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UMS Concert Program, October 1, 1989: International Presentations Of Music & Dance -- Detroit Symphony Orchestra

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Season: 111th
Concert: First
Hill Auditorium, Ann Arbor, Michigan

_3ntediationa Presentations
Detroit Symphony Orchestra
Music Director and Conductor
Sunday Afternoon, October 1, 1989, at 4:00 Hill Auditorium, Ann Arbor, Michigan
PROGRAM Overture to The Abduction from the Seraglio, K. 384 ................. Mozart
Concerto No. 1 in G major for Flute and Orchestra, K. 313285c..... Mozart
Allegro maestoso Adagio ma non troppo Rondo: tempo di menuetto
James Galway
Symphony No. 4 in C minor, Op. 43........................ Shostakovich
Allegretto poco moderato Moderato con moto Largo, allegro
For the convenience of our patrons, the box office in the outer lobby will be open during intermission for purchase of tickets to upcoming Musical Society concerts.
This afternoon's concert marks the Detroit Symphony Orchestra's 62nd appearance in Ann Arbor under Musical Society auspices. Maestro Herbig returns for his third concert (all with the Detroit Symphony Orchestra), and James Galway gives his seventh Ann Arbor performance.
Cameras and recording devices are not allowed in the auditorium. Halls Cough Tablets, courtesy of Warner Lambert Company, arc available in the lobby.
First Concert of the 111th Season 111th Annual Choral Union Series
A Short History of the Detroit Symphony Orchestra
The Detroit Symphony Orchestra now enters its 76th season, secure in its position as a world class ensemble following the resoundingly successful European tour with Maestro Herbig earlier this year. Moreover, the orchestra is now re-settled in Orchestra Hall, the acoustically outstanding home built for it in 1919.
Today's Detroit Symphony Orchestra is testimony to the spirit and vision of a group of civic-minded women who sponsored its first concert on November 19, 1914, conducted by Weston Gales, the orchestra's first music director. In 1919, the orchestra engaged Ossip Gabrilowitsch, who led the fledgling group to new levels of achievement. "Gabby," as he was affectionately known by all Detroit, oversaw the building of Orchestra Hall, formed the Detroit Symphony Choir, took the orchestra to the Chicago Century of Progress Exposition (from which sprang the Ford Symphony Hour radio broadcasts), and last, but not least, brought the orchestra to Ann Arbor in 1919 for the first of many concerts in Hill Auditorium.
Subsequent music directors included Victor Kolar, Karl Kreuger, and Paul Paray. Paray's leadership from 1952 to 1962 produced 65 recordings on the Mercury label and saw the move to the newly built Ford Auditorium in 1956. Succeeding him was Swedish conductor Sixten Ehrling, whose tenure included 24 world premieres and the creation of the Meadow Brook Music Festival, the permanent summer home of the DSO. Italian conductor Aldo Ceccato guided the orchestra from 1973 to 1977, after which Antal Dorati took the reins. Under Dorati's leadership, the Detroit Symphony flourished and gained international recognition through festivals, opera productions, a resumption of recording with London Records, and the orches?tra's first European tour in 1979, a tour that placed the DSO in the international spotlight.
Since Maestro Herbig became music director in 1984, he has taken the orchestra on tour several times to the major East Coast concert halls, including New York's Carnegie Hall and Washington's Kennedy Center, and most recently led the orchestra on its triumphant European '89 tour. Now in his sixth and final season as music director of the Detroit Symphony Orchestra, the maestro is concurrently music advisor for the Toronto Symphony and will become its music director beginning with the 1990-91 season.
Concert Guidelines
To make concertgoing a more convenient and pleasurable experience for all patrons, the Musical Society is implementing the following policies and practices throughout the season:
Starting Time for Concerts The Musical Society will make every attempt to begin its performances on time. Please allow ample time for parking. Ushers will seat latecomers at a predetermined time in the program so as not to disturb performers or other patrons.
Children Children attending a University Musical Society event should be able to sit quietly in their own seats throughout the performance. Children not able to do so, along with the adult accompanying them, may be asked by an usher to leave the auditorium. (Every child must have a ticket.)
Of Coughs and Decibels Reprinted from programs in London's Royal Festival Hall: "During a recent test in the hall, a note played mezzo forte on the horn measured approximately 65 decibels of sound. A single 'uncovered' cough gave the same reading. A handkerchief placed over the mouth when coughing assists in obtaining a pianissimo."
Please take advantage of Warner Lambert's generosity in providing Halls Cough Tablets in the lobby prior to and during intermissions of the concerts.
