
For more information or to participate on the Committee, please call 734.647.4020.
Internships and College Work-Study
Internships with UMS provide experience in performing arts administration, market?ing, ticket sales, programming, production, fundraising, and arts education. Semester-and year-long unpaid internships are avail?able 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.
Annals
UMS HISTORY
@@@@T
hrough a commitment to Presentation, Education, and the Creation of new work, the University Musical Society (UMS) serves Michigan audiences by bringing to our community an ongo?ing series of world-class artists, who represent the diverse spectrum of today's vigorous and exciting live performing arts world. Over its 126 years, strong leadership coupled with a devoted community has placed UMS in a !eague of internationally recognized perform?ing arts presenters. Today, the UMS seasonal program is a reflection of a thoughtful respect for this rich and varied history, balanced by a commitment to dynamic and creative visions of where the performing arts will take us in this new millennium. Every day UMS seeks to culti?vate, 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 rectalists and orchestras, dance and chamber ensembles, jazz and world music performers, and opera and
Every day UMS seeks to cultivate, nurture, and stimulate public interest and participation in every facet of the live arts.
theater. Through educational endeavors, com?missioning of new works, youth programs, artist residencies, and other collaborative proj?ects, UMS has maintained its reputation for quality, artistic distinction, and innovation. UMS now hosts up to 70 performances and more than 125 educational events each sea?son. UMS has flourished with the support of a generous 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, founda?tion and government grants, special project support from U-M, and endowment income.
UMS CHORAL UNION
@@@@T
hroughout its 126-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 175-voice Choral Union is known for its defini?tive performances of large-scale works for cho?rus and orchestra. Thirteen years ago, the Choral Union further enriched that tradition when it began appearing regularly with the Detroit Symphony Orchestra (DSO). The chorus has recorded Tchaikovsky's TVie Snow Maiden with the orchestra for Chandos, Ltd.
Led by newly appointed Conductor and Music Director Jerry Blackstone, the 0405 sea?son included a return engagement with the DSO (Orff's Carmina Burana), and performances of
Handel's Messiah and The Creation with the Ann Arbor Symphony.
The culmination and highlight of the Choral Union's 0304 season was a rare performance 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 released a three-disc set of this recording in October 2004, featuring the Choral Union and U-M School of Music ensem?bles. The recording was selected as one of the New York Times "Best Classical Music CDs of 2004" released internationally that season.
The 0506 season includes collaborations with the DSO in Beethoven's Symphony No. 9 (December 15-18, 2005), Mahler's Symphony No. 3 (June 2-4, 2006), and a concert perform?ance of Rossini's opera Tancredi (March 25, 2006). The 127th annual performances of Handel's Messiah (December 3-4, 2005) will take place in Hill Auditorium. This season is further rounded out by performances of the Vaughan Williams Sea Symphony (February 21, 2006) with the U-M School of Music's Symphony Orchestra conducted by Jerry Blackstone, Shostakovich's Symphony No. 2 (March 17, 2006) with the Kirov Orchestra of St. Petersburg, conducted by Valery Gergiev, and an additional performance of Beethoven's Symphony No. 9 (October 24, 2005) with the U-M School of Music's Symphony Orchestra conducted by Kenneth Kiesler.
Participation in the UMS Choral Union remains open to all students and adults by audition. For more information about the UMS Choral Union, please e-mail choralunion@umich.edu or call 734.763.8997.
VENUES AND BURTON MEMORIAL TOWER
Hill Auditorium
After an 18-month $38.6-million dollar renova?tion overseen by Albert Kahn Associates, Inc. and historic preservation architects Quinn EvansArchitects, Hill Auditorium has re-opened. Originally built in 1913, renovations have updated Hill's infrastructure and restored much of the interior to its original splendor. Exterior renovations include the reworking of brick paving and stone retaining wall areas, restora?tion 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 theatrical performance and audio-visual systems, and the complete replacement of mechanical and electrical infrastructure systems for heating, ventilation, and air conditioning.
Re-opened in January 2004, Hill Auditorium seats 3,575.
Power Center
The Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theater for the performing arts. Hill Auditorium was too massive and technically limited for most produc?tions, 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 interested,
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 77ie Grass Harp (based on the novel by Truman Capote), the Power Center achieved the seemingly contradictory combination of providing a soaring interior space with a unique level of intimacy. Architectural features included two large spiral staircases leading from the orchestra level to the balcony and the well-known mirrored glass panels on the exterior. The lobby of the Power Center presently features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes (Arabesque) by Pablo Picasso.
The Power Center seats approximately 1,400 people.
Arbor Springs Water Company is generously providing complimentary water to UMS artists backstage at the Power Center throughout the 0506 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 strongly in the importance of the study of human history and human thought, died in 1933, his will established the Horace H. Rackham and Mary A. Rackham Fund, which subsequently awarded the University of Michigan the funds not only to build the Horace H. Rackham Graduate School which houses Rackham Auditorium, but also to establish a $4 million endowment to further the development of graduate studies. Even more remarkable than the size of the gift, which is still considered one of the most 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 establish a chamber music series by faculty and students in 1938, UMS recently began presenting 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 1OOth May Festival's Cabaret Ball. This season the superlative Mendelssohn Theatre hosts UMS's presentation of Arlecchino, Servant of Two Masters and a recital by tenor Ian Bostridge with the Belcea Quartet.
Michigan Theater
The historic Michigan Theater opened January 5, 1928 at the peak of the vaudevillemovie 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 com?munity support, the Foundation has raised over $8 million to restore and improve the Michigan Theater. The beautiful interior of the theater was restored in 1986.
In the fall of 1999, the Michigan Theater opened a new 200-seat screening room addition, which also included expanded restroom 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 dedi?cated the new St. Francis of Assisi Church. Father James McDougal was appointed pastor in 1997.
St. Francis of Assisi Catholic Church has grown from 248 families when it first started to more than 2,800 today. The present church seats 900 people and has ample free parking. In 1994, St. Francis purchased a splendid three manual "mechanical action" organ with 34 stops and 45 ranks, built and installed by Orgues Letourneau from Saint Hyacinthe, Quebec. Through dedication, a commitment to superb liturgical music, and a vision to the future, the parish has continuously improved the acoustics of the church building. The rever?berant sanctuary has made the church a gath?ering place for the enjoyment and contemplation of sacred a cappella choral music and early music ensembles.
Burton Memorial Tower
Seen from miles away, Burton Memorial Towe is one of the most well-known University of Michigan and Ann Arbor landmarks. Completec 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 win?dow 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.
J
Winter 2006 Season 127th Annual Season
General Information
On-site ticket offices at performance venues open 90 minutes before each performance and remain open through intermission of most events.
Children of all ages are welcome at UMS Family and Youth Performances. Children under the age of three will not be admitted to regular, full-length UMS performances. All children should be able to sit quietly in their own seats throughout any UMS performance. Children unable to do so, along with the adult accompanying them, will be asked by an usher to leave the auditori?um. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
While in the Auditorium
Starting Time Every attempt is made to begin concerts on time. Latecomers are asked to wait in the lobby until seated by ushers at a predetermined time in the program.
Cameras and recording equipment
are prohibited in the auditorium.
If you have a question, ask your usher. They are here to help.
Please turn off your cellular phones and other digital devices so that every?one may enjoy this UMS event distur?bance-free. In case of emergency, advise your paging service of auditori?um and seat location in Ann Arbor venues, and ask them to call University Security at 734.763.1131.
In the interests of saving both dollars and the environment, please either retain this program book and return with it when you attend other UMS performances included in this edition or return it to your usher when leaving the venue.
Event Program Book
Friday, January 13 through Thursday, January 19, 2006
Limon Dance Company
Friday, January 13, 8:00 pm 5
Saturday, January 14, 1:00 pm (One-Hour Family Performance) 13 Sunday, January 15, 2:00 pm 17
Power Center
Norwegian Chamber Orchestra with 31
Leif Ove Andsnes
Saturday, January 14, 8:00 pm Hill Auditorium
Take 6 41
Monday, January 16, 7:30 pm Hill Auditorium
Orchestre Revolutionnaire et Romantique and 45
The Monteverdi Choir
Thursday, January 19, 8:00 pm Hill Auditorium
Dear Friends,
UMS's guest artists feel a special connection with Ann Arbor for many reasons, including the relation?ships that they build with members of the community beyond the con?cert itself. I've captured some of these moments in photos over the years. Here are several recent exam?ples, including an archival photo from the Vienna Philharmonic's last visit here with Leonard Bernstein 18 years ago. We can't wait to have them back in March! We hope to see you at that concert and the many other UMS performances in this Winter 2006 season.
@@@@Kenneth C. Fischer UMS President
Warmly,
Restauranteur Dennis Serras (right) enjoying a break with buddy "Misha" Baryshnikov during their 18 holes on the U-M golf course
Local realtor Ed Surovell (left) greeting friend and fellow antiquarian book lover Andre Previn and violinist Anne-Sophie Mutter at the Campus Inn
Cecilia Bartoli with Bob Dascola in front of the "Cecilia Shrine" at Dascola's Barbershop on Liberty Street
Above: Leonard Bernstein with U-M students at the President's House following the Vienna Philharmonic's last appearance at Hill in 1988
Left: Marcel Khalife (center) with four of the Issa brothers after dinner at the Issa home
Below: The King's Singers and U-M's The Gentlemen a cappella group at Pizza House after each group sang for the other
(IMS Educational Events
through Thursday, January 79, 2006
All UMS educational activities are free, open to the public, and take place in Ann Arbor unless otherwise noted. For complete details and updates, please visit www.ums.org or contact the UMS education department at 734.647.6712 or umsed@umich.edu.
Limon Dance Company
Ann Arbor Family Days
Saturday, January 14, 9 am-5 pm and Sunday, January 15, 10 am-5 pm, Multiple sites around Ann Arbor
Nine area cultural organizations are collaborating to present the third annual Ann Arbor Family Days, offering free and low-cost family-friendly cultural events to members of the Ann Arbor area community. For more information on events and tickets, please visit www.annarbor.orgfamily-days. A collaboration with the Ann Arbor Art Center, Ann Arbor District Library, Ann Arbor Hands-On Museum, Ann Arbor Symphony Orchestra, Dance Gallery Studio, Kelsey Museum of Archaeology, Swing City Dance Studio, U-M Exhibit Museum of Natural History, and the U-M Museum of Art.
A Chance to Dance! An Introduction to Dance for Families
Saturday, January 14, 12 noon-12:45 pm, Power Center, Rehearsal Room (off of Main Lobby), 121 Fletcher Street
This special introduction to dance will be led by Susan Filipiak of the Swing City Dance Studios. Kids (and their parents) will learn what "dance" is, how to move, and how to think like a dancer. Ms. Filipiak will be joined by members of the Lim6n Dance Company to help prepare families for the UMS Family Performance immediately fol?lowing. NOTE: All participants must wear socks and have a ticket to the performance to attend. A collaboration with Swing City Dance Studio.

and
DaimlerChrysler Corporation Fund
present
Limon Dance Company
Founders Jose Limon and Doris Humphrey
Artistic Director Carla Maxwell
Artistic Mentor Donald McKayle
Artistic Associates Roxane D'Orleans Juste and Nina Watt
Executive Director Randal Fippinger
The Company
Kathryn Alter, Raphael BoumaTIa, Kurt Douglas,
Kristen Foote, Roxane D'Orleans Juste, Ryoko Kudo, Brenna Monroe-Cook,
Jonathan Riedel, Francisco Ruvalcaba,
Roel Seeber, Bradley Shelver, Ruping Wang
'Princess Grace Awardee for 2002
Program
Friday Evening, January 13, 2006 at 8:00 Power Center, Ann Arbor
Evening Songs (1997)
Angelitos Negros (1972)
Chaconne(1942)
INTERMISSION
The Moor's Pavane (1949)
INTERMISSION
Concerto Six Twenty-Two (1986)
23rd Performance of the 127th Annual Season
15th Annual Dance Series
The photographing or sound recording of this concert or possession of any device for such pho?tographing or sound recording is prohibited.
The Limon Dance Company residency is presented with support from DaimlerChrysler Corporation Fund.
Funded in part by the National Dance Project of the New England Foundation for the Arts.
Special thanks to the U-M Dance Department, Peter Sparling, Gay Delanghe, Dance Gallery StudioPeter Sparling Dance Company, Susan Filipiak, and Swing City Dance Studio for their participation in this residency.
The Limon Dance Company's performance season is made possible, in part, with funds from the National Endowment for the Arts, the New York State Council on the Arts, the New York City Department of Cultural Affairs, New England Foun?dation for the Arts, Time Warner, and Altria Group, Inc.
Large print programs are available upon request.
A Note on the Program
This season of the Lim6n Dance Company marks the eve of our 60th anniversary in 2006 and the centenary of Limon's birth in 2008: A Celebra?tion of a Century of Modern Dance. In preparation for these forthcoming anniversaries, we are presenting the work of some of the world's greatest choreographers alongside our own canon of Lim6n masterworks. For our engagement here in Ann Arbor, we have the honor of bringing you Recor-dare, a new creation by master choreographer Lar Lubovitch, in which he explores his own unique connection to the Limon tradition, as well as his masterwork Concerto Six Twenty-Two. In addition we are showcasing Jifi Kylian's simple and poignant Evening Songs and Donald McKayle's powerful Angelitos Negros alongside a new production of Lim6n's A Choreographic Offering and two other masterworks Chaconne and Moor's Pavane. We hope you enjoy the performance and we look forward to dancing for you during our anniversary season.
Carla Maxwell, Artistic Director
Evening Songs
World Premiere September 9, 1987 at the Nederlands Dance Theater.
Choreography
Jin Kylian
Music
Antonin Dvorak
Vier Leider fur gemischten Chor Op. 29 No. 1 and No. 3
In der natur Op. 63 No. 4 and No. 2
Staging Hans Knill
Costume Design JiH Kylian
Lighting Design Ted Sullivan
Dancers
Ruping Wang, Kathryn Alter, Kristen Foote, Brenna Monroe-Cook,
Francisco Ruvalcaba, Bradley Shelver, Kurt Douglas
Angelitos Negros
Originally performed in 1972 by the
Inner City Repertory Dance Company of Los Angeles.
First performance by the Limon Dance Company, September 19, 2003,
at SUNY Fredonia.
Angelitos Negros is part of the dance suite, Songs of the Disinherited.
Choreography Donald McKayle
Piano & Vocals Roberta Flack
Music
Manuel Alvarez Maciste
Lyrics
Andres Eloy Blanco
Costume Design Lea Vivante
Lighting Design Ted Sullivan
Dancer
Roxane D'Orleans Juste
Chaconne
First performed December 27, 1942 at the Humphrey-Weidman Studio Theater, New York, by Jose Limon.
The Chaconne as a dance form originated in New Spain (now Mexico) as a robust and raucous dance. Bach employed the strict musical form of the Chaconne but enriched it with powerful emotional implications. Mr. Lim6n has tried to capture in his dance both the formal austerity and the profound feeling of the music.
Choreography Jose Lim6n
Music
J.S. Bach "Chaconne" from Partita No. 2 in d minor for
Unaccompanied Violin
Staging and Direction Sarah Stackhouse
Rehearsal Direction Carla Maxwell
Lighting Steve Woods
Dancer
Raphael BoumaTIa
The Moor's Pavane
Variations on the theme of Othello
First performed on August 17, 1949, at the American Dance Festival, Connecticut College, by the Limbn Dance Company.
Though subtitled "Variations on the theme of Othello," this dance is not intended as a choreographic version of Shakespeare's play. In the form of a pavane and other dances of the high Renaissance, the legend is told of the hapless Moor, his wrongfully suspected wife, the Moor's treacherous friend, and his wife. The four characters portray the tragedy of "Everyman," and the dance is, therefore, timeless in its implications.
Choreography Jose Lim6n
Music
Henry Purcell, arranged by Simon Sadoff
Direction Carla Maxwell
Costume Design Pauline Lawrence
Lighting Design Steve Woods
Dancers
Raphael Boumaila, The Moor
Jonathan Riedel, His Friend
Ryoko Kudo, His Friend's Wife
Brenna Monroe-Cook, The Moor's Wife
The preservation and documentation of this production is made possible by the David and Lucile Packard Foundation and Patricia Shenker. Additional support was provided by a generous grant from Arthur E. Imperatore, Sr. in memory of Eric Oranchak.
The Moor's Pavane
Photo Rosalie O-Coi
Concerto Six Twenty-Two
First performed by the Lar Lubovitch Dance Company on April 8, 1986 at Carnegie Hall, New York.
First performed by the Lim6n Dance Company on September 21, 2004 at the Joyce Theatre, New York.
Choreography
Lar Lubovitch (1986)
Music
W. A. Mozart, Concerto for Clarinet and Orchestra, K. 622
Original lighting design Craig Miller
Lighting recreated Clifton Taylor
Costumes
Anne C. de Velder
Restaged Leonard Meek
Dancers
Allegro
Ryoko Kudo, Kurt Douglas, Ruping Wang, Raphael BoumaTIa,
Brenna Monroe-Cook, Jonathan Riedel, Kristen Foote,
Francisco Ruvakaba
Adagio
Jonathan Riedel, Kurt Douglas
Rondo (Allegro)
Trio: Roxanne D'Orleans Juste, Roel Seeber, Kathryn Alter Soloists: Bradley Selver, Kristen Foote, Ryoko Kudo and Company
Funding for Concerto Six Twenty-Two was made possible by the generous support of the National Endowment for the Arts, the New York State Council on the Arts.
Please turn to page 22 for complete biographical information on the Limon Dance Company.
urns
and
DaimlerChrysler Corporation Fund
present
Limon Dance Company
Founders Jose Lim6n and Doris Humphrey
Artistic Director Carla Maxwell
Artistic Mentor Donald McKayle
Artistic Associates Roxane D'Orleans Juste and Nina Watt
Executive Director Randal Fippinger
The Company
Kathryn Alter, Raphael BoumaTIa, Kurt Douglas,
Kristen Foote, Roxane D'Orleans Juste, Ryoko Kudo, Brenna Monroe-Cook,
Jonathan Riedel, Francisco Ruvalcaba,
Roel Seeber, Bradley Shelver, Ruping Wang
'Princess Grace Awardee for 2002
Program
Saturday Afternoon, January 14, 2006 at 1:00 (One-Hour Family Performance) Power Center, Ann Arbor
Evening Songs (1997)
Chaconne(1942)
Angelitos Negros
Suite from A Choreographic Offering (1964)
These works will be performed without intermission.