A Modern Distraction With the advent of the electronic beeping and chiming digital watches, both audience members and performing artists will appreciate these being turned off or suppressed during performances.
Group Ticket Discounts
The University Musical Society invites groups often or more to "experience the classics" in the Society's 1989-90 concert season. A varying rate of discounts from 15 to 25 percent will apply to a wide range of 35 specified concerts. For a free Group Ticket Sales brochure, call 763-3100 or 763-0611.
15 discount for purchases of 20 to 46 seats.
20 discount for purchases of 47 or more seats.
20 discount for student or senior group purchases of 10 or more seats.
25 discount for ten specially designated concerts offered to groups of 20 or more and student or senior groups of 10 or more.
Detroit Symphony
Gunther Herbig, Music Director
Stephen Stein, Resident Conductor
Dr. Leslie B. Uunner, Assistant Conductor
GUMHEK HKKBU,, Conductor JAMES GALWAY, flutist
MOARl Overture to Die Entfiihrung aus dem Serail. K. 384
ViozKl Concerto tor Klute and Orchestra No. I in Ci major. K. 313 285c
Allegro maestoso JaLiH iiki non troppo Rondo: lempodi minuctto
SHOSTAKOVICH Symphony No. 4 in C minor. Op. 43
Allegretto poco modcrato
Miideruti) con moto Largo: Allegro
London. RCA. Mercury Records
Activities of Detroit Symphony Orchestra Hull are made possible in part with the support of the City of Detroit Council of the Arts, the National Endowment for the Arts, and the Michigan Council for the Arts.
Program Notes by Michael Fleming
Overture to Die Entjiihrung aus dem Serail K. 384
WOLFGANG AMADEUS MOZART Born January 27, 1756, Salzburg Died December 5, 1791, Vienna
Die Entfiihrung aus dem Serail was first given at the Vienna Burgtheater on July 16, 1782. The Overture is scored for piccolo, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, bass drum, triangle, cymbals, and strings (duration: 6 minutes).
For the Viennese of the late eighteenth and early nineteenth centuries, things Turkish exerted an irresistible fascination. As recently as 1697, the forces of the Ottoman Empire had threatened the Hapsburg dominions, and even after the Turks were repelled, they became stock figures on the stage and in literature, half comic, half frightening. Western ears were especially intrigued by the jangling music of the Janissary bands, and many composers imitated these exotic sounds in their scores. Mozart's Rondo "Alia Turca" from the A-major Piano Sonata (K. 331), Haydn's Military Symphony, and the quick march in the finale of Beethoven's Ninth Symphony are among the best known examples.
Mozart had tried his hand at a Turkish subject when he was still in Salzburg, in the unfinished and untitlcd Singspiel that was later named after its principal character, Zaide. For this he had provided some very expressive music, and it was to be expected that for Die Entfiihrung aus dem Serail, his first Viennese work for the stage, he would offer more than stock characterizations and ear-tickling music. Indeed, there is much in the character, if not the music, of the benevolent Pasha Selim that foreshadows Sarastro in Die Zauberjlole.
Just a glimpse of the more substantial side of the Singspiel can be heard in the middle of the overture. Mozart introduces a minor-key version of Belmonte's plaintive air. "Hier soil ich dich denn sehen, "which, in the major, will follow the overture without a break in the opera house. For the rest, he shows off his percussion battery (which must have astounded an eighteenth-century audience as much as a score by Varesedid early-twentieth-
century listeners) in some high-spirited and square-cut "Turkish" music. For concert performance, an alternative ending is provided.
Concerto for Klute and Orchestra No. 1 in
G major K. 313285c WOLFGANG AMADEUS MOZART Born January 27, 1756, Salzburg Died December 5, 1791, Vienna
Mozart wrote his G-major Flute Con?certo--his only original concerto for this instrument in Mannheim, in 1778. The score calls lor 2 oboes, (replaced by 2 flutes in the slow movement). 2 horns, strings, and solo flute (duration: 24 minutes).
Did Mozart hate the flute or did he not'.' Tradition says yes, on the basis of a letter he wrote to his father from Mannheim in February 1778, while working on a group of works for that instrument: "Here 1 do not have one hour of peace. 1 can only compose at night, and so cannot get up early. Besides, one is not disposed to work at all times. I could certainly scribble the whole day. but a piece of music goes out into the world, and. after all. I don't want to feel ashamed for my name to be on it. And. as you know, I am quite inhibited when 1 have to compose for an instrument which I cannot endure."