24th Performance of the 127th Annual Season
15th Annual Dance Series
The photographing or sound recording of this concert or possession of any device for such pho?tographing or sound recording is prohibited.
The Limon Dance Company residency is presented with support from DaimlerChrysler Corporation Fund.
Funded in part by the National Dance Project of the New England Foundation for the Arts.
Special thanks to the U-M Dance Department, Peter Sparling, Gay Delanghe, Dance Gallery StudioPeter Sparling Dance Company, Susan Filipiak, and Swing City Dance Studio for their participation in this residency.
The Lim6n Dance Company's performance season is made possible, in part, with funds from the National Endowment for the Arts, the New York State Council on the Arts, the New York City Department of Cultural Affairs, New England Foundation for the Arts, Time Warner, and Altria Group, Inc.
Large print programs are available upon request.
A Note on the Program
This season of the Limbn Dance Company marks the eve of our 60th anniversary in 2006 and the centenary of Limbn's birth in 2008: A Celebra?tion of a Century of Modern Dance. In prepara?tion for these forthcoming anniversaries, we are presenting the work of some of the world's greatest choreographers alongside our own canon of Limbn masterworks. For our engage?ment here in Ann Arbor, we have the honor of bringing you Recordare, a new creation by mas?ter choreographer Lar Lubovitch, in which he explores his own unique connection to the Limbn tradition, as well as his masterwork Con?certo Six Twenty-Two. In addition we are show?casing Jifi Kylian's simple and poignant Evening Songs and Donald McKayle's powerful Angelitos Negros alongside a new production of Limbn's A Choreographic Offering and two other master-works Chaconne and Moor's Pavane. We hope you enjoy the performance and we look forward to dancing for you during our anniversary season.
Carla Maxwell, Artistic Director
Evening Songs
Please see p 7 for complete program information on Evening Songs.
Chaconne
Please see p 9 for complete program information on Chaconne.
Angelitos Negros
Please see p 8 for complete program information on Angelitos Negros.
A Choreographic Offering
Pholo: Rosalie OConnoi
Suite from A Choreographic Offering
New Production
First performed by the Lim6n Dance Company, August 15, 1964, at the American Dance Festival, New London, CT.
This work, commissioned by the American Dance Festival, is in memory of Doris Humphrey. It is based on movements from her dances, and contains variations, paraphrases, and motifs from: Gigue, Sarabande, Water Study, Dionysiaques, The Pleasures of Counterpoint, Circular Descent, Handel Vari?ations, Air on a Ground Bass, Rudepoema, New Dance, With My Red Fires, Passacaglia and Fugue in C minor, Ruins and Visions and Invention.
Choreography Jose Limbn
Music
Johann Sebastian Bach,
A Musical Offering
Staging and Direction Carla Maxwell
Costumes Marion Williams
Lighting Steve Woods
Dancers
Dance for Twelve The Company
Solo with Four
Roxanne D'Orleans Juste and Jonathan Riedel, Francisco Ruvalcaba, Roel Seeber, Bradley Shelver
Solo Kathryn Alter
Quintet
Kristen Foote, Ruping Wang, Kurt Douglas,
Francisco Ruvalcaba, Bradley Shelver
Duet
Ryoko Kudo and Raphael BoumaTIa
Solo with Five
Brenna Monroe-Cook and Roxanne D'Orleans
Juste, Kathryn Alter, Kristen Foote,
Ryoko Kudo, Ruping Wang
Dance for Twelve The Company
The Lim6n Dance Company wishes to thank Marion Williams for her generosity in bringing this production to completion.
Please turn to page 22 for complete biographical information on the Limon Dance Company.
urns
and
DaimlerChrysler Corporation Fund
present
Limdn Dance Company
Founders Jose Lim6n and Doris Humphrey
Artistic Director Carla Maxwell
Artistic Mentor Donald McKayle
Artistic Associates Roxane D'Orleans Juste and Nina Watt
Executive Director Randal Fippinger
The Company
Kathryn Alter, Raphael Boumaila, Kurt Douglas,
Kristen Foote, Roxane D'Orleans Juste, Ryoko Kudo, Brenna Monroe-Cook,
Jonathan Riedel, Francisco Ruvalcaba,
Roel Seeber, Bradley Shelver, Ruping Wang
'Princess Grace Awardee for 2002
Program
Sunday Afternoon, January 15, 2006 at 2:00 Power Center, Ann Arbor
Suite from A Choreographic Offering (1964) INTERMISSION
Recordare (2005) INTERMISSION
The Moor's Pavane (1949)
25th Performance of the 127th Annual Season
15th Annual Dance Series
The photographing or sound recording of this concert or possession of any device for such pho?tographing or sound recording is prohibited.
The limon Dance Company residency is presented with support from DaimlerChrysler Corporation Fund.
Funded in part by the National Dance Project of the New England Foundation for the Arts.
Special thanks to the U-M Dance Department, Peter Sparling, Gay Delanghe, Dance Gallery StudioPeter Sparling Dance Company, Susan Filipiak, and Swing City Dance Studio for their participation in this residency.
The Limon Dance Company's performance season is made possible, in part, with funds from the National Endowment for the Arts, the New York State Council on the Arts, the New York City Department of Cultural Affairs, New England Foun?dation for the Arts, Time Warner, and Altria Group, Inc.
Large print programs are available upon request.
A Note on the Program
This season of the Limbn Dance Company marks the eve of our 60th anniversary in 2006 and the centenary of Lim6n's birth in 2008: A Celebra?tion of a Century of Modern Dance. In preparation for these forthcoming anniversaries, we are presenting the work of some of the world's greatest choreographers alongside our own canon of Lim6n masterworks. For our engagement here in Ann Arbor, we have the honor of bringing you Recor-dare, a new creation by master choreographer Lar Lubovitch, in which he explores his own unique connection to the Lim6n tradition, as well as his masterwork Concerto Six Twenty-Two. In addition we are showcasing Jifi Kylian's simple and poignant Evening Songs and Donald McKayle's powerful Angelitos Negros alongside a new production of Limbn's A Choreographic Offering and two other masterworks Chaconne and Moor's Pavane. We hope you enjoy the performance and we look forward to dancing for you during our anniversary season.
Carla Maxwell, Artistic Director
Recordare
Photo Roulie O'Connor
Suite from A Choreographic Offering
Please see p 15 for complete program information on Suite from A Choreographic Offering.
Recordare (Remember)
Preview Performance September 25, 2005, State Theater, Cleveland, Ohio
"El dia de los Muertos (the Day of the Dead) is the homecoming of the spir?its of the deceased all over Mexico. The old ones say that when the spirits return to the world of the living, their paths must not be made slippery with the wet flood of human tears. Though death is feared it is embraced without denial, even becoming the subject of humor and the occasion of a vast annual celebration. Death among the Aztecs was not viewed as an ending but as a gateway to other levels of existence." ?
Every year, the little village of Santa Maria de los Milagros performs an annual pageant to honor the Day of the Dead. On this day, ancient Aztec beliefs and contemporary Christian rituals are blended to welcome home the spirits of the dead. In homes, at churches, and in cemeteries, golden marigold petals are spread everywhere to light the pathway back to the liv?ing. Retablos (little boxes) are made containing brightly painted figurines depicting skeletons engaged in a variety of domestic activities and myths. With a mixture of sweet melancholy and ecstatic celebration, the past and the present, the old beliefs and the new, the dead and the living are united on this very special day.
The Pagent of Ciudad de Santa Maria de los Milagros
Scene 1 The Widow
Scene 2 Mariachis
Scene 3 Bride and Groom
Scene 4 Santa Maria Answers a Prayer
Scene 5 Danza Folklorica
Scene 6 The Caballero and the Lady
Scene 7 Lullaby for the Dead
Scene 8 The Miracle
Choreography Lar Lubovitch
Music
Elliot Goldenthal
Costume Design Anne Hould-Ward
Costume Execution
John Kristiansen New York Inc.
Stage Design Kenneth Foy
Lighting Design Jack Mehler
Dancers
Kathryn Alter, Raphael Boumaila, Kurt Douglas,
Kristen Foote, Roxane D'Orleans Juste, Ryoko Kudo, Brenna Monroe-Cook,
Jonathan Riedel, Francisco Ruvalcaba,
Roel Seeber, Bradley Shelver, Ruping Wang
Recordare was made possible by the Doris Duke Fund for Dance of the National Dance Project, a program of the New England Foundation for the Arts. Additional funding was provided by the National Endowment for the Arts, the Doris Duke Charitable Foundation, the Ford Foundation, and the New York State Council on the Arts.
The Limon Dance Company gratefully acknowledges the generous contributions of Anne Hould-Ward and Ken Foy for making this production possible. We would also like to thank the Lar Lubovitch Dance Company for their support throughout the creative process.
Recordare was created in collaboration between the Limbn Dance Company and the Lar Lubovitch Dance Company. Choreography copyright O Lar Lubovitch 2005
'Selections from Juan Darien: A Carnival Mass are courtesy of Elliot Goldenthal
? From the essay Flowers and Sugar Skulls for the Spirits of the Dead by Salvatore Scalora, printed as part of the book, Home Altars of Mexico by Dana Salvo.
The Moor's Pavane
Please see p 10 for complete program information on The Moor's Pavane.
A
cclaimed as "one of the world's great dance companies," the Limon Dance Company is renowned for its dramatic expression and technical mastery. Now in its 59th year, the company demonstrates both the time-lessness of Jose Lim6n's works and the strength of the vision that currently guides the Company. Founded in 1946 by Jose Limon and Doris Humphrey, the dancers are now led by Carla Maxwell, who worked closely with Lim6n before becoming Artistic Director in 1978. The Lim6n Dance Company pioneered the idea that it was possible to survive the death of its founder, set?ting an example for the entire dance field.
Over the years, the Lim6n Dance Company's commitment to producing and presenting pro?grams that balance classic works of American modern dance with commissions from contempo?rary choreographers has yielded a repertory of unparalleled breadth. The Company is the living legacy of the movement technique and philoso?phy of theater developed by Jose Lim6n and his mentors, Doris Humphrey and Charles Weidman, whose innovative works have been recognized as great masterworks of American dance. In addi?tion, the Company commissions new works and acquisitions from other master choreographers, including Doug Varone, Mark Haim, Ralph Lemon, Garth Fagan, Donald McKayle, Murray Louis, Kurt Jooss, Susanne Linke, Lar Lubovitch, Meredith Monk, Alwin Nikolais, Daniel Nagrin, Anna Sokolow, and Jifi Kylian. In its first half-cen?tury, the Lim6n Dance Company achieved many important milestones: it was the first group to tour under the auspices of the American Cultural Exchange Program (1954), the first dance troupe
to perform at Lincoln Center (1963), and has had the honor of appearing twice at the White House (1967 and 1995). A recipient of the NEA's Millen?nium Grant, the Lim6n Dance Company initiated a program to expand its legacy with a major ini?tiative providing support to independent choreog?raphers and reconstructing modern dance masterworks that are in danger of being lost. The Company is the performing component of the Jose Lim6n Dance Foundation.
Doris Humphrey {FounderChoreographer, 1895-1958) is recognized as one of the founders of American modern dance. Her legacy is a dis?tinctive movement approach based on the body's relationship to gravity and the use of weight, and her choreographic contribution includes many works considered modern dance classics. She per?formed for the Humphrey-Weidman Company between 1928 and 1944. The collaboration pro?duced great dances as well as some outstanding performers, Jose Lim6n among them. When phys?ical disability ended her career as a dancer, she became the artistic director for Jose Lim6n and his company, creating new works for him as well as choreographing for The Juilliard Dance Theater. The dance critic John Martin summed up the essence of Humphrey's work and spirit:
Having fought all her life for the creation, the development, the acceptance of the American modern dance, it was a foregone conclusion that she would continue the fight to the last minute of her power to do so. She was one of the half dozen women of great vision and total dedication, who succeeded in giving entity to what was really a new art, if any art worthy of
UMS ARCHIVES
T
he 2006 residency marks the Lim6n Dance Company's return to the UMS season for the first time since November of 1969. The company made their debut in Hill Auditorium, performing The Moor's Pavane with guest artists Betty Jones and Louis Falco. Audiences will see The Moor's Pavane performed once again in Ann Arbor by the current company on the Friday evening and Sunday afternoon programs.
the name can ever be said to be new. Certainly, it was the first completely and incontestably American manifestation in our artistic history.
Jose Limon (FounderChoreographer, 1908-1972) electrified the world with his dynamic masculine dancing and dramatic choreography. One of the 20th century's most important and influential dance makers, Lim6n spent his entire career pio?neering a new art form and fighting for the recognition and establishment of American Mod?ern Dance. Born in Culiacan, Mexico, on January 12, 1908, Lim6n moved to California in 1915 and in 1928 came to New York to see his first dance program. Of this performance, Lim6n said: "What I saw simply and irrevocably changed my life. I saw the dance as a vision of ineffable power. A man could, with dignity and towering majesty, dance...as Michelangelo's visions dance and as the music of Bach dances." Lim6n enrolled in the dance school of Doris Humphrey and Charles Weidman and, from 1930 to 1940, performed in works created by his teachers. In 1946, with Doris Humphrey as Artistic Director, Lim6n formed his own company. Over the following 25 years, he established himself and his company as major forces of 20th century dance. Lim6n was a key faculty member in The Juilliard School's dance division beginning in 1953 and continued chore?ographing until his death in 1972. Lim6n's auto?biographical writings were edited by Lynn Garafola and published by Wesleyan University Press as An Unfinished Memoir.
Carla Maxwell (Artistic Director) joined the Lim6n Dance Company in 1965. She soon became a principal dancer under Limbn's direction and, in 1975, served as Assistant Artistic Director under Ruth Currier. Ms. Maxwell was appointed Artistic Director in 1978, and during her tenure, the Company has emerged as one of the finest repertory dance ensembles in the world. She received the 1995 Dance Magazine Award and a 1998 New York Dance and Performance (Bessie) Award for "finding a creative present in the con?text of a revered past, and thereby offering chore?ographic opportunity to multiple generations of
artists; for inspired leadership and artistic accom?plishment." Her work has been honored by the governments of Columbia and Mexico and she was the recipient of a 0203 Isadora Duncan Award for her re-staging of Jose Lim6n's Psalm. Acclaimed as a brilliant dramatic dancer, Ms. Maxwell has danced many major roles with the Company, including the title role in Carlota, Lim6n's final ballet which he choreographed for her. She is responsible for many of the Company's reconstructions of Um6n's dances and, as a cho?reographer, has created works for the Company and regional companies throughout the US. She teaches internationally as both a representative of the Company and a guest artist-in-residence. In 2003 Ms. Maxwell celebrated her 25th anniversary as Artistic Director of the Lim6n Dance Company.
Donald McKayle (Artistic MentorChoreograph?er) danced in the companies of Sophie Maslow and Jean Erdman, and later with the companies of Martha Graham, Merce Cunningham, and Anna Sokolow. His choreography, including the classic works Games, Rainbow 'Round My Shoul?der, District Storyville, and Songs of The Disinher?ited, is in the repertory of the Alvin Ailey American Dance Theater, the Dayton Contempo?rary Dance Company, the Cleo Parker Robinson Dance Ensemble, the Los Angeles Contemporary Dance Theatre, the Cleveland San Jose Ballet, and the Lim6n Dance Company. A recipient of many prestigious national awards, Mr. McKayle has taught at The Juilliard School, Bennington Col?lege, Bard College, and has served as the Dean of the School of Dance at the California Institute of the Arts. Presently, he is a full professor of dance at the University of California at Irvine.
Roxane D'Orleans Juste (Artistic Associate, Dancer), a native of Montreal, Canada, graduated from the National Ballet School's teacher training program in Toronto and is member associate of the I.S.T.D. (Imperial Society of Teachers of Danc?ing). Her choreography has been presented by Toronto Danceworks, Shoenberg Dancyde, Dia Center for the Arts, L'Agora de la Danse, the Yard, and the Musee du Quebec. Ms. D'Orleans Juste
has performed with the Eleo Pomare Dance Com?pany and Annabelle Gamson Dance Solos. She was honored with the Canadian Dance Award, Le Prix Jacqueline Lemieux, in 1980 and is the recip?ient of several grants from the Canada Council for the Arts and the Foundation for Creation in Fine Arts. She is an active master teacher, licensed reconstructor of Jose Lim6n's choreography, and has been Artistic Associate since 2002. Ms. D'Or-leans Juste joined the Company in 1983.
Nina Watt (Artistic Associate) first worked with Jose Lim6n while on scholarship at UCLA. She has received critical acclaim for her leading roles in both Humphrey and Lim6n repertories as well as in commissioned pieces from over 25 works by outside choreographers. Ms. Watt was honored with a 2002 New York Dance and Performance (Bessie) Award, in recognition of sustained achievement in the Lim6n tradition. In addition to teaching and restaging Limon's choreography, she has been a guest artist with Annabel Gamson, Martha Clarke, and most recently Doug Varone. Ms. Watt joined the Company in 1972 and was appointed Artistic Associate in 1992.
Jin Kylian (Choreographer) born in Prague in 1947, started his dance training at nine years old at the Nat'l Theater Ballet school. From the age of 15 he studied at the Prague Conservatory. In 1967, Mr. Kylian went to the Royal Ballet School in London. Here he came into contact with the most impor?tant developments in choreography--ballet as well as contemporary dance. Consequently, John Cranko, Director of the Stuttgart, offered him a dancer's contract and encouraged his ambition to create dance works. As Artistic Director of the Nederlands Dans Theater, Kylian became respon?sible for the Company's artistic policy in 1975. With the creation of Sinfonietta in 1978, Kylian gained notoriety as choreographic talent. The ensuing years established Kylian's reputation as an ingenious choreographer, with dance works such as Symphony of Psalms, Forgotten Land, Over?grown Path, Svadebka, Stamping Ground, L'en-fant et les Sortileges, Bella Figura, and One of a Kind. He has created over 60 works for the Ned?erlands Dans Theater.
Lar Lubovitch (Choreographer) is one of America's most versatile, popular and widely seen choreog?raphers. He founded the Lar Lubovitch Dance Company 37 years ago and has created more than 100 dances for the company. Based in New York, the company has performed throughout the world. The company's three most recent New York seasons (since 2000) have featured the world premieres of Men's Stories, The Wedding, My Funny Valentine, Smile With My Heart, and Pentimento. The company's dances have also been performed by many other major companies, including American Ballet Theatre, New York City Ballet, and Alvin Ailey. His dance Artemis, based on a Greek myth, was commissioned by the Cul?tural Olympics, and premiered at the Metropoli?tan Opera House. His three-act ballet Othello (an unprecedented 3-way collaboration among the Lubovitch company, ABT, and San Francisco Bal?let) also premiered at the Met to great acclaim in 1997. Othello was subsequently broadcast throughout the US on PBS's Great Performances and was nominated for an Emmy Award. This year the Lubovitch company is again creating sev?eral new dances in collaboration with other major companies (Hubbard Street Dance Chicago, San Francisco Ballet, and the Lim6n Dance Company). The Lubovitch company's newest dance. Elemen?tal Brubeck, debuted in November 2005 at the new 900-seat Skirball Center on Washington Square in New York. His dance for film also includes Fandango (winner of an International Emmy Award) and My Funny Valentine for the Robert Altman film The Company, (for which he was nominated for an American Choreography Award). Mr. Lubovitch has also made a notable contribution to choreography in the field of ice-dancing, having created many dances for Olympic skaters John Curry, Dorothy Hamill, Peggy Flem?ing, Brian Orser, Jo-Jo Starbuck, and Paul Wylie, as well as two one-hour ice-dances for television: The Sleeping Beauty (PBS) and The Planets (A&E) which was nominated for an International Emmy Award, a Cable Ace Award, and a Grammy Award. His award-winning work on Broadway includes Into the Woods (Tony Award nomina?tion), The Red Shoes (Astaire Award), and the Tony Award-winning revival of The King and I. In
2004 he was honored with the Elan Award for his outstanding choreography. For more info see www.lubovitch.org.
Jonathan Riedel (Dancer), native of Rye, New York, graduated Magna Cum Laude from the Conservatory of Dance at Purchase College. Since making his professional debut with the Limbn Dance Company in 1996 he has also been a guest artist with Mary Anthony Dance Theater, Corn?field Dance, and Price Performing Arts. Mr. Riedel has taught and reconstructed Limbn works for II Balletto di Puglia, Italy and for university dance programs throughout the US. In 2002 he choreo?graphed his first piece for the Lim6n Company's repertory, The Unsightful Nanny, and the follow?ing year founded the Riedel Dance Theater with a debut season in New York and Italy. His works have also been presented by Purchase College in Burgos, Spain, and the Good Moves Consort in Atlanta. He has developed choreography and character movement for the video game, Codessia, produced by Artware. He is currently creating new works for Riedel Dance Theater, SUNY Purchase, and the Lim6n Company to pre?miere in 2005.
Francisco Ruvalcaba (Dancer), a native of San Diego, California, has toured with the Lincoln Center Institute, El Festival Nacional e Interna-cional de Danza en Mexico, and the Innsbrook Festival of Ancient Music. A graduate of The Juil-liard School, Mr. Ruvalcaba performed the works of Jose Lim6n, Paul Taylor, Mark Morris, Jifi Kylian, Benjamin Harkarvy, and Agnes De Mille. Mr. Ruvalcaba joined the Company in 1996.
Raphael BoumaVIa (Dancer) is a 1994 graduate of the Conservatoire National Superieur de Musique de Lyon. While training, he had the opportunity to work with many leading dance fig?ures of France and Europe, and performed annu?ally in Lyon and on tour. Before coming to the US, Mr. BoumaTIa performed in Paris and throughout France with the Red NoteAndy Degroat Compa?ny. In 1994, he became a charter member of the Lim6n West Dance Project in San Jose, California. He has performed duet concerts with Nina Watt
in the US and abroad and has had his own work appear on a Lim6n Company program. He would like to acknowledge his gratitude to Nicole Ambert-Giret, Phillipe Cohen, and Gary Masters. Mr. BoumaTIa joined the Company in 1998.
Kristen Foote {Dancer) from Toronto, Canada began performing with the Canadian Children's Dance Theatre, where she had the opportunity to work with Peggy Baker, Margie Gillis, David Earle, Carol Anderson, and Keith Lee. In 2003, she danced at the Yard, under the direction of Patricia Nannon and is currently a guest artist with the Thang Dao Dance Company. Ms. Foote joined the Company in 2000.
Ryoko Kudo (Dancer), born in Japan and raised in New York, graduated Cum Laude from the Boston Conservatory where she performed with the Boston Dance Theatre and the Boston Con?servatory Dance Theatre in works by Martha Gra?ham, Jose Lim6n, Paul Taylor, and Sean Curran. Her performing career has included work with Sophie Maslow, Martha Graham Dance Ensem?ble, Saeko Ichinohe Dance Company, Rae Ballard Dance Company, and Riedel Dance Theater, as well as making a guest appearance with Thang Dao Dance Company. Ms. Kudo teaches the Lim6n Technique at the Lim6n Institute and uni?versities in the US. Her choreography and improv-isational works have been presented at Harvard University, Lim6n Institute, Mulberry Street The?ater, and Elizabeth Foundation for the Arts Gallery. Ms. Kudo joined the Company in 2001.
Roel Seeber (Dancer) received his BFA from SUNY Purchase. He has worked as an assistant to Carlos Orta in the United States and Europe. He enjoys rock climbing and flying trapeze. Mr. See?ber joined the Company in 2001.
Kurt Douglas (Dancer) received his BFA in Dance from the Boston Conservatory where he was the recipient of the 0102 Ruth Sanoholm Ambrose Scholarship Award and the Jan Veen Dance Schol?arship. He has performed with the Boston Dance Theatre, Ballet Hispanico of New York, the Radio City Christmas spectacular, and the Tang Dao
Dance Company. His choreography has been seen in New York, Houston, Michigan, and Boston. He received a 2002 Princess Grace Award for Dedica?tion to Excellence in Dance and had the honor of performing for His Serene Highness Crown Prince Albert of Monaco and the Royal Family. Mr. Dou?glas joined the Company in 2001.
Brenna Monroe-Cook (Dancer) is from Oak Park, Illinois. She began her training at the Acad?emy of Movement and Music under the direction of Stephanie Clemens and has performed exten?sively with the affiliated MOMENTA Performing Arts Company. She recently received her BFA from The Juilliard School under the direction of Ben?jamin Harkarvy. Ms. Monroe-Cook joined the Company in 2003.
Kathryn Alter (Dancer) hails from Juneau, Alas?ka. After completing high school at Interlochen Arts Academy in Michigan, she went on to grad?uate with honors from SUNY Purchase. Highlights of her career have included three summers of choreography and dancing in Spain with Kazuko Hirabayashi and performing in projects with
Jonathan Riedel Dance Theater and Alan Daniel-son. Her choreography was most recently seen at SUNY Purchase and as a part of the DUMBO Arts Festival in Brooklyn. Ms. Alter joined the Compa?ny in 2003.
Ruping Wang (Dancer) was born and raised in Taiwan where she received her BFA from the Taipei National University of the Arts and worked as a freelance performer, teacher, and administra?tor with professional dance companies. Since moving to the US, she has received a MFA in dance performance from the University of Utah Modern Dance Department and worked with the Repertory Dance Theatre in Utah, Mary Anthony Dance Theatre, Kun-Yang Lin Dancers, Martha Graham Dance Company, and Metropolitan Opera Ballet. In addition to performing, Ruping also teaches and choreographs as a guest artist in universities. This is Ms. Wang's first season with the Company.
Bradley Shelver (Dancer) is originally from South Africa. He received his training at the National School of the Arts, the I.S.T.D in London, and the
Recordare
Photo: Roialie OTonnot
Alvin Ailey School. He has performed with Elisa Monte Dance, Complexions Dance Company, Alvin Ailey II, Ballet Hispanico, and as a guest artist with opera singer Jesse Norman and Bill T. Jones. He has choreographed and taught throughout the US, Europe, and Africa and his works have been shown on PBS and at various venues.
Ted Sullivan (Production ManagerLighting Designer) studied design for theatre and dance at the University of Michigan before moving to New York. After graduating from NYU's Tisch School of the Arts Design Department in 1993, he worked as a lighting designer and lighting director, tour?ing domestically and internationally. He has designed lighting for works choreographed by Agnes de Mille, Jiri Kylin, Antony Tudor, Martha Graham, Sophie Maslow, and George Balanchine, and has created designs for organizations such as Ballet Tech, the School of American Ballet, and The Juilliard School.
Steve Woods (Lighting Designer) began working with Lim6n in 1988. His experience in New York includes the Joyce Theater, Lincoln Center, River?side, and Theatre for a New Audience. In addi?tion, Mr. Woods has worked regionally with the Shakespeare Theatre, Kennedy Center, Dallas Theatre Center, NJ Shakespeare, Spoleto Festival, Jacob's Pillow Dance Festival, and the American Dance Festival. He has further worked interna?tionally with Compania Nacional de Danza, John Cranko, and productions in Moscow, Athens, Sao Paulo, and Budapest. His television experience includes work with PBS, MTV, BBC, and Showtime.
Jack Mehler (Lighting Designer) is making his Lim6n Company debut, having previously designed Lar Lubovitch's Love Stories for Hubbard Street Dance Chicago and Pentimento for the Lubovitch Company. His work has also been seen at Albuquerque Civic Light Opera, Alvin Ailey American Dance Theatre, BuglisiForeman Dance, Capital Rep, Chamber Dance Project, Cleveland Play House, Crossroads Theatre, Donald ByrdThe Group, Freedom Theatre, Lyric Theatre of Okla?homa, Manhattan Theatre Club, Merrimack Rep,
Muscial Theatre Southwest, 92nd Street Y, the New Victory, North Shore Music Theatre, Paper Mill Playhouse, Seacoast Rep, Seattle Rep, Syra?cuse Stage, Theatre by the Blind, Trollwood Per?forming Arts School, the Working Theatre, and the WPA.
Kenneth Foy (Stage Designer) designed the Houston Grand Opera's acclaimed multi-media productions of Carmen, Madam Butterfly, Pagli-acci, and A Little Night Music, as well as Porgy and Bess for Milan's La Scala Opera House. Mr. Foy has also designed the national touring pro?ductions of Cole, The Sound of Music and The King and I, and the American Opera Center pro?ductions of Xerxes and Regina. Foy's credits include Broadway productions of Candida starring Joanne Woodward, Macbeth with Nicol Williamson, the David Merrick production of Oh, Kay!, the 20th anniversary production of Annie, An Evening With Jerry Herman, the Tony Award-winning production of Gypsy directed by Arthur Laurents, and Dame Edna: The Royal Tour. He was represented in London with the West End pro?duction of Annie and the English National Theatre production of The Syringa Tree, which he also designed in New York. Mr. Foy provided art direc?tion for the Emmy-winning Pulitzer-Prize docu?mentary, Moment of Impact. He has also designed theme park events for Busch Gardens and Six Flags, video animation and special proj?ects for the Mariah Carey Charm Bracelet Tour, and worked with the Ringling Brothers and Bar-num & Bailey Circus. Mr. Foy is currently prepar?ing the new national tours of My Fair Lady and Bombay Dreams.
Ann Hould-Ward (Costume Designer) received the 1994 Tony Award and the American Theatre Wing's Design Award for "Best Costume Design," in addition to the Ovation Award and an Olivier nomination for Beauty and the Beast. She was selected to represent the US at the 1995 Prague Design Quadrennial. Her costume designs for Broadway include Stephen SondheimJames Lap-ine's Sunday in the Park with George (Tony and Drama Desk nominations; Maharam Award for "Outstanding Costume Design"), Harrigan and
Hart (Maharam nomination), Into the Woods with Lar Lubovitch (Tony, Drama Desk, Outer Critics Circle nominations; Los Angeles Drama Critics Circle Award), The Moliere Comedies at the Roundabout, Falsettos, St. Joan, Three Men on a Horse, In the Summer House, Timon of Athens, and both Anthony & Cleopatra and House Arrest at the Public Theater. Designs for Off-Broadway include Cymbeline, On the Verge, Personals, and Lobster Alice. For film she designed the Miramax film Strike! Woodville. Dance designs include collaborations with Gra-ciella Daniele (Ballet Hispanico) and Lar Lubovitch. She has designed costumes for 10 dances created by the Lar Lubovitch Dance Company, including the company's co-produc?tions of Othello (with ABT and San Francisco Ballet) and now Recordare (with the Lim6n Dance Company). Designs for Regional Theatre include projects at the Guthrie Theater, Arena Stage, and Seattle Rep. Miss Hould-Ward was aided in the designs for Beauty and the Beast by the love and expertise of her then 10-year-old daughter Leah.
Marion Williams' (Costume designer) costume designs for Limon Dance Company include: Suzanne Linke's Extreme Beauty, Adam Houg-land's Phantasy Quintet, Donald McKayle's Crossroads, and Jonathan Riedel's The Ubiqui?tous Elephant, in addition to restagings of Jose Limon's Psalm, Invention, and A Choreographic Offering. Additional dance designs include work for The Juilliard School, Parson's Dance Company, and scenic and costume designs for the Louisville Ballet with choreographer Adam Hougland. Marion has designed scenery and costumes for the following theatre and opera companies: Berkshire Theatre Festival, Blue Light Theatre Company, the Directors Compa?ny, Fairfield Theatre Company, Houschule Fur Musik und Theater in Leipzig, Germany, Juilliard Opera, Manhattan School of Music, MCC The?ater, PlayMakers Repertory Company, PS. 122, Sacramento Theatre Company, Williamstown Theatre Festival, and Worth Street Theatre Company. Marion is a recipient of a 2004 Princess Grace Award.
Jose Limon Dance Foundation Board of Directors
Robert Meister, Chair
Elizabeth Turner, Vice-Chair
Lois Ebin, Treasurer
Kay Cummings, Maria Metzner, Secretaries
llona Copen
Randal Fippinger
Amy J. Friedman
Barry Herstein
Carla Maxwell
Directors Emeriti Betsy Shack Barbanell Barbara Barrie Denise Bolte Antony P. Conza Paula Galbraith Nicole Pura Heath Sara M. Hendrickson Robert V. Mendelsohn Myrna Ruskin Laurie M. Shahon Judy Talbot
Staff
Carla Maxwell, Artistic Director
Randal Fippinger, Executive Director
John Claassen, General Manager
Donald McKayle, Artistic Mentor
Roxane D'Orleans Juste, Artistic Associate
Nina Watt, Artistic Associate
David LaMarche. Music Director
Jeri Rayon, Director of Development
Laura Raucher, Development Associate
Ashlie Kittleson, Development Associate
Ann Yachon, Institute Director
Megan Sinnwell, Assistant to the Institute Director
Norton Owen, Institute Consultant
Alan Danielson, Studio Director
Ted Sullivan, Production ManagerLight Designer
Steve Woods, Light Designer
Philip Trevino, Sfage Manager
Rashida D. Poole, Wardrobe Supervisor
Beatriz Schiller, Photographer
Sondra Graff, Graphic Designer
Robert Meister, Legal Services
Website Design: Oberlander Design
The Limbn Institute is the official school of the Limbn Dance Company, offering Limbn Technique classes at Peridance Center in New York. The Institute also offers West and East coast sum?mer programs for professional and pre-professionals. Intensive workshops are offered in New York with master teachers Risa Steinberg, Betty Jones, Carla Maxwell, Roxane D'Orleans Juste and Clay Taliaferro, among others. The Professional Studies Pro?gram, accredited by the National Association of Schools of Dance, offers nine months of intensive training.
The Limbn Dance Company is a member of DanceUSA. DanceNYC, Dance Theater Workshop, Arts & Business Council, and Arts4AII.
urns
and
JPMorgan Chase
present
Norwegian Chamber Orchestra
Leif Ove Andsnes, Conductor and Piano Terje Tonnesen, Artistic Director
Program
Wolfgang Amadeus Mozart
Ludwig van Beethoven, Arr. for string orchestra by Terje Tonnesen
Mozart
Mozart
Saturday Evening, January 14, 2006 at 8:00 Hill Auditorium , Ann Arbor
Piano Concerto No. 14 in E-Flat Major, K. 449
Allegro vivace
Andantino
Allegro ma non troppo
String Quartet No. 16 in F Major, Op. 135
Allegretto
Vivace
Lento assai e cantante tranquillo
Grave-Allegro-Grave ma non troppo tratto-Allegro
INTERMISSION
Serenade No. 13 in G Major, K. 525
Allegro
Romanze: Andante Menuetto: Allegretto-Trio Rondo: Allegro
Piano Concerto No. 20 in d minor, K. 466
Allegro
Romance
Rondo: Allegro assai
26th Performance of the 127th Annual Season
127th Annual Choral Union Series
77ie photographing or sound recording of this concert or possession of any device for such pho?tographing or sound recording is prohibited.
Tonight's performance is sponsored by JPMorgan Chase. Tonight's pre-concert Prelude Dinner was sponsored by TIAA-CREF.
Special thanks to Richard Crawford, Professor Emeritus of Music, for his participa?tion in tonight's Prelude Dinner.
Special thanks to Alan Aldworth and ProQuest Company for their support of the UMS Classical Kids Club.
Additional support for tonight's performance provided by the participants at A Masquerade Ball, hosted last Saturday evening by Carl and Charlene Herstein.
Media partnership for this performance provided by WGTE 91.3 FM and Observer & Eccentric Newspapers.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for tonight's performance.
The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
The Norwegian Chamber Orchestra appears by arrangement with creative part?ners in music.americaKonzertdirektion Hans Ulrich Schmid, Hannover.
Large print programs are available upon request.
String Quartet No. 16 in F Major, Op. 135
Ludwig van Beethoven
Born December 15, 1770 in Bonn, Germany
Died March 26, 1827 in Vienna
Beethoven had much on his mind during the sum?mer and fall of 1826, at the time he wrote what was to remain his final string quartet. (It was almost his last completed composition, as it was followed only by the new, and even more exuber?ant, "Allegro" for the String Quartet in B-flat Major, replacing the "Great Fugue" when that quartet was published as Op. 130.) Already plagued by severe illness, the 55-year-old master suffered the heaviest blow of his life when his nephew Karl, at this time the only human being he really cared about, attempted suicide and was subsequently hospitalized for two months. It was during this traumatic period that Beethoven began work on the String Quartet No. 76.