There it is: the notorious sentence over which scholars have quibbled for decades, suggesting that Mozart "could not endure" the flute. This seems straightforward enough, but in examining the German original foranarticle in The New Yorker, the music critic Andrew Porter suggested a slightly different translation. His version reads: "Moreover, as you know, I always get fed up when-something 1 can't bear--1 have to go on writing for the same instrument." Porter believes that it may have been writing a group of pieces for the same instrument that cramped Mozart's style, not any aversion to the flute per se. In any case, as Porter said in the version of this article reprinted in Music of Three More Seasons: 1977-1980, "what a man says in a letter is not 'hard' evidence....Mozart was writing an exculpatory letter to his father, who had
chidcd him for not completing the De Jean commissions. What he may have put forward as a handy 'excuse' should not be upheld as his considered lifelong opinion of the flute."
The commission that caused Mozart such distress came, as Porter mentions, from a wealthy Dutch amateur of the flute, referred to in Mozart's letters as "De Jean"--probably a phonetic version of the surname of Willem Britten Dc Jong. Mozart was to compose three concertos and three quartets for the flute. Apparently he stalled before finishing the work on them, for only two quartets from this period survive (though Mozart does mention three in his letters), and there are certainly no more than two concertos: this one in G major, and a second in D major, the composer's reworking of a slightly earlier Oboe Concerto in C major.
Whatever Mozart's attitude toward the flute, he writes for it in this concerto with knowledge and affection. The instrument for which he wrote, of course, was the old one-keyed conical flute, a colorful but cranky instrument that could sing appealingly in the hands of a virtuoso but that required more coaxing than the fail-safe Boehm flute in use today.
Allegro maestoso is the tempo marking for the first movement, and Mozart takes care to emphasize both the flute's agility and its inherent dignity. The main theme is cut from very plain stuff: a sounding of tonic and dominant, then a leap up an octave followed by a fluttering descent. But Mozart's genius lay not in the shape of his materials, which he took from the open stock of the eighteenth century. but in his way of making even the most modest scales and arpeggios sound somehow unexpected. Observe, for example, how from a noodling passage in thirds up the scale--just the sort of thing that falls lightly under a pianist's fingers -he draws an extended section for the flute. There are moments for the soloist to show off here, especially in leaping from one note to a distant one. However, dexterity and showmanship are not the issue here, but ingenuity, fertility ol invention, and musicality that perhaps only those in the know could fully appreciate.
For the slow movement, Mozart creates a different world of sound: strings muted, horns resting comfortably in the middle rather than crying out at the top of their range, a pair of flutes replacing oboes (the same players would have handled both in Mozart's day). Here the mood is more relaxed, the emphasis on outpouring of song rather than vivacious interchange. The composer is just as ingenious, however, in binding together a loose-limbed movement by the intervention, at several crucial points, of the simplest figure, a stride up the tonic chord in note values twice as slow as the prevailing motion.
A rondo finale such as this was not the place for such cleverness, and Mozart delivers agreeably, more or less as expected. The flute
has the lead almost throughout, sounding a dignified minuet that will return, each time slightly varied, and providing two episodes, the first bustling, the second tinged with melancholy. The composer saves his most original touch for near the end--a brief additional statement from the solo flute, then, not to belabor the point, a whispered ending that seems to hang in mid-air.
Symphony No. 4 in C minor, Op. 43
Burn September 25, 1906. St. Petersburg
Died August 9, 1975. Moscow
Shostakovich's Fourth Symphony was composed in 1935-36, first performed on December 30. 1961. when Kiril Kondrashin conducted it in the Great Hall of the Moscow Conservatory. The score calls for 2 piccolos, 4 flutes, 4 oboes (I doubling English horn), I E-flat clarinet. 4 B-flat clarinets (I doubling A clarinet), bass clarinet, 3 bassoons, contrabassoon, 4 trumpets, 8 horns, 3 trombones, 2 tubas. 6 timpani (2 players), triangle, wood block, snare drum, cymbals (I played with a drum stick, the other pair clashed), bass drum, tam-tam, xylophone, bells, celesta. 2 harps, and strings (for which the composer specifies a minimun of 54 and a maximum of 84) (duration: 62 minutes).
A gulf of 25 years stands between the year Shostakovich completed his Fourth Sym?phony. 1936. and the year it was first performed, 1961. During that lime, the musical climate in the Soviet Union had frozen under Stalin, thawed during and shortly after World War II, frozen again in the late 1940s, and thawed for good only with the death of Stalin in 1953. Shostakovich's First Violin Concerto, composed in 1947-48, had to wait until 1955 for a premiere, but even given the chaotic state of Soviet musical life, it is remarkable that such a work as the Fourth Symphony could be so long suppressed.
During the years it lay unperformed. Shostakovich professed to be keeping it under wraps because of deficiencies he wanted to correct. The official anti-Soviet explanation currently is that, in the words of the musicologist Solomon Volkov, Shostakovich did not want "to tempt fate anew." His opera Lady Macbeth of Mtsensk, hailed at first as an example of Soviet music-making, was denounced in the pages of Pravda in 1936 as "coarse, primitive, and vulgar." This article, under the heading "Chaos Instead of Music," ushered in an era of artistic repression, and Shostakovich's next symphony, the accessible Fifth, bore the heading "A Soviet Artist's Reply I'o Just Criticism."
It will take another generation of scholars to sort out fatt from fiction in Shostakovich's biography, to weigh the competing claims of proand anti-Soviet apologists. For now.
however, the chronology ol events in 1936, as outlined by Hugh Ottaway in his BBC Music Guide to the Shostakovich symphonies, suggests that the composer's motives in withdrawing the Fourth Symphony may have been mixed. The work was written between September 1935 and May 1936. The Pravda article came in January 1936. It was not until December that year that Shostakovich canceled plans for a public performance of his new symphony. Political motives, or. as the composer later maintained, artistic We still do not know.
In any case, the Fourth fits uncomfortably into the sequence of Shostakovich's symphonies. The First was a dazzling student work; the Second and Third, both with chorus, are today regarded in the West as social-realist boilerplate. The Fifth, whatever its sinister undertones, is outwardly celebratory. Approached from either direction, the Fourth Symphony is a looming giant, unremitting in its rhythmic force, its dissonance, and its lavishness of instrumentation.
The real importance of the Fourth Symphony may lie in the fact that in it Shostakovich experimented with a sort ol musical doublespeak that will run through the Filth. At first hearing, the opening movement of the Fourth seems merely a study in violent contrasts if not an exercise in chaos. But on closer acquaintance, it shows signs of the kind of musical irony that Shostakovich would hone to a fine edge in the next ten years. Does the composer wish to enunciate something commonplace He shouts it out, with brass and percussion cloaking its nakedness. Or does he wish to make a poignant personal statement This may be delivered in an undertone, like an actor throwing away a crucial line.
The whole first movement, in fact, is an exercise in topsy-turvydom: the three principal themes recapitulated in reverse order, with the soulful final one preceded by trills and nourishes, the bumptious opening theme made to mock its own self-importance by surrendering itself to solo bassoon and bass drum. With these vantage points clear, waste no time looking for the procedures of standard sonata form in between. The movement is more clearly organized than it at first appears, but Shostakovich's method of development follows no standard procedure but his own stream of consciousness. One consistency is the pervading use of fugal imitationan ironic device in itself, since the themes harnessed into counterpoint are so rhetorical, so discursive, that one can hardly imagine how they could acquire the discipline of fugue.
If means and ends do not always match in the first movement, they are perfectly aligned in the second, a scherzo with jokes both broad and subtle. The themes are few and plain: a leaping figure that joins in counterpoint with itself at the least provocation; and a smoother one. with a poignant tritone crucially placed.
Though chosen for contrast, these are brothers under the skin, each underlaid with a drumming accompaniment and neither straying far from the tonic, however outlandish their twists of melody.
The movement's scheme is time honored: three statements of the scherzo, alternating with two of the trio. Shostakovich gives this a personal stamp, and the movement its impetus, by making each statement shorter than the one before, each a bit less obvious. The final appearance of the scherzo is a bit of diablerie worthy of Berlioz: the theme chattered out by muted first violins, harp and pizzicato lower strings tolling the measure, and high-pitched percussion making up a boneyard rhythm section.
The scope of Shostakovich's symphonic ambitions is evident in the finale, which incorporates both a slow movement and a concluding allegro, cunningly woven together. Taking his cue from Mahler, Shostakovich incorporates not just symphonic material per se, but tunes, or fragments of tunes, that seem to have drifted in through the window. And like Mahler. Shostakovich follows no preordained form, but the beat of his own pulse, the trail of his own thoughts.
A grotesque march for bassoon begins the slow section. Underneath, the timpani quietly sound, not the expected tonic and dominant. but an unsettling tritone. Such harmonic-skewing will play a crucial role in what is to follow, not as the basis for real modulation, of which there is little, but as a coloring of the basic, diatonic harmonies heard slightly out of focus.