The last movement is preceded by an enig?matic line of musical notation by Beethoven, con?taining the themes of the "Grave" introduction and the "Allegro" section, with the question and answer "Muss es sein--Es muss sein!" (Must it be--It must be!) underlaid. Above the line appear the words "Der schwer gefasste Entschluss" (The Difficult Decision). There have been numerous attempts to explain what Beethoven was referring to. One possibility is a humorous canon Beethoven wrote in the spring of 1826 using the words "Es muss sein" with almost the same music as in the quartet, created because a certain Ignaz Dembscher had failed to pay for the parts for another Beethoven quartet (Op. 130) that he had ordered. Another story stems from Beethoven's letter to the publisher Moritz Schlesinger:
Here, my dear friend, is my last quartet. It will be the last; and indeed it has given me much trouble. For I could not bring myself to com?pose the last movement. But as your letters were reminding me of it, in the end I decided to compose it. And that is the reason why I have written the motto...
Surely, however, there is more to this "deci?sion" than these two rather mundane stories sug?gest. We suspect so because the characteristic descending fourth of the "Es muss sein" motif appears at the very beginning of the first move?ment, in an innocent-looking "Allegretto" that has often, but somewhat misleadingly, been described as a nostalgic look back on the bygone days of Mozart and Haydn. The simple harmonies that evoke the memory of the older Viennese classics are combined with extremely intricate tex?tures. The melodic material is passed back and forth among the instruments with great sophisti?cation and the sudden changes between motion in quarter-notes and 16th-triplets (the latter going six times as fast as the former) are extremely strik?ing. There is a hidden, mysterious tension behind the Haydnian facade, waiting to explode.
The explosion comes in the second move?ment Scherzo, whose rough humor, once again, derives its power from the simplicity of the means employed. The first violin theme goes down and up, outlining a three-note scale fragment, some?what like "Three Blind Mice." The second violins play a drone, the violas alternate between only two notes, and the celli intone a motif that, like that of the first violin, outlines a circular (rising and falling) motion. Then the note E-flat, foreign to the key of F Major, appears, seemingly out of nowhere and is repeated several times as the whole harmonic direction of the movement becomes uncertain. The previous motivic material then re-establishes itself and, slightly developed, completes the Scherzo proper. The middle section is a wild romp where the ascending scales and wide leaps of the first violins are offset by a pul?sating quarter-note accompaniment in the other instruments. The ascent in keys (from F to G to A) is highly unusual and adds considerably to the excitement. The Scherzo proper then returns after a retransition section in which the first violin "Blind Mice" motif is mysteriously repeated by the instruments in unison.
The sublime third movement brings us one of Beethoven's most heartfelt, hymn-like melodies-but on closer look its descending and ascending scale figures are almost identical to those in the
Scherzo, only in slow motion! Its middle section is even slower; the melody of the violins, accompa?nied by the other instruments in identical rhythm, seems to be choking back tears. Afterwards, the hymn-like melody returns, embellished by orna?mental figures that verge on the ecstatic, although marked semplice.
It is after three movements of such contrast?ing character (that nevertheless share a great deal of motivic material) that we arrive at the "Difficult Decision." The brief "Grave" introduction, which asks the question "Muss es sein" is a recitative to the "Allegro" section's aria, in which the affir?mation of "Es muss sein" in the opening theme is followed by a positively playful and humorous second theme, as if all doubts had been laid to rest once and for all. Yet things are not as easily resolved as one might think: the question, in the minor mode, is asked again as the "Grave" tempo returns; and the repeat of the positive answer is itself interrupted before the end when the "Es muss sein" motif itself is turned into a question. Played at a slower tempo and its straightforward perfect fourth distorted into an anguished diminished interval, this momentary Poco adagio provides a last-minute suspense. The dilemma is definitively resolved when the second theme appears pizzicato, leading into a final con?firmation on all instruments: "Es muss sein, es muss sein!" Thus, Beethoven's last quartet ends on a positive and highly confident note.
Piano Concerto No. 14 in E-flat Major, K. 449 Piano Concerto No. 20 in d minor, K. 466
Wolfgang Amadeus Mozart
Born January 27, 1756 in Salzburg, Austria
Died December 5, 1791 in Vienna
Mozart had a way with the piano concerto like no other composer before or after him. Building upon the achievements of two of J.S. Bach's sons, Carl Philipp Emanuel and Johann Christian, he gave the word "concerto" an entirely new mean?ing. He continued the idea of alternating orches?tral and solo passages, as well as a few other basic structural elements; however, he consider-
ably expanded on the earlier form, making it both more complex and more flexible. In his hands, the piano concerto became capable of expressing the most diverse characters, from grandiose and fes?tive to lyrical and intimate, with innumerable shadings in between.
Of the 27 piano concertos in Mozart's cata?log, 15 were written during the five years follow?ing the composer's move from Salzburg to Vienna. These were featured in a series of sub?scription concerts Mozart started, playing the piano part himself. The concertos were also fre?quently heard at the homes of his patrons. The audience at these concerts was an extremely select one, privileged in both their financial means and their musical sophistication.
In Mozart's concertos, keys often correspond to emotional moods. Like other composers of his time, Mozart associated each tonality with specif?ic melodic idioms and devices of orchestration. For instance, C Major was a festive and jubilant key, often reinforced by trumpets and kettle?drums. E-flat Major was also festive but at the same time more ethereal, wnile A Major was per?ceived as warm, tender, and cheerful.
Concerto No. 14 is the second of three Mozart wrote in E-flat Major. It was preceded in Mozart's concerto output by the trio of "little" concertos (Nos. 11-13) with which Mozart had introduced himself to Vienna audiences shortly after moving to the capital. In a sense, the con?certo belongs with the earlier set in that it can be performed omitting the wind parts. Yet musically, the new work has some features that are not to be found in Mozart's earlier output. After his move to Vienna, Mozart had engaged in a serious study of counterpoint, whose effects can be seen in the last movement of Concerto No. 14. His har?monic language had become more sophisticated in general, and his melodies more "operatic"-commentators have repeatedly drawn attention to a certain "dramatic" quality in the dialog between piano and orchestra.
Remarkably, the concerto opens with a mus?cular unison passage--the whole orchestra plays the same melody with forte dynamics, but no accompanying harmonies at all. The harmony
enters in the next phrase, but now the dynamics are piano and the mood tender and lyrical. Mozart exploits these and other similar contrasts in a multitude of ways throughout the move?ment. When the solo piano enters, it doesn't merely repeat the themes of the solo exposition in an embellished form, but adds some brand-new themes to the mix. Mozart's original cadenza amounts to a fantasia on some of those themes, alternating introspection with virtuosity.
With its gently rocking slow syncopations, the lavishly ornamented middle movement projects a sense of calm but there are also some hidden ten?sions under the surface. These become evident later when a series of modulations takes a rather unexpected turn, though the initial calm is restored by the end.
As mentioned above, the finale plays with the idea of counterpoint. Yet it does hardly more than play with it: the opening, with only the orchestral violins playing, is definitely reminiscent of a fugue, but no full-fledged fugue develops. Instead, we hear a dance-like second idea in total contrast with the opening melody. The solo piano elaborates on both thematic materials (with plen?ty of hand-crossing, a device Mozart was particu?larly fond of), and examples of the most delicious musical humor abound. The movement's coda switches to a new meter that allows for a subtle quickening of the musical pace and a further increase in the level of excitement.
There is another reason why Concerto No. 14 is particularly important among Mozart's works. It became the first entry in a handwritten catalog of his works that Mozart started in February 1784. Finding it increasingly hard to keep track of his immense musical production, he acquired a note?book in which he entered the title, date and orchestration of each new piece on the left-hand side, and a short score of the opening measures on the right-hand side. At the time of his death in 1791, the book was only half full: there are 14 pairs of empty pages with musical staves already drawn--a tragic memento of all the music Mozart took with him to his early grave.
Although Mozart played the first perform?ance of this concerto himself, he actually wrote it
for a talented student of his, Miss Barbara (Babette) Ployer, the daughter of a Salzburg fam?ily. "[She] paid me handsomely," the composer reported to his father in a letter dated February 20, 1784. Miss Ployer, who performed the work just a few days after Mozart did, became a recip?ient of a second Mozart concerto some eight weeks later--Concerto No. 17 in G Major, K. 453. Before the year was out, Mozart could enter no fewer than six new piano concertos in his hand?written catalog. He was at the height of his pow?ers as a composer, and at the height of his success as a virtuoso.
The minor mode had a special meaning to the masters of Viennese classicism. In the large-scale works of Haydn, Mozart, and Beethoven, the choice of a minor key usually goes hand in hand with a heightened sense of drama and a whole set of specific harmonic, rhythmic, and textural devices that we don't often encounter in compo?sitions written in the major. It is in such works that we may perceive the first signs of musical Roman?ticism before it became the dominant style of the early 1800s.
Mozart's Piano Concerto No. 20--one of only two concertos he wrote in the minor--is one of the most important "proto-Romantic" works. It was the only Mozart concerto Beethoven ever performed (he even wrote down the cadenzas he played). It appealed to 19th-century ears more than did any other of Mozart's works, with the exception of the opera Don Giovanni, with which it shares its principal tonality of d minor and its dramatic intensity.
Like most of the piano concertos Mozart com?posed for his own use, the d minor was written in great haste and completed just a day before the performance. Mozart's father Leopold, who was visiting from Salzburg, wrote to his daughter Anna Maria (Nannerl) after the concert: "...Then we had a new and very fine concerto by Wolf?gang, where the copyist was still copying when we arrived, and the rondo of which your brother didn't even have time to play through, as he had to supervise the copying."
The unique character of the concerto is appar-
ent from the start. Whereas most Mozart concer?tos begin either with a powerful statement for full orchestra or a soft lyrical melody, the d minor opens with more amorphous material: a synco?pated rhythm on a single repeated note that evolves into a recognizable theme only gradually. Syncopations and chromatic pitches are two of the "irregular" musical devices that pervade the Allegro, creating a special dramatic quality. The entrance of the solo piano, on a new theme filled with intense pain and longing, adds a new dimen?sion to the emotional range of the movement. The tension is so strong that a coda of unusual length is required before the music can calm down.
The second-movement "Romanza," in B-flat Major, is lyrical and peaceful, or so it seems at the beginning. Its g minor middle section, however, thrusts us right back into the stormy atmosphere of the first movement. Mozart connects this agi?tated passage to the return of the serene theme of the "Romanza" with inimitable mastery: the note values in the solo piano part become gradu?ally (almost imperceptibly) longer: 16th-triplets to regular 16ths to eighth-triplets to regular eighths, while the harmonies smoothly shift from g minor back to the home key of B-flat.
The final "Rondo" moves from the impas?sioned mood of the first movement to a brighter, more cheerful concluding section in D Major, rep?resenting, in the words of one commentator, "a victory of serenity over the tumultuous anxiety of earlier moments."
Serenade No. 13 in G Major, K. 525 "Eine kleine Nachtmusik"
Mozart
During his Salzburg years, Mozart was called upon to write many serenades and divertimentos, lighter works intended for outdoor performance at particular social occasions. However, after his move to Vienna he wrote very few such works, as he was living in a different social milieu and his attention had turned to other forms of composi?tion. Eine kleine Nachtmusik is therefore an
exceptional work, and we may never know the exact circumstances that gave it birth.
Actually, we don't even know the piece in its complete form, for it is certain that originally it contained not four but five movements, with a second minuet and trio that somehow got lost along the way. We can't even be entirely sure that it was intended for string orchestra; the manu?script says only "2 violins, viola, cello and bass," which could also mean a string quintet. The work is most frequently performed by an orchestra, however, because the music (especially the first movement) is written in a style that is more orchestral than chamber-like; yet a performance by solo strings is certainly possible.
It is odd that there should be so many riddles connected to what is one of Mozart's most untroubled and most popular works. At first hear?ing, as well as the 1OOOth time, this masterpiece gives the impression of being the simplest and most unproblematic piece of music in the world. And in a way, it is; the above-mentioned riddles are not really part of what we hear when we lis?ten to the music. But the great simplicity one does hear is itself, paradoxically, a matter of some com?plexity. Such simplicity was only possible after Mozart had completed The Marriage of Figaro, after the great piano concertos and the six string quartets dedicated to Haydn. After completing these great and complex works, Mozart had learned how to limit himself to the bare essentials and to say the most with the fewest possible notes. Bine kleine Nachtmusik expresses the new?found simplicity of the mature artist that Mozart was at 31, four years before his death.
The four extant movements of the work seem to be a compendium of Classical music in a nut?shell. The first movement, with its energetic beginning and lyrical contrast materials, is the best demonstration of what sonata form is, yet there is nothing didactic about it. The second-movement "Romanze" is a Rondo. Its sweet main melody is followed by a short and passionately Romantic minor-mode episode before the exqui?site first theme soon returns. The Minuet and Trio are short and are distinguished by the lack of any?thing distinctive. No sudden modulations and
hardly any metric irregularities here; yet even without such surprises, there is not a trace of triv?iality in this music. The spirited finale is a "Rondo" of larger dimensions than the earlier "Romanze"; it concludes the work in a festive manner. Like the rest of Nachtmusik, it is supreme entertainment of the kind that only Mozart could produce.
Program notes by Peter Laki.
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he career of Norwegian pianist Leif Ove Andsnes has attracted considerable inter?est and excitement since his international debut in the early 1990s. Born in 1970 in Karmoy, Norway, he studied at the Bergen Music Conser?vatory under the Czech professor Jiri Hlinka. Described by the The New York Times as "the most accomplished pianist of the new genera?tion," the multiple Gramophone Award-winner is now firmly established as one of the most com?pelling artists on the world concert stage.
The 0405 season was an important US season for Mr. Andsnes, who gave 20 concerts in 10 North American cities. At the heart of the season was a prestigious seven-concert "Perspectives" series at New York's Carnegie Hall, which featured Andsnes in solo and concerto performances as well as in collaboration with some of his closest musical associates. A performance of Schubert's epic song cycle Winterreise with English tenor Ian Bostridge opened the series in October 2004. Mr. Andsnes was the youngest artist--and the only Scandinavian--to have been awarded the series. Saluting this and other achievements, Vanity Fair magazine named him one of the "Best of the Best" in January 2005.
Highlights of the current 0506 season include concerts with the Tokyo Philharmonic conducted by Mikhail Pletnev, a European tour with the Danish National Symphony Orchestra, a special residency with the Los Angeles Philharmonic that will include performances at the Walt Disney Con?cert Hall, a US tour with the Norwegian Chamber Orchestra, and a major recital tour throughout Europe and the US.
Leif Ove Anclsnes
Photo Simon Fowler
Mr. Andsnes is co-artistic director of his own festival in Ris0r, which every year draws some of the most esteemed classical performers to Nor?way: Emanuel Ax, Ian Bostridge, Matthias Goerne, Barbara Hendricks, Gidon Kremer, and Maxim Vengerov. He has also been the subject of a number of television documentaries, including England's South Bank Show in 2001. In Decem?ber 2003, he performed at the Nobel Peace Prize ceremony, which was televised worldwide.
Mr. Andsnes records exclusively for EMI Clas?sics. He is the recipient of three Gramophone Awards, most recently in the "Best Concerto" category for his recording of Grieg and Schumann Piano Concertos with the Berlin Philharmonic and Mariss Jansons.
In May 2002, Mr. Andsnes was made a Com?mander of the Royal Norwegian Order of St. Olav, Norway's most distinguished award. This is the most recent in a long list of accolades that also includes the Royal Philharmonic Society's Instru?mentalist Award in 2000 and the 1998 Gilmore Artist Award from the Irving S. Gilmore Interna?tional Keyboard Festival of Kalamazoo, Michigan.
Mr. Andsnes's concert attire is graciously pro?vided by Issey Miyake. For more information, please visit www.andsnes.com.
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erje Tonnesen is among Norway's leading violinists, and plays an important role in Nordic music life through his function as Artistic Director of the Norwegian Chamber Orchestra, concertmaster of the Oslo Philharmonic
Orchestra, and Honorary Musical Director of Cam-erata Nordica, Sweden. He has also been a regu?lar soloist with the other major Norwegian orch-es-tras, and has given concerts as a soloist all over Europe, the US, China, and South America. In 1972, the then 17-
year-old Mr. Tonnesen made a
sensational debut: "A dazzling debut with hardly any parallel," as an Oslo paper reported. After five years of study with Max Rostal in Switzerland, he was appointed Artistic Director of the Norwegian Chamber Orchestra in 1977.
Terje Tonnesen has worked with musicians such as Mstislav Rostropovich, Maurice Andr?, and James Galway. His recordings as an orchestra leader have received the highest praise in the international music press. Mr. Tonnesen has also done a number of recordings as soloist and cham?ber musician, and performed and recorded several works commissioned for him.
Mr. Tonnesen has also composed music for sev?eral theatre productions. His version of Vivaldi's Four Seasons with amplified sound effects, and his piece Palimpsest with re-composed music of both Lutoslawski and Gesualdo, show his unique ability as an artist of a new generation.
UMS ARCHIVES
T
he Norwegian Chamber Orchestra first appeared under UMS auspices on the Chamber Arts Series in Rackham Auditorium in 1987 with lona Brown as leader and violinist. Tonight's concert marks their second UMS appearance. Mr. Andsnes returns tonight for a third UMS concert. His Hill Auditorium debut was with the Detroit Symphony Orchestra in 1997 playing Rachmaninoff's Piano Concerto No. 3, followed by a second appearance in 2002 playing Rachmaninoff's Piano Concerto No. 7 with the St. Petersburg Philharmonic.
Terje Tonnesen
Ptioto Torn my rt
T
he Norwegian Chamber Orchestra (NCO) became a permanent ensemble in 1977 when it made its debut under the leadership of Terje T0nnesen, who is still the orchestra's Artistic Director. Over the years he worked parallel with lona Brown, who until 2001 was Music and Artistic Director. In recent years, the Orchestra has toured extensively throughout the US and Western Europe.
Concert appearances in the US have included performances at Carnegie Hall in New York and the Kennedy Center in Washington DC. The Orchestra played at the Schleswig-Holstein and Salzburg festivals and toured Germany, Holland, and Belgium in 1997. In 2001, the orchestra members were invited to be "Festival Musicians of the Year" by the Bergen International Festival and had remarkable success in a series of five con?certs with a repertoire ranging from Rameau to Xenakis. Also in 2001, the Orchestra toured the Baltic countries to wide acclaim, adding in 2002 and 2003 very successful tours to Italy, Spain, and leading summer festivals in the US and Canada with Leif Ove Andsnes as leader and soloist, all under the auspices of the Norwegian Foreign Ministry.
Over the years, the NCO has worked with major soloists such as Mstislav Rostropovich, Maurice Andre, James Galway, Radu Lupu, Steven Isserlis, Joshua Bell, Thomas Zehetmair, Christian Tetzlaff, Andrew Manze, Fabio Biondi, Angela Hewitt, Joanna MacGregor, Truls M0rk, and Leif Ove And?snes. It has developed a very wide repertoire, from baroque music to contemporary works for cham?ber orchestras.
The Norwegian Chamber Orchestra has record?ed for a number of different labels, including Vir?gin Classics, Chandos, and EMI, and has won several record awards. Its recording of three Haydn concertos with Leif Ove Andsnes received the Gramophone "Concerto Award" for 2000. This collaboration was followed up by a recording for EMI of Mozart Piano Concertos Nos. 9 and 18. The recording received fantastic reviews both in Gramophone and in The New York Times, and was also nominated for a Grammy Award in 2005.
The NCO's artistic relationship with Leif Ove Andsnes has been particularly fruitful and led to the pianist joining the orchestra as Principal Guest Conductor from the 0304 season to the present. Together with the Artistic Director Terje Tonnesen, the orchestra and Leif Ove Andsnes toured the Far East in Spring 2005, and in January 2006 will re?visit Canada and the US. Future plans include vis?its to major concert venues in Europe as well as new recordings with Leif Ove Andsnes.
Norwegian Chamber Orchestra
Terje Tonnesen, Artistic Director
Leif Ove Andsnes, Principal Guest Conductor
Violin I
Terje Tonnesen Jan Bjoranger Elisabeth Dingstad Kristina Kiss J0rn Halbakken Brynjar Bilsbak Christina Dimbodius
Violin II
Frode Larsen
Kjell Tomter
Tor Johan Been
Hans Morten Stensland
Minna Alen
Viola
Per Kristian Skalstad Ane Lysebo Mari Giske Stig Ove Ose
Cello
0ystein Sonstad Emery Cardas Kari Ravnan
Double Bass
Dan Styffe Katrine 0igaard
Flute
Tom Ottar Andreassen
Oboe
David Strunck Ingunn Lien
Bassoon
Kari Foss
Trond Olaf Larsen
French Horn
Esa Tukia
Steinar Granmo Nilsen
Trumpet
Mark Bennett Trond Olav Ruistuen
Timpani
Pal Bugge
Tour Direction
creative partners in music.america
Konzertdirektion Hans Ulrich Schmid
Tour Manager Ann M.P. Woodruff
Travel Arrangements Maestro Tour Management, North America-Europe

with the
U-M Office of Academic
Multicultural Initiatives
present
Take 6
Alvin Chea, Bass Cedric Dent, Baritone Joel Kibble, Second Tenor Mark Kibble, First Tenor Claude McKnight, First Tenor David Thomas, Second Tenor
Featuring
The U-M Gospel Chorale
Program
Monday Evening, January 16, 2006 at 7:30 Hill Auditorium, Ann Arbor
Tonight's program will be announced by the artists from the stage and will not contain an intermission.
27th Performance of the 127th Annual Season
A Cappella Series
The photographing or sound recording of this concert or possession of any device for such pho?tographing or sound recording is prohibited.
Media partnership for this performance provided by WEMU 89.1 FM, Michigan RadioMichigan Television, Metro Times, Observer & Eccentric Newspapers, and Michigan ChronicleFront Page.
The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
Take 6 appears by arrangement with Stacey Sussman, Pyramid Entertainment Group, New York.
Large print programs are available upon request.
T
ake 6 is defined by their patent originality and timeless musical artistry. Take three parts Gospel, add one part Jazz, one dash of Pop, and one touch of R&B. . . it equals six parts of soulful harmony. With a staggering 18 Grammy Award nominations, Take 6 is the most nominated Gospel, Jazz, Pop or R&B group in Grammy history. In their 20 year career, they have won 10 Grammy Awards, 10 Dove Awards, one Soul Train Award, and received two NAACP Image Award nominations. Take 6 has also won the "Favorite Jazz Vocal Group" award in Downbeat magazine's readers' poll for nine consecutive years. In spite of this, member Mark Kibble states, "It is important for us to continually challenge ourselves musically in order to keep our music and creative spirit fresh."
Take 6 has received some of its highest praise from the music industry's icons. Producer and longtime collaborator Quincy Jones has described Take 6 as "the baddest vocal cats on the planet." In their stellar career, they have been honored to perform with numerous musical legends including Ella Fitzgerald, Miles Davis, David Foster, Al Jar-reau, Stevie Wonder, Denyce Graves, The Yellow-jackets, and Wynton Marsalis. The Take 6 style has also reached today's pop culture, influencing pop groups from Boyz II Men and Backstreet Boys to NSYNC.
The group has recently launched Take 6 Records, capitalizing on their many years of col?lective experience in the creative side of music by now taking a more proactive role in the business of music. Member Alvin Chea says, "This was a natural progression for us. Traditional record com?panies want to lock you into a particular catego?ry. If you are slightly askew of that, they really don't know what to do with you. We decided to take the reins on this project and in our careers so we could position our projects in the market?place."
With the release of their much-anticipated album Feels Good, Take 6 returns to their rich musical heritage, bringing the listener along for one of their most uplifting, funky, and inspira?tional joy rides to date. Take 6 began crafting Feels Good a year and a half ago, yet this project represents everything that devout Take 6 fans have come to love and expect over the years from this multifaceted sextet. With a nod to their his?tory, Feels Good boldly looks forward attacking a capella in new and exciting ways.
As wonderful as their successful career is, the members of Take 6 are still committed to using their music as a ministry. Founding member Claude McKnight beams, "I'm immensely proud of the fact we have had only one personnel change in the group which was founded 20 years ago. It is very much a testament to our commit?ment to one another and spreading the gospel through our music."
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he University of Michigan Gospe Chorale (UMGC) is a 200-voice campus based, non-profit, inter-denominational Christian organization run by undergraduate stu?dents at the University of Michigan and advised by Pastor Don W. Shelby, Jr. of Burning Bush Church, Ypsilanti.
In 1972, the vision for a gospel choir at the University of Michigan became a reality when Tonya Moorman founded and originally directed the then University of Michigan Gospel Choir. As a campus ministry and organization for over 30 years, UMGC has enjoyed exponential growth in both numbers and campus recognition.
UMGC has had many opportunities to spread the word of God through song. UMGC has par?ticipated in various concerts and workshops, including "Completing the Circle," "Commemo?ration of a Dream," workshops with the late D.
w
ith a staggering 18 Grammy Award nominations, Take 6 is the most nominated Gospel, Jazz, Pop or R&B group in Grammy history.
Mattie Moss Clark and Minister John P. Kee, and concerts with Marvin Winans and Rev. John Resse, as well as various independently presented concerts throughout the years. Every year since
they have participated in the MLK day cel? ebrations where they opened for the Winans, Sounds of Blackness, and Yolanda Adams. In
the Chorale continued their commitment to service by singing before Rev. Bernice King. In
UMGC was blessed to spread the gospel through song by singing at the Washtenaw Juve? nile Center and the Southern Christian Leadership Banquet. In 1997, the Chorale received the privi? lege of singing at a benefit presented by the Uni? versity Musical Society, honoring the legendary Jessye Norman.
Today, UMGC is much more than just a gospel choir. They are a multifaceted ministry, which includes a weekly bible study, a powerful dance team, and a foot-pounding step team.
UMS ARCHIVES
T
ake 6 has performed once before under UMS auspices to celebrate Martin Luther King, Jr. Day on January 17, 2000. Tonight's performance is the U-M Gospel Chorale's third with UMS. They previously opened for Sounds of Blackness, also for Martin Luther King, Jr. Day, on January 20, 1997, as well as partic?ipating in the second annual Ford Honors Program, honoring soprano Jessye Norman.
Take E

with
Pfizer Global Research
and Development
and
The Family of
J. Barry Sloat
present
Orchestre Revolutionnaire et Romantique
and
The Monteverdi Choir
Sir John Eliot Gardiner, Conductor and Artistic Director
Program
Thursday Evening, January 19, 2006 at 8:00 Hill Auditorium, Ann Arbor
Wolfgang Amadeus Mozart
Mass in c minor, K. 427
Kyrie Gloria
Gloria in excelsis Deo
Laudamus te
Gratias
Domine
Qui tollis peccata mundi
Quoniam tu solus Sanctus
Jesu Christe
Cum sancto spiritu Credo
Credo in unum Deum
Et incarnatus est Sanctus Benedictus
INTERMISSION
Mozart, Completed by Franz Xaver Sussmayr
Requiem, K. 626
Introitus: Requiem
Kyrie
Sequentia
Dies irae
Tuba mirum
Rex tremendae
Recordare
Confutatis
Lacrimosa Offertorium
Domine Jesu
Hostias Sanctus Benedictus Agnus dei Communio: Lux aeterna
28th Performance of the 127th Annual Season
127th Annual Choral Union Series
The photographing or sound recording of this concert or possession of any device for such pho?tographing or sound recording is prohibited.
Tonight's performance is sponsored by Pfizer Global Reseach and Development: Ann Arbor Laboratories. Special thanks to David Canter, Senior Vice President of Pfizer, for his continued and generous support of the University Musical Society.
Tonight's performance is presented by the family of J. Barry Sloat in honor of his love for this music.
Tonight's pre-concert Prelude Dinner was sponsored by TIAA-CREF.
Special thanks to Jerry Blackstone, U-M Director of Choirs, Associate Professor and Chair of Conducting, for his participation in tonight's Prelude Dinner.
Special thanks to Alan Aldworth and ProQuest Company for their support of the UMS Classical Kids Club.
Media partnership for this performance provided by WGTE 91.3 FM and Observer & Eccentric Newspapers.
Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for tonight's performance.
The positif organ used in this evening's performance is made possible by the Ann Arbor Academy of Early Music.
The Steinway piano used in this evening's performance is made possible by William and Mary Palmer and by Hammell Music, Inc., Livonia, Michigan.
Exclusive tour management for the Orchestre Revolutionnaire et Romantique and The Monteverdi Choir is provided by ICM Artists, Ltd., New York.
Monteverdi US concert tour 2006 is generously supported by Dunard Fund and Dr. Andre and Mrs. Julia Pernet.
Large print programs are available upon request.
Mass in c minor, K. 427
Wolfgang Amadeus Mozart
Born January 27, 1756 in Salzburg, Austria
Died December 5, 1791 in Vienna
The Mass in c minor was Mozart's last large-scale liturgical work before the Requiem, and, like the Requiem, it was left unfinished. But whereas the composition of the Requiem was interrupted by the composer's death in 1791, no one knows for sure why Mozart never completed the mass, begun almost a decade earlier in 1782.
After his move to Vienna in 1781, Mozart wrote no more church music aside from the short motet Ave verum corpus and the Requiem, both dating from the last month of his life. In Vienna, few churches permitted the inclusion of elaborate orchestral music in their services. By contrast, Salzburg favored such music, and while Mozart was living in his native city serving Archbishop Hieronymus Colloredo, he composed a large number of masses and other sacred works. It is therefore no coincidence that the impulse for writing the Mass in c minor had to do with Salzburg; it was intended to be performed during Mozart's visit to his hometown in the fall of 1783, the only one he ever made after his departure two years earlier.
Mozart did not go to Salzburg alone; he was traveling with his young wife, Constanze, who had not yet met his family. Constanze was an accomplished soprano, and the new mass, which marked Mozart's homecoming, had to showcase her talents as well and contain some virtuoso soprano solos.
Constanze had two sisters who were famous singers: Aloysia (Mozart's great unrequited love of earlier years, later a splendid Donna Anna) and Josepha (the first Queen of the Night). Unlike them, Constanze had no theatrical ambitions but preferred sacred music instead. She was not going to excel as one of her husband's operatic heroines, but she could definitely shine as a church soloist. Judging from the soprano part of the Mass in c minor, she must have been an extraordinary singer.
Mozart's fragment consists of the movements "Kyrie," "Gloria," the beginning of the "Credo," "Sanctus," and "Benedictus." These liturgical texts were treated in a large-scale cantata style not unlike that of Bach's great Mass in b minor, which is one reason that the Mass in c minor is sometimes billed as "The Great." In fact, had he completed the mass, it would have been by far the longest of his sacred works. But the mass is also "Great" in terms of its stylistic richness and brilliance. The combination of traditional church polyphony with modern concertato techniques, both instrumental and vocal, not only makes this mass unique within Mozart's sacred output, but places it among his greatest works in general.
The opening "Kyrie" (the only movement in the whole work that is actually in c minor) is a solemn contrapuntal movement of haunting beauty. It flanks a central "Christe eleison," the first of the work's great soprano solos, whose theme first appears in a solfeggio (vocalise) writ?ten for Constanze during the first weeks of the Mozarts' marriage in August 1782. The most striking features of the soprano solo are the large leaps (often as wide as two octaves!) and a partic?ularly expressive melody on the word "eleison."
The "Gloria" with its eight separate musical sections was conceived similarly to the "Dies irae" sequence in Mozart's Requiem. In both, choral movements alternate with solos and in both, the choral passages tend to be solemn or dramatic while the solos are more lyrical. (Compare, in par?ticular, "Gratias" and "Qui tollis" from the Mass in c minor on one hand and "Rex tremendae" and "Confutatis" from the Requiem on the other, and note the shared use of impassioned dotted rhythms!) This general plan governs the expres?sion in the individual movements, from the exu?berant "Gloria in excelsis" to the virtuoso concerto for soprano and orchestra in "Lau-damus" and the Baroque austerity of the brief "Gratias." The orchestral introduction for "Domine Deus," a duet for the two female soloists, has a distinctly archaic flavor with its bare two-part polyphony; out of it grows a majestic movement that culminates when the two soloists take turns singing extremely high notes just
before the end. "Qui tollis" has an underlying rhythmic pattern in the orchestra that never changes; the eight-part double chorus adds its agitated chromatic counterpoint and its implo-rations at the words "miserere nobis." Listen for the wonderful sudden pianos in the middle of some of the phrases, carefully indicated by Mozart in the score. "Quoniam" is a trio for the two ladies and the tenor, again both highly ornate and intricately contrapuntal. "Cum Sancto Spiri-tu," a fugue as tradition demanded, is based on a thematic type Mozart had used in the analogous movements of several of his early masses; howev?er, he had never worked it out on such a grand scale, with such daring harmonies, or with such virtuoso demands placed on the chorus members. We may discover several traditional fugal tech?niques such as inversion and stretto (vocal entries immediately following one another). Yet the whole does not sound like Baroque music at all. The long chromatic rise in the bass on the word "Amen" against a long-held, embellished high F in the soprano heralds a totally new musical style.
It has often been pointed out that the "Credo" is the most difficult movement of the mass to set to music because of the abstract nature of the Church dogmas it contains. In his Mass in c minor, Mozart took the bull by the horns by having the chorus declaim the words "Credo in unum Deum" (I believe in one God) over a C Major fanfare almost entirely built upon the first and fifth degrees of the scale. Only at "invisibilium" does the music get a little more mysterious and, despite a few contrapuntal pas?sages, the fanfare material predominates throughout the movement.
The only other section of the "Credo" that Mozart completed is the magnificent "Et incarna-tus" aria for soprano and three concertato instru?ments: flute, oboe, and bassoon. This movement directly anticipates many slow movements from Mozart's piano concertos, in which the primary soloist is surrounded by splendid woodwind solos in the orchestra. The wide intervals and the extremely ornate vocal writing are no novelties by now, but the wonderful cadenza, in which the four soloists (one singer and three instrumental-
ists) join their forces, is incomparable even among Mozart's works.
The "Sanctus"--a grand and festive, though rather brief movement--is again scored for eight-part double chorus. It is followed by a grandiose fugue on "Hosanna in excelsis." "Benedictus," a solo quartet which marks the bass soloist's only chance to sing, again has some Baroque reminis?cences in its thematic material, but arranges that material in a Classical sonata form with recogniz?able development and recapitulation sections The concluding brief "Hosanna" chorus is based on the preceding fugue.
Requiem, K. 626
Mozart
The story of Mozart's Requiem is well known: the composer received a commission from an Austri?an aristocrat, who didn't reveal his identity to him, to write a Requiem in memory of the aristo crat's wife. Mozart left the work unfinished at the time of his death; the Requiem was subsequently completed by his student Franz Xaver Sussmayr.
How much of the Requiem, as we know it from the Sussmayr version, is actually Mozart's work It is impossible to give a definitive answer to this question, as it is believed that Mozart may have played or sung some parts to his pupil that have not come down to us in his handwriting What we do have in his handwriting, though, is the first-movement "Introit," the vocal parts and bassline of the "Kyrie" fugue, most of the "Sequentia" ("Dies irae," "Tuba mirum," "Rex tremendae," "Recordare," "Confutatis," and the "Lacrimosa" which breaks off after the eighth measure), as well as the "Offertorium." From the "Sanctus" on, probably none of the music is by Mozart, except for the last movement, the "Com-munio: Lux aeterna"; here Sussmayr simply recy?cled the opening "Introit" and "Kyrie" movements, adapting them to a different text. Mozart probably never intended the first and last movements to be identical, yet Sussmayr's deci?sion has some merit as it gives the work a well-rounded, unified musical design.