Another rocking interval this time a minor third forms the material for the Allegro. Like a solitary orator muttering his speech over and over, Shostakovich rings changes on this two-tone theme, eventually losing track of its meaning, hypnotized by its sound. When it seems that obsession can be carried no further, the scene suddenly becomes quiet. Piccolo and bass clarinet offer some fairground pipings. then the strings ease into a sentimental waltz. But the phrase that haunted the first part of the movement will not depart: it sneaks back, quiet at first, then more insistent.
Only an assertion of force will still the composer's mind, and he brings to it all his will power: timpani hammering at C and G. the orchestra at full gale, wandering over the landscape but always keeping sight of home. Such exertion cannot be sustained, of course. and once again, the mood turns pensive. Fragments from the slow march waft by. and when the air finally clears, we are no longer at C-minor noon, but approaching C-minor twilight. Again and again, the celesta offers reassurance, sounding the notes of the C-minor chord. Peace seems to reign at last, but in the penultimate measure, what do we hear The ghostly note D, hovering above, one remaining doubt that refuses to be stilled.
Since moving to the United States in 1984 to become the music director of the Detroit Symphony Orchestra. Gunther Herbig has appeared as guest conductor with most of the major American orchestras including the New York Philhar?monic. Chicago Sym-
phony. Boston Symphony. Philadelphia and Cleveland Orchestras, and the Los Angeles Philharmonic, as well as prominent international orchestras throughout Europe. He has taken the Detroit Symphony Orchestra on tour several times to the major East Coast concert halls, and in early 1989 led the orchestra on a triumphant European tour. In addition to his music directorship with the Detroit Symphony Orchestra, he holds the post of music director designate with the Toronto Symphony Orchestra during the 1989-90 season. Because of his many commitments in East Germany. Gunther Herbig's first opportunity in the West came later in his career. He was invited to be principal guest conductor of the Dallas Symphony Orchestra in 1979. In Western Europe, he started his career in 1982 when he was invited to become principal guest conductor of the BBC Philharmonic Orchestra (Manchester). It was only in 1984. when he vacated his position as music director of the Berlin Symphony Orchestra, that Gunther Herbig was able to find the time to conduct regularly in Western Europe. Major orchestras were quick to invite him to appear with them again and again. His London Symphony Orchestra debut of four concerts in early 1986 led to a rebooking in 1987. After performing with him in Washington. Daniel Barenboim invited him to conduct the Orchestrede Paris in autumn 1986. He was immediately invited to return there in June 1988. He has also toured Japan and is a regular visitor with the Israel Philharmonic Orchestra. Gunther Herbig began his musical training with Hermann Abendroth at the Fran. Liszt Academy in Weimar. He continued his studies with Hermann Scherchen and was one of onlvu lew
students chosen lor intensive study with Herbert von Karajan. with whom he worked for two years. In 1972. he became general music director of the Dresden Philharmonic Orchestra, and from 1977 held the same position with the Berlin Symphony Orchestra until autumn 1983.
James Galway is regar?ded as both a master of the classical flute reper?toire and a consummate entertainer whose appeal crosses all musical boun-daries. His virtuoso playing has placed him at the forefront of the musical world, while his lively sense of humor and ebullient character have
made him popular with a vast and diverse audience. Born in Belfast, Northern Ireland. James Galway began playing the penny whistle as a small child, before switching to the flute. Within a year he had played 120concerts which included guest appearances with all four major London orchestras. Today he tours the world performing with the finest orchestras and at the most prestigious chamber music and summer festivals. James Galway has been seen by millions of television viewers through appearances on "Life Styles of the Rich and Famous." the "Tonight" show, the "Today" show, "Sesame Street." PBS "Live From Lincoln Center." and his own holiday specials. His constantly growing discography of more than thirty best-selling albums on the RCA Victor label features a wide range of classical works and several albums of a more versatile nature which feature Japanese flute melodies and the songs of Henry Mancini. On one of his latest recordings --the Mozart Flute Concertos he is both soloist and conductor of the Chamber Orchestra of Europe. His albums have won him the Grand Prix du Disque. Platinum and Gold albums, and Record of the Year from both Billboard and Cash Box magazines.