The most crucial part of the Requiem is the "Sequentia," which Mozart set as a cantata in six movements, with chorus and solo voices alternat?ing. After the powerful "Dies irae," the wondrous sound of the trumpet on Judgment Day is repre?sented by a solo trombone (one of the earliest great trombone solos in the literature). Each of the four soloists voices different feelings about the Day of Wrath before they join together as a quartet. Throughout the sequence, the monu?mental aspect of the judgment is expressed by the chorus while the soloists give voice to the anguish of the individual soul. The "Sequentia" culmi?nates in the "Lacrimosa"--a gripping lament for humanity at the moment when its fate is about to be decided.
In the "Offertorium," Mozart paints the hor?rors of hell and the attainment of eternal light in equally vivid colors; the promise made to Abra?ham is represented by a magnificent choral fugue.
In the following "apocryphal" movements, Sussmayr did his best to prevent the intensity of the music from flagging; he mostly succeeded, aside from just a few awkward moments that have become almost hallowed by the more than 200 years of the work's history. (In the last few decades, several new editions have appeared offering alternative solutions.)
Mozart, who fell ill during the composition of the Requiem, may have felt he was writing it for his own funeral. Yet at the same time the work was in many ways a new beginning: it contains many stylistic elements that Mozart would no doubt have developed further, had he not died just weeks before his 36th birthday. Baroque counterpoint meets an almost Romantic sensitivi?ty here in a completely novel way, but it was left to others to draw the consequences.
Program notes by Peter Laki.
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ohn Eliot Gardiner is one of the most versa?tile conductors of our time. Acknowledged as a key figure in the early music revival, he is the founder and artistic director of the Montever?di Choir, the English Baroque Soloists, and the
Orchestre Revolutionnaire et Romantique. Along?side work with his own ensembles, John Eliot Gar?diner appears regularly as guest conductor with the most important European symphony orches?tras, including the Vienna Philharmonic, the Berlin Philharmonic, and the London Symphony Orches?tra.
The extent of John Eliot Gardiner's repertoire is illustrated in over 250 recordings made for major European record companies (principally Deutsche Grammophon and Philips Classics), which have received numerous international awards. Over the years Gardiner has won more Gramophone Awards than any other artist. Recordings include the six late masses by Haydn and Santiago a Cappella, released on Emarcy to coincide with his Santiago Pilgrimage tour, includ?ing performances in churches on the pilgrim's route to Santiago de Compostela in Spain. Most recent releases include the Bach cantatas series, recorded during the Bach Cantata Pilgrimage tour in 2000 and released on his own label, Soli Deo Gloria (SDG).
In 1987 John Eliot Gardiner received an Hon?orary Doctorate from the University of Lyon, and in 1996 he was nominated Commandeur dans I'Ordre des Arts et des Lettres. In 1992 he became an Honorary Fellow of both King's College, Lon?don, and the Royal Academy of Music. In the 1990 New Year Honors List he was made an hon-
John Eliot Gardiner
orary CBE (Commander of the Most Excellent Order of the British Empire), and was knighted in the 1998 Queen's Birthday Honors List. In 2005 he became the first Englishman to be awarded the Bach Medal by the Bach Archive and the City of Leipzig, and also received the prestigious Leonie Sonning Music Prize in Denmark.
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rchestre Revolutionnaire et Roman-tique was founded by Sir John Eliot Gar?diner to bring stylistic accuracy and verve to the music of the 19th and early 20th centuries. One of the Orchestra's outstanding successes has undoubtedly been the series of performances of music by Berlioz. This series began with the Symphonie Fantastique, performed and filmed in the former Conservatoire de la Musique in Paris where the very first performance took place in December 1830. In 1993 the Orchestra gave the first modern performances of the rediscovered Messe Solennelle, and 10 years later the group performed L'enfance du Christ at the Proms and the first complete performances of Les Troyens in at the Chatelet in Paris.
The Orchestre Revolutionnaire et Romantique has won plaudits for its complete cycle of Beethoven symphonies, which is viewed by many as the most important Beethoven recording since the arrival of CD. The Orchestra has made critical?ly acclaimed recordings of all the Schumann sym?phonies as well as music by Verdi, Weber, and Mendelssohn. In 2003 the Orchestra took part in the dramatization of the writing of Beethoven's Eroica Symphony for BBC television, and more recently, in October 2005, the Orchestra complet?ed a highly successful European tour including performances of A Midsummer Night's Dream by Mendelssohn.
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he Monteverdi Choir was formed in 1964 by Sir John Eliot Gardiner for a performance of the Monteverdi Vespers (1610) in King's College Chapel, Cambridge. Its original aim was to explore a wide repertoire fanning out from the Baroque, but it soon became famous for its pas-
sionate, committed singing, underpinned by a strong rhythmic vitality and the ability to switch composer, languages, and idiom with stylistic conviction.
Since its inception the Monteverdi Choir has been fertile ground for cultivating young solo singers, providing invaluable opportunities for them to gain experience and high-profile expo?sure at a time when their careers are in most need of it.
The Choir has undertaken numerous trail-blazing tours. The most ambitious was the Bach Cantata Pilgrimage in 2000, during which it per?formed all 198 of J. S. Bach's sacred cantatas in 63 churches throughout Europe, to celebrate the 250th anniversary of the composer's death. Last summer the Choir undertook another pilgrimage, giving 14 a cappella concerts in churches along the route to Santiago de Compostela. The pil?grimage and its concerts were nominated "Best Concerts of the Year 2004" by the Spanish paper El Mundo.
The Choir has formed a highly successful part?nership with the Chatelet Theatre in Paris, provid?ing the chorus for productions of Verdi's Falstaff in 2001, Weber's Oberon in 2002, and the first complete performances in France of Berlioz': opera Les Troyens in 2003, which was awarded the Grand Prix by the French Journalists' Union. In November and December of 2004, the Choir completed a highly successful tour of Europe as well as the Far East, performing the music of Pur-cell.
The Choir now has more than one hundred recordings to its name, and has won numerous awards and prizes, including many Gramophone Awards.
Orchestre Revolutionnaire et Romantique and The Monteverdi Choir
Sir John Eliot Gardiner, Conductor and Artistic Director
1st Violin
Alison Bury, Leader Sophie Barber Nicolette Moonen Ken Aiso Andrew Roberts Anne Schumann Maya Magub Sarah Bealby-Wright Silvia Schweinberger Marcus Barcham-Stevens
2nd Violin
Roy Mowatt Jayne Spencer lona Davies Hakan Wikstrom Henrietta Wayne Jane Gillie Hildburg Williams Geoffroy Schied
Viola
Annette Isserlis Lisa Cochrane Ian Rathbone Alfonso Leal Del'Ojo Stephanie Heichelheim Emma Alter
Cello
David Watkin Ruth Alford Catherine Rimer Harriet Cawood Robert Jacobs
Double Bass
Valerie Botwright Cecelia Bruggemeyer Markus van Horn
Flute
Rachel Beckett
Oboe
Xenia Loffler James Eastaway
Clarinet
Lesley Schatzberger Guy Cowley
Bassoon
Jane Gower Gyorgyi Farkas
Horn
Gavin Edwards Martin Lawrence
Trumpet
Michael Harrison Robert Vanryne
Trombone
Adam Woolf Ole-Kristian Andersen Stephen Saunders
Timpani
Robert Kendell
Organ
Ian Watson
Soprano
Isabelle Adams Miriam Allan Grace Davidson Donna Deam Juliet Fraser Katharine Fuge Kirsty Hopkins Elin Manahan Thomas Charlotte Mobbs Elisabeth Priday Rosalind Waters Belinda Yates
Alto
Mark Chambers Jacquelline Connell Claudia Huckle Frances Jellard Andrew Radley Richard Wyn Roberts
Tenor
Jeremy Budd
Andrew Busher
Stephen Jeffes
Andrew Mackenzie-Wicks
Paul Tindall
William Unwin
Bass
Matthew Brook Michael Bundy Julian Clarkson Ben Davies Robert Davies Lawrence Wallington
Orchestra Revolutionnaire et
Romantique & Monteverdi Choir
Administration
Katherine Adams. Tour Manager
Richard Fitzgerald. Orchestra Manager
Riitta Hirvonen, Project Manager
For ICM Artists, Ltd.
David V. Foster, PnxidenUCCO
Leonard stein. Vice President &
DirectorTour Administration Ira Pecflikin, Associate Manager
Attractions Kay McCavic. Company Manager
UMS ARCHIVES
O
rchestre Revolutionnaire et Romantique (ORR) and Maestro Gardiner made their UMS debuts as part of the Hill Auditorium Re-Opening Weekend in January 2004. Tonight marks their second UMS appearance. The Monteverdi Choir, in addition to their January 2004 concert with the ORR, first appeared in Ann Arbor with the Orchestra of Hamburg in 1975 under the direction of Jurgen Jurgens.
Given the popular status of both Mozart works on tonight's program -especially the Requiem Mass, K. 626 -it is surprising that each work is being performed for only the third time in 127 years of UMS history. The first performance of the Requiem was at the 1946 May Festival with the UMS Choral Union and the Philadelphia Orchestra under the direction of Hardin Van Deursen. The work was performed again in March 1952, on a program given by the Robert Shaw Chorale and Concert Orchestra.
UMSExperience
Please note that a complete listing of all UMS Educational programs is conveniently located within the concert program section of your program book and is posted on the UMS website at www.ums.org.
January
13-15 Fri-Sun Jose Lim6n Dance Company
14 Sat Jose Limon Dance Company (Family Performance) 14 Sat Leif Ove Andsnes
Norwegian Chamber Orchestra 16 Mon Take 6
19 Thu Orchestre Revolutionnaire et Romantique The Monteverdi Choir
Sat Tokyo String Quartet with Sabine Meyer
Sun Lincoln Center Jazz Orchestra and Wynton Marsalis:
A Tribute to John Coltrane
February
4 Sat Louis Lortie
10 Fri Mariachi Los Camperos de Nati Cano
12 Sun Michigan Chamber Players (complimentary admission)
15 Wed Louis Andriessen in Concert
19 Sun Soweto Gospel Choir
22 Wed Takcs Quartet with James Dunham
23 Thu Pappa Tarahumara: Ship in a View
March
9 Thu Vienna Philharmonic with Riccardo Muti
10 Fri Marc Bamuthi Joseph: Word Becomes Flesh 11 Sat Belcea Quartet and Ian Bostridge
17 Fri Kirov Orchestra of St. Petersburg: Shostakovich Festival (Concert 1)
19 Sun Kirov Orchestra of St. Petersburg: Shostakovich Festival (Concert 2)
23-24 Thu-Fri Children of Uganda
25 Sat Ewa Podles in Rossini's Tancredi (concert opera)
30 Thu The Tallis Scholars
31 Fri SFJAZ7 Collective: A Tribute to Herbie Hancock
April
2 Sun Los Angeles Guitar Quartet
4+fMory Konto Cancelled 15 Sat Arab World Music Summit
19 Wed Nrityagram
20 Thu Chanticleer
21 Fri Nadja Salerno-Sonnenberg
Anne-Marie McDermott 22 Sat Sweet Honey in the Rock
May
6 Sat Breakin' Curfew 13 Sat Ford Honors Program: Dave Brubeck
UMS EDUCATION PROGRAMS
U
MS's Education and Audience Development Program deepens the relationship between audiences and the arts and raises awareness of the impact that multi-disciplinary performing arts and education can have by enhancing the quality of life of our community. Our program creates and presents the highest quality arts education experiences to a broad spectrum of community constituencies, proceeding in the spirit of partnership and collaboration.
Details about all educational events and residency activities are posted one month before the performance date. Join the UMS Email Club to have updated event information sent directly to you. For immediate event info, please email umsed@umich.edu, or call the numbers listed below.
UMS Community Education Program
Please call 734.647.6712 or email umsed@umich.edu for more information.
Public Programs
UMS hosts a wide variety of educational opportunities to provide context and inform audiences about the artists, art forms, and cultures we present. Events include:
PREPs Pre-performance lectures
Meet the Artists Post-performance artist interviews
Artist Interviews Public dialogues with performing artists
Master Classes Interactive workshops
PanelsRound Tables In-depth adult education related to a specific artist or art form
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 is grateful to the University of Michigan for its support of many educational activities scheduled in the
0506 season. These programs provide opportunities for students and members of the University community to further appreciate the artists on the UMS series.
UMS Partnership Program
Please call 734.647.6712 or email umsed@umich.edu for more information.
UMS partners with over 100 university and community based organizations annually. If you would like your organization to be more involved with the many different pro?grams offered by UMS, please contact us at 734.764.6172.
The NETWORK: African American Arts Advocacy Committee
The NETWORK was a new initiative launched by UMS last season to create an opportunity for African Americans and the broader com?munities to celebrate the world-class artistry by today's leading African and African-American performers and creative artists. NETWORK
members connect, socialize, and network with the African-American community through attendance at UMS performances and free pre-or post-performance events. Members receive discounted tickets for all NETWORK events.
This winter's NETWORK performances include:
Soweto Gospel Choir
Children of Uganda
Rossini's Tancredi
Sweet Honey in the Rock
UMS Youth Education Program
Please call 734.615.0122 or email umsyouth@umich.edu for more information.
UMS has one of the largest K-12 arts education initiatives in the state of Michigan. Designated as a "Best Practice" program by ArtServe Michigan and the Dana Foundation, UMS is dedicated to making world class per?formance opportunities and professional devel?opment activities available to K-12 students and educators. Please visit www.ums.orgedu-cation for complete details.
0506 Youth Performance Series
These world-class daytime performances serve pre-K through high school students. The 0506 season features special youth presentations of Tall Horse, Marc Bamuthi Joseph's Word Becomes Flesh, Jose Limon Dance Company, Nrityagram, Mariachi Los Camperos de Nati Cano, and the Children of Uganda. All tickets are $6 and each school receives free curriculum materials.
Teacher Workshop Series
UMS offers two types of professional develop?ment activities for K-12 Educators: Performing Arts Workshops and Kennedy Center Workshops. Both focus on teaching educators techniques for incorporating the arts into class?room instruction.
K-12 Arts Curriculum Materials
UMS Educational materials are available online at no charge to all educators. All materials are designed to connect the curriculum via the Michigan State Benchmarks and Standards.
Teacher Appreciation Month!
March 2006 has been designated UMS Teacher Appreciation Month. All teachers will be able to purchase tickets for 50 off at the venue on the night of the performance (subject to availability). Limit of two tickets per teacher, per event. Teachers must present their official school I.D. when purchasing tickets. Check out the UMS website at www.ums.org for March events!
School FundraisersGroup Sales
Raise money for your school and support the arts. UMS offers a wide range of fundraising opportunities and discount programs for schools. It is one of the easiest and most rewarding ways to raise money for schools.
UMS is in partnership 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 Schools "Partners in Excellence" program.
UMS Teen
Teen Ticket
All teens can attend UMS events for the cost of $10 per ticket the day of the performance at the Michigan League Ticket Office, or 50 off tickets at the venue 90 minutes prior to performances. Teens must show valid I.D. Limit of one ticket per teen, based on night-of-show availability.
Breakin' Curfew
Saturday, May 6, 2006, 8 pm at the Power Center In a special collaboration with the Neutral Zone, Ann Arbor's teen center, UMS presents this yearly performance highlighting the area's best teen performers. $10 per ticket.
UMS Family
Ann Arbor Family Days: Saturday, January 14 and Sunday, January 15, 2006 Area community organizations, libraries, arts centers, museums, and performance groups collaborate on this yearly festival designed for all families.
Classical Kids Club New Program!
Presented by ProQuest Company Parents can introduce their children to world-renowned classical music artists through
this new program. Designed to nurture and create the next generation of musicians and music lovers, the Classical Kids Club allows stu?dents in grades 1-12 to purchase tickets to all concerts on the UMS Choral Union Series at a significantly discounted rate. Ninety minutes prior to any Choral Union Series performance, parents can purchase up to two children's tickets for $10 each with the purchase of each full price adult ticket. Seating is subject to availabil?ity, and Classical Kids Club tickets may not be available in the case of a sellout. Please register your children for this program by calling the UMS Ticket Office at 734.764.2538.
Education Program Supporters
Ford Motor Company Fund
Michigan Council for Arts and Cultural Affairs University of Michigan
Arts at Michigan
Linda and Maurice Binkow
Borders Group, Inc.
Chamber Music America
DaimlerChrysler Corporation Fund
Doris Duke Charitable Foundation
DTE Energy Foundation
Dykema Gossett, PLLC
Heartland Arts Fund
Dr. Toni Hoover in memory of Dr. Isaac Thomas III
JPMorgan Chase
JazzNet Endowment
Masco Corporation
National Dance Project of the New England
Foundation for the Arts National Endowment for the Arts Office of the Senior Vice Provost for Academic Affairs Office of the Vice President for Research Pfizer Global Research and Development ProQuest Company Prudence and Amnon Rosenthal K--12 Education
Endowment Fund TCF Bank TIAA-CREF
Toyota Technical Center UMS Advisory Committee University of Michigan Credit Union Wallace Foundation The Whitney Fund
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 determining K-12 programming, policy, and professional development. To join, please call 734.764.6179 or e-mail umsyouth@umich.edu.
UMS PREFERRED RESTAURANTS AND BUSINESSES
Join us in thanking these fine area restaurants and businesses for their generous support of UMS:
The Blue Nile Restaurant
221 East Washington 734.998.4746
Carson's American Bistro
2000 Commonwealth Boulevard 888.456.DINE
The Chop House
322 South Main 888.456.DINE
The Original Cottage Inn
512 East William 734.663.3379
The Earle
121 West Washington 734.994.0211
The Earle Uptown
300 South Thayer 734.994.0222
The Eighth Street Trekkers' Lodge B & B
120 Eighth Street 734.369.3107
Golden Limousine
734.668.8282 Graham's Restaurant
610 Hilton Boulevard 734.761.7800
Gratzi Ristorante
326 South Main 888.456.DINE
Great Harvest Bread Company
2220 South Main 734.996.8890
Kensington Court Ann Arbor
610 Hilton Boulevard 734.761.7800
La Dolce Vita
322 South Main 888.456.DINE
Michigan Car Services, Inc.
30270 Spain Court, Romulus800.561.5157
Paesano's Restaurant
3411 Washtenaw 734.971.0484
Palio
347 South Main 888.456.DINE
Pen in Hand
207 South Fourth 734.662.7276
Real Seafood Company
341 South Main 888.456.DINE
Red Hawk Bar & Grill
316 South State 734.994.4004
Schakolad Chocolate Factory
110 East Washington 734.213.1700 Swedish EngineeringAsian Import Repair Ann Arbor Tire
669 State Circle734.761.1081
Zanzibar
216 South State 734.994.7777
UMS DELICIOUS EXPERIENCES
"The arts are not complete without the art of food."
Throughout the year, friends of UMS host special events in their home where the very best in the arts of food and hospitality come together to support the performing arts. Whether to learn more about food and wine, or simply to enjoy a wonderful evening out, join us for an upcoming Delicious Experience.
Perfect Duets: Pairing Foods & Wines II
Wednesday, February 8, 2006, 5-7pm Hosts: Eve Aranoffof Eve The Restaurant Mary Campbell of Everyday Wines, and TR Durham of Durham Tracklements $60 per person
A Carillon Dinner
Friday, March 31, 2006, 5:30 pm Hosts: Ken and Penny Fischer $100 per person
Russian Bliny Festival
Saturday, April 1, 2006, 6:30 pm
Hosts: Bill Zimmerman and Susan McClanahan
$100 per person
Paella Party
Saturday, May 6, 2006, 6:30 pm Hosts: Martha Mayo and Irwin Goldstein $100 per person
Spring Fling Hors d'oeuvre and Wine Tasting
Saturday, May 20 2006, 5-8 pm Hosts: Ricky Agranoff and Pat Pooley $60 per person
Poolside Champagne Brunch
Sunday, May 21, 2006, 11:30 am Hosts: Gloria and Robert Kerry $50 per person
An Evening in Paradise
Saturday, June 10, 2006, 6 pm Hosts: Victoria and Bob Buckler $150 per person
For more information and to make your reservation, call 734.764.8489
All proceeds benefit the University Musical Society.
UMSSupport
U
MS Volunteers are an integral part of the success of our organi?zation. There are many areas in which volunteers can lend their expertise and enthusiasm. We would like to welcome you to the UMS family and involve you in our exciting programming and activities. We rely on volunteers for a vast array of activities, including staffing educational residency activities, assisting in artist services and mailings, escorting students for our popular youth performances, and a host of other projects.
UMS ADVISORY COMMITTEE
The Advisory Committee is an organization of more than 50 volunteers who contribute approx?imately 3,000 hours of service to UMS each year. The purpose of the Advisory Committee is to raise funds for UMS's nationally-acclaimed arts educa?tion program through the projects and events described below. Meetings are held every two months and membership tenure is three years.
Ford Honors Program and Dinner Gala May 13, 2006
This year's program will honor jazz legend Dave Brubeck as he receives the UMS Distinguished Artist Award. In addition to the concert and award presen?tation, the UMS Advisory Committee hosts a post-concert reception and elegant dinner at the Michigan League. Please call 734.764.8489 for details.
On the Road with UMS, Fall 2006
The first On the Road was held in September 2005 at the new Howard Cooper auto showroom. More than 200 people enjoyed an evening of food, music, and silent and live auctions raising over $60,000
for UMS educational programs. Back by popular demand, the 2006 On the Road will kick off the UMS 0607 season.
Delicious Experiences
Please see page P35 in this program book for a listing of 2006 Delicious Experiences.
Contact Cynthia Straub, cstraub@umich.edu, for more information on the UMS Advisory Committee.
UMS USHERS
Without the dedicated service of UMS's Usher Corps, our events would not run as smoothly as they do. Ushers serve the essential functions of assisting patrons with seating, distributing 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 pleasant and efficient. Orientation and training sessions are held each fall and winter, and are open to anyone 18 years of age or older.
Ushers may commit to work all UMS perform?ances in a specific venue or sign up to substi?tute for various performances throughout the concert season.
If you would like information about becoming a UMS volunteer usher, please call 734.615.9398 or e-mail fohums@umich.edu.
SPONSORSHIP AND ADVERTISING Advertising
When you advertise in the UMS program book you gain season-long visibility among ticket buyers while enabling an important tradition of providing audiences with the detailed program notes, artist biographies, and program descrip?tions that are so important to the performance experience. Call 734.647.4020 to learn how your business can benefit from advertising in the UMS program book.
Sponsorship
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.
ANNUAL FUND SUPPORT
July 1, 2004-October 31, 2005
T
hank you to those who make UMS programs and presentations possible. The cost of presenting the very best in performance arts exceeds the revenue UMS receives from ticket sales. The difference is made up through the generous support of individuals, corporations, founda?tions, and government agencies. We are grateful to those who have chosen to make a differ?ence for UMS! This list includes current donors as of October 31, 2005. Every effort has been made to ensure its accuracy. Please call 734.647.1175 with any errors or omissions.
Listing of donors to Endowment Funds begins on page P51.
DIRECTORS
$100,000 or more
Doris Duke Charitable Foundation
Ford Motor Company Fund
JazzNet
Michigan Council for Arts
and Cultural Affairs Pfizer Global Research and
Development: Ann Arbor Laboratories The Power Foundation
SOLOISTS
$50,000-$99,999
Anonymous
Forest Health Services
Kaydon Corporation
National Endowment for the Arts
MAESTRI
$20,000-$49,999
Arts at Michigan
Bank of Ann Arbor
Borders Group, Inc.
Estate of Joanne Cage
CFI Group
Community Foundation for
Southeastern Michigan DaimlerChrysler Corporation Fund DTE Energy Foundation Ghafari Companies JPMorgan Chase KeyBank
Maxine and Stuart Frankel Foundation Estate of Melanie McCray Gilbert Omenn and Martha Darling ProQuest Company J. Barry and Barbara M. Sloat TIAA-CREF The Whitney Fund Ann and Clayton Wilhite
VIRTUOSI
$10,000-$ 19,999
Arts Midwest
Maurice and Linda Binkow
Carl and Isabelle Brauer Fund
Cairn Foundation
Chamber Music America
Charles H. Gershenson Trust
Comerica Bank
Edward Surovell Realtors
Ed and Nat Surovell Elastizell Corporation
of America Heartland Arts Fund Toni M. Hoover Kensington Court Ann Arbor James A. and Faith Knight
Foundation
Robert and Pearson Macek MASCO Corporation Dr. Paul W. McCracken Mrs. Robert E. Meredith McKinley Associates National Dance Project
of the New England
Foundation for the Arts NEA Jazz Masters on Tour Prudence and Amnon
Rosenthal
Toyota Technical Center Universal Classics Group University of Michigan Credit
Union
CONCERTMASTERS
$7,500-$9,999
Mike Allemang and Janis Bobrin The Ann Arbor News Kathy Benton and Robert Brown Dykema Gossett, PLLC Miller Canfield Paddock and
Stone P.L.C. A. Douglas and
Sharon J. Rothwell
PRODUCERS
$5,000-$7,499
Amgen
Ann Arbor Automotive
Anonymous
Thomas and Marilou Capo
Dave and Pat Clyde
Ralph Conger
Douglas D. Crary
Ken and Penny Fischer
llene H. Forsyth
Debbie and Norman Herbert
Carl and Charlene Herstein
David and Phyllis Herzig
Mohamed and Hayat Issa
Issa Foundation David and Sally Kennedy LaSalle Bank
Richard and Carolyn Lineback Mainstreet Ventures, Inc. Susan McClanahan and
Bill Zimmerman Charlotte McGeoch THE MOSAIC FOUNDATION
(of R. and P. Heydon) Red Hawk Bar & GrillZanzibar
Restaurant
Don and Judy Dow Rumelhart Jane and Edward Schulak Sesi Lincoln Mercury Volvo
Mazda
Loretta Skewes Curt and Gus Stager Thomas B. McMullen Company Tisch Investment Advisory Gerald B. and Mary Kate
Zelenock
LEADERS
$3,500-$4,999
Bernard and Raquel Agranoff
June and Clyde Bennett
Barbara Everitt Bryant
Robert and Victoria Buckler
Edward and Mary Cady
Mary Sue and Kenneth Coleman
Jim and Patsy Donahey
Mr. and Mrs. George W. Ford
Michael and Sara Frank
Paul and Anne Glendon
Keki and Alice Irani
Natalie Matovinovic
M. Haskell and
Jan Barney Newman William C. Parkinson
TCF Bank Lois A. Theis Dody Viola Karl and Karen Weick Marion T. Wirick and James N. Morgan
PRINCIPALS
$2,500-$3,499
Mrs. Gardner Ackley
Arnold and Janet Aronoff
Bob and Martha Ause
Essel and Menakka Bailey
Raymond and Janet Bernreuter
Suzanne A. and Frederick J. Beutler
Joan A. Binkow
Blue Nile Restaurant
Charles and Linda Borgsdorf
Butzel Long Attorneys
Sally and Larry DiCarlo
Molly Dobson
Dr. and Mrs. Theodore E. Dushane
EMI Classics
Mr. and Mrs. Thomas C. Evans
David and Jo-Anna Featherman
Beverley and Gerson Geltner
Dr. Sid Gilman and Dr. Carol Barbour
Sue and Carl Gingles
Eugene and Emily Grant Family
Foundation Jeffrey B. Green Linda and Richard Greene Susan and Richard Gutow Janet Woods Hoobler Dr. H. David and Dolores Humes Japan Business Society of Detroit
Foundation
Shirley Y. and Thomas E. Kauper Amy Sheon and Marvin Krislov Jill M. Latta and David S. Bach Judy and Roger Maugh Ernest and Adele McCarus Virginia ana Gordon Nordby Eleanor and Peter Pollack Jim and Bonnie Reece John and Dot Reed Barbara A. Anderson and
John H. Romani Maya Savanno Helen L. Siedel Lois and Jack Stegeman Don and Carol Van Curler Robert 0. and Darragh H. Weisman Western Union Roy and JoAn Wetzel Marina and Robert Whitman
PATRONS
$1,000-$2,499
Dr. and Mrs. Gerald Abrams
Dr. and Mrs. David G. Anderson
Anonymous
Jonathan W. T. Ayers
Lesli and Christopher Ballard
Emily Bandera, M.D.
Paulett M. Banks
Karl Bartscht
Beacon Investment Company
Astrid B. Beck and David Noel Freedman
Frederick W. Becker
Ralph P. Beebe
Patrick and Maureen Belden
Ruth Ann and Stuart J. Bergstein
Anne Beaubien and Phil Berry
John Blankley and Maureen Foley
Dr. Giles and Mrs. Elizabeth Bole
Howard and Margaret Bond
Laurence and Grace Boxer
Dale and Nancy Briggs
Jeannine and Robert Buchanan
Lawrence and Valerie Bullen
Letitia J. Byrd
Amy and Jim Byrne
J. Michael and Patricia Campbell
Jean W. Campbell
Margot Campos
Bruce and Jean Carlson
Carolyn M. Carty and Thomas H. Haug
Jean and Ken Casey
Janet and Bill Cassebaum
Anne Chase
George and Patricia Chatas
Leon Cohan
Hubert and Ellen Cohen
Lois and Avern Cohn
Tom Cohn
Jeffrey and Cynthia Colton
Conlin Travel
Jim and Connie Cook
Jane Wilson Coon and
A. Rees Midgley, Jr. Anne and Howard Cooper Susan and Arnold Coran Ronnie and Sheila Cresswell Kathleen J. Crispell and
Thomas S. Porter Richard J. Cunningham Peter and Susan Darrow Hal and Ann Davis Lloyd and Genie Dethloff Steve and Lori Director Andrzej and Cynthia Dlugosz Al and Kendra Dodds Elizabeth A. Doman John Dryden and Diana Raimi Martin and Rosalie Edwards Julia C. and Charles R. Eisendrath Joan and Emil Engel Claudine Farrand and Daniel Moerman Eric Fearon and Kathy Cho Yi-tsi M. and Albert Feuerwerker
Ray and Patricia Fitzgerald
Bob Fleming
John and Esther Floyd
James W. Ford
Otto and Lourdes E. Gago
Bernard and Enid Galler
Thomas and Barbara Gelehrter
William and Ruth Gilkey
Clement and Margo Gill
Cozette T. Grabb
Elizabeth Needham Graham
Mr. and Mrs. Robert C. Graham
Dr. John and Renee M. Greden
John and Helen Griffith
Leslie and Mary Ellen Guinn
Carolyn Houston
Robert M. and Joan F. Howe
Jane H. Hughes
John and Patricia Huntington
Perry Irish
Stuart and Maureen Isaac
Rebecca S. Jahn
Wallie and Janet Jeffries
Timothy and Jo Wiese Johnson
Robert L. and Beatrice H. Kahn
Herbert Katz
Robert and Jeri Kelch
James and Patricia Kennedy
Connie and Tom Kinnear
Diane Kirkpatrick
Philip and Kathryn Klintworth
Carolyn and Jim Knake
Samuel and Marilyn Krimm
Barbara and Michael Kusisto
Marilyn and Dale Larson
Ted and Wendy Lawrence
Peter Lee and Clara Hwang
Richard LeSueur
Donald J. and Carolyn Dana Lewis
Carolyn and Paul Lichter
Don and Erica Lindow
Marc and Jill Lippman
Leslie and Susan Loomans
Fran Lyman
John and Cheryl MacKrell
Catherine and Edwin L. Marcus
Sally and Bill Martin
Jeff Mason and Janet Netz
Chandler and Mary Matthews
Dr. Kathleen McCarroll and
Lawrence Weis Rebecca McGowan and
Michael B. Staebler Leo and Sally Miedler Millman Harris Romano Foundation Candy and Andrew Mitchell Lester and Jeanne Monts Alan and Sheila Morgan Jane and Kenneth Moriarty Melinda and Bob Morris Charles H. Nave Edward Nelson
Donna Parmelee and William Nolting Rene and Hina Papo Brian P. Patchen Margaret and Jack Petersen
Elaine and Bertram Pitt
Stephen and Bettina Pollock
Richard H and Mary B Price
Mrs. Frances Quartern
Donald Regar and Elizabeth Axelson
R. E. Reichert
Ray and Ginny Reilly
Maria and Rusty Restuccia
Kenneth J. Robinson
Patrick and Margaret Ross
Doris E. Rowan
Dr. Nathaniel H. Rowe
Craig and Jan Ruff
Nancy W. Rugani
Alan and Swanna Saltiel
Norma and Dick Sarns
Meeyung and Charles R. Schmitter
John J. H. Schwarz
Dr. James R. and Ms. Margaret B. Seibold
Erik and Carol Serr
Dennis and Ellie Serras
Janet and Michael Shatusky
Muaiad and Aida Shihadeh
Carl P. Simon and Bobbi Low
Frances U. and Scott K. Simonds
Susan Smith and Robert Gray
Shelly Soenen and Michael Sprague
Kate and Philip Soper
Hildreth Spencer Ph.D.
Lloyd and Ted St. Antoine
Victor and Marlene Stoeffler
Dr. and Mrs. Stanley Strasius
Estate of Bill and Mary Stubbins
Charlotte B. Sundelson
Jan Svejnar and Katherine Terrell
Bradley Thompson
Jim Toy
Unocal
Charlotte Van Curler
Jack and Marilyn van der Velde
Mary C. Vandewiele
Florence S. Wagner
Thomas and Mary Wakefield
Robin and Harvey Wax
Elise Weisbach
Scott Westerman
Max Wicha and Sheila Crowley
Dr. and Mrs. Max V. Wisgerhof II
Jeanne and Paul Yhouse
Edwin and Signe Young
BENEFACTORS
$500-$999
Thomas and Joann Adler Family
Foundation
Dr. and Mrs. Robert G. Aldrich Anastasios Alexiou Christine Webb Alvey American Spoon Anonymous
Dr. and Mrs. Rudi Ansbacher Harlene and Henry Appelman Frank and Nancy Ascione Robert L. Baird Norman E. Barnett
Benefactors, cont.
Mason and Helen Barr Lois and David Baru James A Bergman and
Penelope Hommel L.S. Berlin
Donald and Roberta Blitz Ron and Mimi Bogdasarian Gary Boren
Dr. and Mrs. Ralph Bozell Donald R. and June G. Brown Morton B. and Raya Brown Virginia Sory Brown Isabel Buckner Mr. and Mrs.