Detroit Symphony
GUNTHER HERBIG, Music Director
Resilient Conductor
Assistant Conductor
ERIC KREL'DIGMAN Director of Choruses
1 nim.iniidlc Boisvert+ Concertmasler
John Hughes
Associate Concert master Joseph Goldman Gordon Peterson
Assistant Concertmasters
Beatriz Budinsky Marguerite Deslippe Derek Francis Alan Gerstel Nicholas Zonas Elias Friedenzohn Malvern Kaufman Richard Margilza Bogos Morlchikian Linda Snedden-Smith Ann Ourada Struhler LeAnn loth Margaret Tundo Gordon Staples
Cuncertmaster Emeritus SECOND VIOLINS Geoffrey Applegate+ Helix Resnick++ Alvin Score Lillian Fenstermachcr Ronald Fischer Lenore Sjoberg Walter Maddox Roy Bengtsson Thomas Downs Yien Hung Robert Murphy Jacob Robbins Bruce Smith Joseph Striplin James Waring
Alexander Mishnaevski+ James VanValkenburg++ Philip I'orbe LcRoy Fenstermacher Hart Hollman Walter Evich Gary Schnerer Catherine Compton David Ireland Glenn Mellow Danvl Jeffers
Italo H.ibmr
James C. Gordon Chair Marcy Chanteaux++ John 1 hurman Mario DiFiore Robert A. Bergman Barbara Hassan l)ebra layroian Carole Gatwood Haden McKay Paul Wingert
Robert Gladstone Stephen Molina++ Maxim Janowsky Linton Bodwin Stephen Edwards Craig Rilel Donald Pennington Marshall Hutchinson Richard Robinson
Patricia Masri-Retcher+
Ervin Monroe+ Shaul Ben-Mcir Robert Patrick++ Clement Barone
Clement Barone
Donald Baker+ Shelley Heron Brian Ventura++ Treva Womble
Treva Womble
Theodore Oicn+ Douglas Cornelsen Laurence Liberson++ Oliver Green
Laurence Liberson
Robert Williams Victoria King Paul Ganson++ Lyell Lindsey
Eugene Wade+ Bryan Kennedy Corbin Wagner Willard Darling Mark Abbott++ Keith Vernon
Ramon Parcells+ Kevin Good Alvin Belknap++ William Lucas TROMBONES Raymond Turner+ Joseph SkryriNki Nathaniel Gurin++ Randall Hawes BASS TROMBONE Randall Hawes
Wesley Jacobs
TIMPANI Salvatore Rabbio+ Robert Pangborn++
Robert Pangborn+ Norman Fickett++ Raymond Makowski Sam Tundo
Elkhonon Yoffe
Charles Weaver. Assistant
Oliver Green
Stephen Molina, Assistant
I iiiitii Principal ThcMt meitihtri nui vtilunluril) revolve seatttix within tintecthu tm a rrKultr hasix.
Co-Chairman Robert S. Miller, Jr.
Secretary Mrs. R. Alexander Wrigley
Co-Chairman Frank D. Stella
Treasurer Ralph A. Mandarino
Thomas V. Angott Michael Feiler Waller B. Fisher Samuel Hrankel Alfred R. Glancy III Philip M. Goy
Hon. Damon J. Keith Richard P. Kughn Ralph A. Mandarino Robert S. Miller. Jr. Jack A. Robinson Alan E. Schwartz
Mrs. Ray A. Shapero
Frank D. Stella
Peter P. Ihurber
Thomas Turner
Mrs. Richard C. Van Dusen
Hon. Myron H. Wahls
Committee Chairs
Affirmative Action
Arthur L. Johnson, Co-Chairman
Hon. Anna Diggs Taylor, Co-Chairman
Development Cabinet Jack A. Robinson, General Chairman
Samuel Frankel, lice-Chairman,Orchestra Hall Restoration David Handleman, I ice-Chairman, Endowment
Education ami Outreach Mrs. John E. Young, Jr., Chairman
Finance Committee
Alfred K. Glancy IN, Chairman
James A. Aliber, lice-Chairman. Investment
Walter B. Fisher, lice-Chairman. Finance
Philip M. Goy, Vice-Chairman, Audit
Marketing Committee Glen W. Fortinberry, Chairman
Nominating ami Governance
Hon. Damon J. Keith, Co-Chairman
Mrs. Ray A. Shapero, Co-Chairman
Michael Heiler, I ice-Chairman, By-Laws
Peter P. Thurber, lice-Chairman, By-Laws
Orchestra Hall Restoration
ami Construction Richard P. Kughn, Chairman