Richard J. Burstein H. D. Cameron Tsun and Siu Ying Chang John and Camilla Chiapuris Kwang and Soon Cho Dr. Kyung and Young Cho Janice A. Clark Wayne and Melinda Colquitt Jean Cunningham and
Fawwaz Ulaby Roderick and
Mary Ann Daane Timothy and Robin
Damschroder Charles W. and
Kathleen P. Davenport Ellwood and Michele Derr Elizabeth Dexter Steve and Judy Dobson Robert J. and
Kathleen Dolan Heather and Stuart Dombey Jack and Betty Edman Stefan S. and Ruth S. Fajans Elly and Harvey Falit Dr. and Mrs. John A. Faulkner Fausone, Taylor & Bohn, LLP Dede and Oscar Feldman
James and Flora Ferrara
Sidney and Jean Fine
Carol Finerman
Clare M. Fingerle
Jason I. Fox
Marian and David M. Gates
Beverly Gershowitz
Ronald Gibala and Janice Grichor
Golden Limousine
Irwin Goldstein and Martha Mayo
William and Sally Goshorn
Amy and Glenn Gottfried
Great Harvest Bread Company
Seymour D. Greenstone
David and Kay Gugala
Don P. Haefner and Cynthia J. Stewart
Helen C. Hall
Susan Harris
Sivana Heller
un-Chien and Betty Hsiao
Ann D. Hungerman
Thomas and Kathryn Huntzicker
Eileen and Saul Hymans Jean Jacobson Dr. and Mrs. David W. Jahn Dr. and Mrs. Mark S. Kaminski John B. Kennard, Jr. Rhea Kish
Paul and Dana Kissner Hermine R. Klingler Michael J. Kondziolka and Mathias-Philippe Florent Badin
Charles and Linda Koopmann Chene Koppitz Dr. Melvyn and
Mrs. Linda Korobkin Bud and Justine Kulka Jane Laird
John K. and Jeanine Lawrence Laurie and Robert LaZebnik Jim and Cathy Leonard Sue Leong
E. Daniel and Kay Long Marilyn and
Frode Maaseidvaag Brigitte and Paul Maassen Ann W. Martin and
Russ Larson Carole Mayer Bruce McCarthy and
Jim Macksood Margaret E. McCarthy Raven McCrory Joseph McCune and Georgiana Sanders Griff and Pat McDonald Bernice and Herman Merte Dr. Henry Messer and
Carl House
Michigan Car Services, Inc. Mr. and Mrs. Eugene A. Miller James M. Miller and Rebecca H. Lehto Cyril Moscow Gerry and Joanne Navarre James G. Nelson and
Katherine M. Johnson Arthur S. Nusbaum Marylen S. Oberman Robert and Elizabeth Oneal Constance and David Osier Marysia Ostafin and
George Smillie Steven and Janet Pepe Juliet S. Pierson Bill and Diana Pratt Ann Preuss
Wallace and Barbara Prince Mrs. Joseph S. Radom Jeanne Raisler and Jon Cohn Claudia Rast and Jaynor Johnston Stephen and Agnes Reading Anthony L. Reffells Mamie Reid and Family Corliss and Jerry Rosenberg Margaret and
Haskell Rothstein Miriam Sandweiss
Sue Schooner and Tom Wieder Ann and Tom Schriber Edward and Kathy Silver Robert and Elaine Sims Irma J. Sklenar James Skupski and
Dianne Widzinski Neela Sripathi Gus and Andrea Stager David and Ann Staiger James and Nancy Stanley Eric and Virginia Stein James C. Steward Cynthia Straub David and Karen Stutz Sandy Talbott and
Mark Lindley Judy and Lewis Tann Elizabeth H. Thieme Catherine B. Thoburn Fr. Lewis W. Towler Louise Townley Jeff and Lisa Tulin-Silver Dr. Lynn T. Schachinger and
Dr. Sheryl S. Ulin Hugo and Karla Vandersypen Steven and Christina
Vantrease
Don and Toni Walker Robert D. and Liina M. Wallin Raoul Weisman and
Ann Friedman Angela and Lyndon Welch Reverend Francis E. Williams Lawrence and Mary Wise Charles Witke and
Aileen Gatten Keith and Karlene Yohn Scott Zeleznik and
Nancy Burns
ASSOCIATES
$250-$499
Mr. and Mrs. Roy I. Albert Roger Albin and Nili
Tannenbaum Helen and David Aminoff Catherine M. Andrea Anonymous
Penelope and Arthur Ashe J. Albert and Mary P. Bailey Reeve and Marian Bailey Laurence R. and
Barbara K. Baker Reg and Pat Baker Nan Barbas and
Jonathan Sugar David and Monika Barera Francis J. and Lindsay Bateman Gary Beckman and Karla Taylor Prof, and Mrs. Erling Blondal
Bengtsson
Linda and Ronald Benson Rodney and Joan Bentz Dr. Rosemary R. Berardi Steven J. Bernstein and
Maria Herrero Naren K. and Nishta G. Bhatia
Jack Billi and Sheryl Hirsch llene and William Birge Victoria C. Botek and William M. Edwards Paul and Anna Bradley William R. Brashear Joel Bregman and Elaine Pomeranz David and Sharon Brooks David R. Bryant Trudy and Jonathan Bulkley Tony and Jane Burton Oliver and Susan Cameron Valerie and Brent Carey J. Wehrley and Patricia
Chapman
Dr. Kathleen G. Charla Charles Stewart Mott
Foundation
Mark and Joan Chesler Reginald and Beverly Ciokajlo Coffee Express Dr. and Mrs. Harvey Colbert Edward J. and Anne M.
Comeau
Malcolm and Juanita Cox Lloyd and Lois Crabtree Merle and Mary Ann Crawford Mary C. Crichton Peter C. and Lindy M. Cubba Mary R. and John G. Curtis Alisande Cutler Marcia A. Dalbey Suml arid Merial Das Art and Lyn Powrie Davidge Ed and Ellie Davidson Norma and Peter Davis John and Jean Debbink Nicholas and Elena Delbanco Macdonald and Carolin Dick Esther Donahue Elizabeth Duell Rosanne and Sandy Duncan Swati Dutta
Eva and Wolf Duvernoy Dr. Alan S. Eiser Judge and Mrs. S. J. Elden Sol M. and Judith Elkin Dr. Stewart Epstein Mark and Karen Falahee Phil and Phyllis Fellin Dr. and Mrs. James L.M. Ferrara Dr. James F. Filgas Herschel and Adrienne Fink Mrs. Gerald J. Fischer (Beth B.) C. Peter and Beverly Fischer Susan Fisher and John Waidley Jessica Fogel and
Lawrence Weiner Howard and Margaret Fox Paula L. Bockenstedt and
David A. Fox Betsy Foxman and Michael Boehnke Lynn A. Freeland Leon and Marcia Friedman Philip and Renee Frost Ms. Carolyn Frost Mr. and Mrs. William Fulton James M. and
Barbara H. Garavaglia Tom Gasloli Deborah and Henry Gerst
Associates, cont.
Paul and Suzanne Gikas Elmer G. Gilbert and
Lois M. Vefbrugge J. Martin Gillespie and
Tara Gillespie Joyce Ginsberg Richard Ginsberg and
Cheryl Cassidy
Maureen and David Ginsburg Eszter Gombosi Enid M. Gosling Charles and Janet Goss James W. and Maria J. Gousseff Ingrid and Sam Gregg G. Robinson and Ann Gregory Raymond and
Daphne M. Grew Mark and Susan Griffin Werner H. Grilk Bob and Jane Grover H & R Block Michio Peter and
Anne Hagiwara Yoshiko Hamano Tom Hammond Naomi Gottlieb Harrison and
Theodore Harrison DDS John Hasluck
Jeannine and Gary Hayden Rose and John Henderson JLawrence and Jacqueline
Stearns Henkel Kathy and Rudi Hentschel Lee Hess and Irene Levine Herb and Dee Hildebrandt Peter Hinman and
Elizabeth Young James and Ann Marie Hitchcock Mabelle Hsueh
Harry and Ruth Huff
Robert B. Ingling
John H. and Joan L. Jackson
Beverly P. Jahn
Elizabeth Jahn
Christopher P. and Sharon
Johnson
Elizabeth Judson Johnson Kent and Mary Johnson Paul and Olga Johnson Dr. Arthur A. Kaselemas Ms. Margaret Kazarinoff Evan Cohen and Deborah
Keller-Cohen
Frank and Patricia Kennedy George L. Kenyon and
Lucy A. Waskell Mr. and Mrs. Roland Kibler Donald F. and Mary A. Kiel James and Jane Kister Shira and Steve Klein Laura Klem Anne Kloack Thomas and Ruth Knoll Joseph and Marilynn Kokoszka Barbara and Ronald Kramer Barbara and Michael
Kratchman
Doris and Don Kraushaar Bert and Geraldine Kruse Donald Lachowicz Neal and Anne Laurance David Lebenbom John and Theresa Lee Derick and Diane Lenters Myron and Bobbie Levine Jacqueline H. Lewis Zheng Li Rod and Robin Little
Daniel Little
Dr. and Mrs. Lennart H.
Lofstrom Julie M. Loftin Naomi E. Lohr Florence LoPatin Joan Lowenstein and
Jonathan Trobe Mr. and Mrs. Edward Lynn Pamela J. MacKintosh Melvin and Jean Manis Margaret and Harris
McClamroch Doug Anderson and
Peggy McCracken Joann McNamara Nancy A. and Robert E. Meader Gerlinda S. Melchiori Ph.D. George R. and Brigitte Merz Don and Lee Meyer Shirley and Bill Meyers Olga Ann Moir Fred Mollenkopf William G. and Edith 0.
Moller, Jr.
Donald L. Morelock Frieda H. Morgenstern Lewis and Kara Morgenstern Mark and Lesley Mozola Thomas and Hedi Mulford Gavin Eadie and
Barbara Murphy Lisa Murray and Mike Gatti Alberto Nacif Richard and Susan Nisbett Laura Nitzberg and
Thomas Carli
Christer and Outi Nordman David and Andrea Page Mrs. William B. Palmer William C. and Hedda Panzer Nicole Paoletti Shirley and Ara Paul Zoe and Joe Pearson John and Jean Peirce Evelyn G. Pickard Stephen and Celeste Piraino Donald and Evonne Plantinga Rebecca Minter and
John Rectenwald Michael J. Redmond Molly Resnik and John Martin Judith Revells
Timothy and Teresa Rhoades Constance O. Rinehart Jonathan and Anala Rodgers Richard and Edie Rosenfeld Rosemarie Rowney Terrance and Ina Sandalow Michael and Kimm Sarosi Stephen Rosenblum and
Rosalyn Sarver Albert J. and Jane L. Sayed Jochen and Helga Schacht Schakolad Chocolate Factory David and Marcia Schmidt Drs. David E. and Monica S.
Schteingart
Joe and Alicia Schuster Ms. Harriet Selin Richard H. Shackson David and Elvera Shappirio
Patrick and Carol Sherry Howard and Aliza Shevrin Jean and Thomas Shope Mrs. Patricia Shure Terry M. Silver, M.D. Alica G. Silverman Sandy and Dick Simon Michael and Maria Simonte Nancy and Brooks Sitterley Alene Smith Carl and Jari Smith Gregory and Margaret Smith Robert W. Smith Mrs. Robert W. Smith Hugh and Anne Solomon Mrs. Gretchen Sopcak Ralph and Anita Sosin Tom Sparks Joseph H. Spiegel Jeff Spindler Burnette Staebler Mr. and Mrs. Gary Stahle Rick and Lia Stevens James L. Stoddard Ellen M. Strand and
Dennis C. Regan Dr. LJIrich and Nicole Stuhec Donald and Barbara Sugerman Brian and Lee Talbot Peg Talburtt and Jim Peggs Judy and Lewis Tann The Taubman Corporation Eva and Sam Taylor Paul and Jane Thielking Edwin j. Thomas Nigel and Jane Thompson Gretta R. Thomson Claire and Jerry Turcotte Dr. Hazel M. and Victor C.
Turner, Jr.
Bill and Jewell Tustian Susan B. Ullrich Herbert and Anne Upton Jim and Emilie Van Bochove Douglas and Andrea Van
Houweling
Mrs. Theodore R. Vogt Keith P. Walker Charles R. and Barbara H.
Wallgren Jo Ann Ward Carol Weber John M. Weber Deborah Webster and
George Miller Iris and Fred Whitehouse Nancy Wiernik Anre Marie and Robert J.
Willis
Charlotte A. Wolfe Richard E. and Muriel Wong Stanley J. and Priscilla
Woollams Frances A. Wright Phyllis B. Wright David and April Wright Robert and Betty Wurtz Don and Charlotte Wyche MaryGrace and Tom York Gail and David Zuk
ANNUAL ENDOWMENT SUPPORT
July 1, 2004-October 31, 2005
Endowment funds provide income to UMS in perpetuity, offering donors the opportunity to make a gift today which will benefit UMS audiences of tomorrow. The donors listed below provided support for UMS endow?ment funds from July 1, 2004 through October 31, 2005. We are grateful for their generous support for UMS, now and in the future.
$100,000 or more
The Wallace Foundation
57 0,000499,999
Herb and Carol Amster
Anonymous
Eben Rosenthal and Mary Hawn
Prudence and Amnon Rosenthal
James and Nancy Stanley
$5,000-$9,999 CFI Group, Inc. Debbie and Norman Herbert Maxine and Stuart Frankel Foundation Susan B. Ullrich
$ 7,000-$4,999
Dr. and Mrs. Gerald Abrams
Mike Allemang and Janis Bobrin
Anonymous
Robert and Wanda Bartlett
Joan A. Binkow
Barbara Everitt Bryant
Barb and Skip Campbell
Dr. Kyung and Young Cho
Mike and Nancy Deeb
Macdonald and Carolin Dick
Dr. Sid Gilman and Dr. Carol Barbour
Julian and Diane Hoff
Timothy and Jo Wiese Johnson
Jill M. Latta and David S. Bach
Allen and Evie Lichter
Lawrence and Rebecca Lohr
Joseph McCune and Georgiana
Sanders THE MOSAIC FOUNDATION
(of R. and P. Heydon) Mike and Pat Mulholland M. Haskell and Jan Barney Newman Gilbert Omenn and Martha Darling
Mark and Susan Orringer
Philip and Kathy Power
Laurie and Richard Prager
Jon Rosenthal
Linda Samuelson and Joel Howell
Herbert Sloan
Thomas and Mary Wakefield
Elise Weisbach
Marina and Robert Whitman
Gerald and Mary Kate Zelenock
$W0-$999
Bernard and Raquel Agranoff Essel and Menakka Bailey David and Martha Bloom Ron and Mimi Bogdasarian Carl A. Brauer, Jr. Trudy and Jonathan Bulkley Dr. Frances E. Bull Letitia J. Byrd
Ellen G. and Vincent M. Cimmino Jeffrey and Cynthia Colton Susan and Arnold Coran Nicholas and Elena Delbanco Julia C. and Charles R. Eisendrath Stefan S. and Ruth S. Fajans Dr. and Mrs. S.M. Farhat Dede and Oscar Feldman Ken and Penny Fischer Beverley and Gerson Geltner Edward M. and Ruth B. Gramlich Lewis and Mary Green Naomi Gottlieb Harrison and
Theodore Harrison DDS Carl and Charlene Herstein Keki and Alice Irani Robert and Jeri Kelch Marvin Krislov and Amy Sheon Myron and Bobbie Levine Susan McClanahan and
Bill Zimmerman Drs. David and Renee Pinsky
Richard H and Mary B Price John and Dot Reed Marnie Reid
Jack and Aviva Robinson Charles and Julie Steedman Steve and Diane Telian Joseph and Alice Vining B. Joseph and Mary White Ann and Clayton Wilhite
Endowed Funds
The future success of the University Musical Society is secured in part by income from UMS's endowment. UMS extends its deepest apprecia?tion 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 Prudence and Amnon Rosenthal
K-12 Education Endowment Fund Charles A. Sink Endowment Fund Catherine S. ArcureHerbert E. Sloan
Endowment Fund University Musical Society
Endowment Fund
Burton Tower Society
The Burton Tower Society recognizes and honors those very special friends who have included UMS in their estate plans. UMS is grateful for this impor?tant support, which will continue the great tradi?tions of artistic excellence, educational opportunities and community partner?ships in future years.
Bernard and
Raquel Agranoff Carol and Herb Amster Mr. Neil P. Anderson Dr. and Mrs.
David G. Anderson Catherine S. Arcure Maurice and Linda Binkow Elizabeth S. Bishop Mr. and Mrs.
W. Howard Bond Mr. and Mrs.
Pal E. Borondy Carl and Isabelle Brauer Barbara Everitt Bryant Pat and George 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 Beverley and Gerson Geltner Paul and Anne Glendon John and Martha Hicks Mr. and Mrs. Richard Ives Marilyn G. Jeffs Thomas C. and
Constance M. Kinnear Diane Kirkpatrick Charlotte McGeoch Michael G. McGuire Dr. Eva Mueller M. Haskell and
Jan Barney Newman Len Niehoff
Dr. and Mrs.
Frederick C. O'Dell Mr. and Mrs.
Dennis M. Powers Mr. and Mrs.
Michael Radock Mr. and Mrs.
Jack W. Ricketts Mr. and Mrs.
Willard L. Rodgers Prudence and
Amnon Rosenthal Margaret and
Haskell Rothstein Irma J. Sklenar Herbert Sloan Art and Elizabeth Solomon Roy and JoAn Wetzel Ann and Clayton Wilhite Mr. and Mrs.
Ronald G. Zollars
Tribute Gifts
Contributions have been received in honor andor memory of the following individuals:
H. Gardner Ackley Michael Allemang and
Janis Bobrin Gertrude Barnes Isabelle Brauer Valerie Castle, MD Mr. and Mr. Thomas Caterino Gabriel Chin Heidi Cohan Alfred F. Cox, Jr. Benning Dexter Angela S. Dobson Lorna Donnelly David Eklund Elizabeth Fiedorczyk Ken and Penny Fischer Maxine and Stuart Frankel Jacob Friedman 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 Gertrude Lutkehaus Dr. Josip Matovinovic Mother Teresa of Calcutta Matthew Newman and
Suzanne Lynch Harold A. Oberman, MD David and Steven Plastrik Gwen and Emerson Powrie Dr. Lawrence Preuss Mr. Gail W. Rector Kathryn Rector Steffi Reiss
Prue and Ami Rosenthal Margaret E. Rothstein Eric H. Rothstein Nona R. Schneider Herbert Sloan Bill and Mary Stubbins Charles R. Tieman Norman R. Vandewiele Francis V. Viola III Carl Huntington Wilmot,
Class of 1919 Peter Holderness Woods Barbara E. Young
In-Kind Gifts
A-1 Rentals, Inc.
Wadad Abed
Acme Mercantile
Raquel and Bernard Agranoff
Nizar and Nada Al-Awar
Laith Alattar
Alexandra's in Kerrytown
Alumni Association of the
University of Michigan Ann Arbor Art Center Ann Arbor Women's
City Club Dr. Naji Arwashan Atlanta Bread Company Lois and David Baru Kathy Benton and Bob Brown The Blue Nile Restaurant Mimi and Ron Bogdasarian Borders Books and Music Bob and Victoria Buckler Margot Campos
Chelsea Flowers Cottage Inn Restaurant Sally and Larry DICarlo Al and Kendra Dodds Kathleen and Robert Dolan The Earle Restaurant The Earle Uptown Edward Surovell Realtors 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 Kerrytown Concert House King's Keyboard House Laky's Salon Gene Laskowski Richard LeSueur Catherine Lilly Mainstreet Ventures Kahled and Susan Mari Morgan and York M. Haskell and
Jan Barney Newman Liz Othman Paesano's Restaurant Randy Parrish Fine Framing Deanna Relyea Huda Rosen
Prue and Ami Rosenthal Jim and Adrienne Rudolph Savitski Design Jeri Sawall Schlanderer & Sons Penny and Paul Schreiber Tom and Ann Schriber Rabia Shafie Meg Kennedy Shaw Muaiad and Aida Shihadeh Herbert Sloan Jim and Nancy Stanley Natalie and Edward Surovell Sweet Gem Confections Tom Thompson Flowers Louise Townley Ann and Clayton Wilhite Joe Yunkman Amer Zahr Mary Kate and Jay Zelenock

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