Paradise Theatre Committee
Hon. Myron H. Wahls, Co-Chairman
Ms. Barbara-Rose Collins, Co-Chairman
Personnel Policy Committee Thomas V. Angolt, Chairman
Volunteer Committee Mrs. Charles M. Kndicott. Chairman
Executive Director Deborah Borda
James A. Allbcr
I horrut V. Angoll
Joseph E. Barren
Mrs. Mandcll 1.. Herman
Deborah Burda
Mi Barbara-RiiM; Collim"
James F. Cordcs
Waller i: Duufljs
Ml I slIiL-r 0. Edards
Mf.. C'harlo M. Endicoll
Michael H. Kcilcr
Waller B. lishcr
Cilcn W. Koninbcrry
Samuel Hrankcl
lluin I Kridholrn
am ted KGluey III Philip M. Go)
David Handlcman Morton I Hams DiVid B. Heitneliii Dr. Arthur Jefferson Ihomas H. Jells II Arthur L Johnson Hon. Damon J. Keith Jacob Kcllmun
Richard P. Kuyhn Ms. Jeanctte Lcrman [bud UWH Mrv Kim K. Lie' Han) Lomiioii, n
LOUU A. MacKcnic
Kichard W. M.inon Ralph A. Mandanno Donald K. Mandich A. Ronald McMMcr Waller J. McCarthy. Jr. Robert S. Miller. Jr. Robcn J Mylod Hcnr R. Nolle. Jr. Mrv Robert C. I'angborn Mrs. Ralph L Polk Mrs. Hcin (.'. I'rcehler Mrs. John E. Ricckcr Jack A. Robinson Mv Caroline A. Roulier' liiomai. )-. RunscII
Man E. Schwartz
Stank'} Scncker
Mrs. Ray A. Shapcru
Mrs. Gary Smith
Frank D.'Stella
Hon. Anna Dis FaylOl
Lucius rheus
I'ctcr I. I hurbcr
Ihomas Turner
Mrs. Richard C Van Duscn
Hon. Myron H. Wlhll
Mrs. K Jamison Williams
Wallace C Williams
Mrs. K. Alexander
Mrs. John E, Young
Denote Ex-QffMo Director
John W. Reed, President
David B. Kennedy, Vice President
Thomas E. Kauper, Secretary Norman G. Herbert, Treasurer
Gail W. Rector, President Emeritus
Robert G. Aldrich James J. Duderstadt Richard L. Kennedy
Patrick B. Long Judythe R. Maugh John D. Paul
John Psarouthakis Ann S. Schriber Herbert E. Sloan
Advisory Committee
Ann Schriber, Chair
Sue Bonfield Charles Borgsdorf Barbara Bryant Bradley Canale Sandra Connellan Katharine Cosovich Alice Davis Irani Elena Delbanco
Anne Duderstadt Judy Fry Joann Gargaro Joyce Ginsberg Charles Hills JoAnne Hulce Stuart Isaac Frances Jelinek
Shirley Kauper Howard King Lynn Luckenbach Alan Mandel Ingrid Martin Charlotte McGeoch Joan Olsen Agnes Reading
Dorothy Reed Miriam Stephan Raven Wallace Mary White Sally White Shelly Williams Nancy Zimmerman
University Choral Union and Festival Chorus
Donald T. Bryant Julia Broxholm Collins Nancy Hodge Neal Kurz
Kenneth C. Fischer, Executive Director
Catherine S. Arcure Sally A. Cushing Leilani Denison Barbara L. Ferguson
Michael L. Gowing Debbie Halinski Lorna Young Hildebrandt Michael J. Kondziolka
Thomas M. Mull Laura Rosenberg Robin Stephenson Joan C. Susskind
Pamela S. Teeple Carol G. Wargelin Nancy Welder
Student Assistants: Sara Billmann, Karen Paradis
Pre-concert Presentations
In the Rackham Building at 7:00 p.m. -free and open to the public.
Saturday, October 28, preceding New England Jazz Ensemble Speaker: Barton Polot, Jazz Pianist and Educator Topic: Ragtime: Gateway to Modern Jazz
Thursday, November 2, preceding Orchestre de la Suisse Romande
Speaker: Russell Collins, Executive Director, The Michigan Theater Topic: Performing Arts in the Global Village
Coming Concerts -1989-90 Season
Guarneri String Quartet Celebrates 25th Anniversary Season
In concert: Saturday, Oct. 7 at 8 p.m., Rackham Auditorium (tickets required); Quartets of Haydn (Op. 50, No. 6), Lutoslawski (1964), and Schumann (Op. 41, No. 2).
Reception following the concert: Hosted by Charles and Michael AvsharianShar Products Com?pany, Ann Arbor, in the lobby of the Rackham Building for all those attending the performance.
On screen: The Guarneri's new feature-length film entitled "High Fidelity" -Friday, Oct. 6 at 7:30, Aud. 3 of Modern Languages Building (next to Burton Tower). Ann Arbor showing underwritten by SKR Classical Records, free and open to the public.
Record-signing: Saturday, Oct. 7, 2:00-4:00, at SKR Classical, 539 E. Liberty, Ann Arbor.
Atlanta Symphony Orchestra ................................ Thurs. Oct. 12
Yoel Levi, conductor; Joshua Bell, violinist
Chanticleer.................................................. Sun. Oct. 15
Vienna Chamber Philharmonic................................. Sun. Oct. 22
Claudius Traunfellner, conductor; Nigel Kennedy, violinist
Pinchas Zukerman, violinist; Marc Neikrug, pianist................. Fri. Oct. 27
New England Ragtime Ensemble Gunther Schuller............... Sat. Oct. 28
Orchestre de la Suisse Romande...............................Thurs. Nov. 2
Armin Jordan, conductor; Martha Argerich, pianist
Kazuhito Yamashita, guitarist...................................Mon. Nov. 6
Michigan MozartFest Roger Norrington .............Thurs.-Sat. Nov. 16-18
Samuel Ramey, bass; Warren Jones, pianist ......................Mon. Nov. 27
Handel's "Messiah" Donald Bryant, conductor............. Sat., Sun. Dec. 2, 3
Kathryn Bouleyn Day, soprano; Gail Dubinbaum, contralto; Carroll Freeman, tenor; Stephen Bryant, bass; members of the Ann Arbor Symphony Orchestra. Underwritten by Great Lakes Bancorp.
Aulos Ensemble ............................................ Mon. Dec. 11
Donald Bryant Tribute Concert..................................Sun. Jan 14
Dr. Bryant conducts his new composition "Genesis"; Festival Chorus, soli, and orchestra.
Kodo, Japanese drummers............................... Fri., Sat. Jan. 26, 27
Hungarian State Folk Ensemble ................................ Wed. Jan. 31
St. Olaf Choir Kenneth Jennings................................ Sat. Feb. 3
Warsaw Philharmonic Orchestra ................................ Wed. Feb. 7
Kazimierz Kord, conductor; Zoltan Kocsis, pianist
Faculty Artists Concert (free admission) ......................... Sun. Feb. 11
Stuttgart Chamber Orchestra ................................... Fri. Feb. 16
Leon Fleisher, conduct or; John O'Conor, pianist
New York City Opera National Company................ Sat., Sun. Feb. 17, 18
Puccini's "La Bpheme"
Borodin String Quartet ....................................... Sun. Feb. 25
Maurizio Pollini, pianist ......................................... Fri. Mar. 9
Contemporary American Dance Festival................. Mon.-Fri. Mar. 12-16
Moscow Philharmonic Orchestra................................Sat. Mar. 17
Dmitri Kitaenko, conductor; Vladimir Krainev, pianist
Thomas Allen, baritone....................................... Wed. Mar. 21
Baltimore Symphony Orchestra................................ Sun. Mar. 25
David Zinman, conductor; Isaac Stern, violinist
Academy of St. Martin-in-the-Fields Iona Brown ................ Sun. Apr. 1
The Feld Ballet...................................... Wed., Thurs. Apr. 4, 5
Jim Cullumjazz Band........................................... Sat. Apr. 7
William Warfield, narrator; Gershwin's "Porgy and Bess"
Murray Perahia, pianist......................................... Sat. Apr. 14
Concerto Soloists of Philadelphia Marc Mostovoy............... Sun. Apr. 22
The King's Singers ............................................ Sat. Apr. 28
Underwritten by Parke Davis Research Division of Warner Lambert.
97th Annual May Festival ...............................Wed.-Sat. May 9-12
Los Angeles Philharmonic Andre Previn, conductor-pianist
Free brochure with complete information available upon request.
Full service box office hours in Burton Tower: Mon.-Fri. 10:00-6:00, Sat. 10:00-1:00, 764-2538. For telephone charges only: 763-TKTS, Mon.-Sat. 8 a.m.-9 p.m., Sun. 11 a.m.-6 p.m.
Burton Memorial Tower, Ann Arbor, MI 48109-1270 Phones: (313) 764-2538; 763-TKTS

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