UMS Concert Program, November 27, 1989: International Presentations Of Music & Dance --

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

Snt&fia Pre&enta
THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN
Samuel Ramey
Bass WARREN JONES, Pianist
Monday Evening, November 27, 1989, at 8:00 Hill Auditorium, Ann Arbor, Michigan
PROGRAM
Si, tra i ceppi, from Berenice........................................ Handel
Music for a while, from Oedipus................................... Purcell
Arise, Ye Subterranean Winds, from The Tempest.................... Purcell
An Schwager Kronos Heliopolis
Wanderers Nachtlied Der Schiffer
Uldino! Uldino! Mentre gonfiarsi l'anima, from Attila ................... Verdi
INTERMISSION
The foggy, foggy dew (from Suffolk)
O Waly, Waly (from Somerset)
The Bonny Earl o'Moray (Scottish Tune)
Oliver Cromwell (Nursery Rhyme from Suffolk)
Don Quichotte a Dulcinee....................
Chanson romancsquc Chanson cpique Chanson a boirc
Charlie Rutlage In the Alley At the River The Circus Band
an. Britten
Ravel
Ives
Warren Jones plays the Steinway piano available through Hammeli Music, Inc.
Samuel Ramey is represented by Columbia Artists Management Inc., New York City
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.
Cameras and recording devices arc not allowed in the auditorium. Halls Cough Tablets, courtesy of Warner Lambert Company, are available in the lobby.
Thirteenth Concert of the 11 lth Season
111 th Annual Choral Union Series
NOTES AND TEXTS
Si, tra i ceppi, from Berenice....................... George Frideric Handel
(1685-1759)
Handel's first opera, Almira, was produced at the Hamburg Opera in 1705, but his first real operatic success came with Agrippina, produced in Venice in 1709. Shortly thereafter, he began his long sojourn in England, where he became a British subject in 1721 and Anglicized his name. Though Handel's operas represented one of the high points of the first half of the eighteenth century, none was staged anywhere between 1754 and 1920 (with the exception of a fragment of Almira reduced to one short act in 1878); only since the early 1920s have Handel's operas been rediscovered. Berenice was among the six operas that Handel produced between 1735 and 1737 for his own opera company at Covent Garden.
Yea, amid chains and tortures my faith shall shine resplendent. Neither shall death quench this burning fire within me.
Music for a while, from Oedipus, and
Arise, Ye Subterranean Winds, from The Tempest..............Henry Puucell
(1659-1695)
One of the greatest of English composers, Henry Purcell was a supreme writer for the voice. His only opera, Dido and Aeneas (1689), was the first masterpiece of English opera, expressing great dramatic feeling and depth of human understanding. In addition to the opera, Purcell's output includes an enormous quantity of songs. Many of them were connected with the stage, as the fashion of the day leaned toward theater music such as Oedipus (1692) and extravagant stage spectacles such as The Tempest (1695), sometimes classed as a semi-opera.
Music for a while, from Oedipus
Music for a while shall all your cares beguile,
Wond'ring how your pains were eas'd and disdaining to be pleas'd.
Arise! Ye Subterranean Winds, from The Tempest
Arise, arise, ye subterranean winds, more to distract their guilty minds!
Arise, ye winds, arise
Winds whose rapid force can make all but the fix'd and solid centre shake.
Come drive these wretches to that part o' th' Isle,
Where Nature never, never yet did smile;
Cause fogs and damps, whirlwinds and earthquakes there,
There let them howl and languish, languish in despair!
Rise and obey the pow'rful Prince, the pow'rful Prince o' th' air!
Four Songs.............................................. Franz Schubert
(1797-1828)
Schubert ranks among the very greatest of composers in all forms except opera and concertos (of which he wrote none). He was a supreme melodist in all of his works, but nowhere more evident than in his songs. On October 19, 1814, at age 17, he set Goethe's poem Gretchcn am Spinnrade, his first masterpiece and the song that released a flood of inspiration. In 1815, Schubert composed 144 songs; on a single day, October 15, he wrote eight licder. Altogether, he wrote over 600 songs, of which about 200 arc different settings of poems he had already set -he set some poems (particularly those by Goethe and Schiller) up to six times. In addition, Schubert's accompaniments are celebrated for their reinforcement of the inner mean?ing of the poem andor of the external details of the poetic scene, e.g., graceful pianistic figures to illustrate moving or glinting water or the shimmer of stars.
An Schwager Kronos (johann Wolfgang Goethe)
Stir yourself, Chronos! On at a rattling trot! Downhill the way runs; the head reels, revolts at your dawdling. On, heedless of bumps, over stick, over stone, speed on into life!
Now once more, breathless, at a walk, toiling uphill -up, then, not sluggard -striving, hoping, up!
High, wide, glorious the view around into life, from range to range the eternal spirit floats, presaging life eternal.
Aside from your career a shady roof draws you, and the refreshment-promising gaze of the girl on the step. Revive yourself! For me, too, girl, that sparkling draught, that bright, health-giving look!
Down, then, faster down! Sec, the sun sinks! Before it sinks, and I, an old man, am trapped on the misty moor, toothless jaws champing, bones shaking, snatch me, still drunk with its last ray, a fiery sea raging in my eyes, blinded, staggering, into hell's night gate.
Sound coachman, your horn, rattle resoundingly on. Tell Orcus we're coming, let mine host be waiting at the door to welcome us.
Hcliopolis (Johann Mayrhofcr)
Rock rolled upon rock, firm ground, firm footing; cascades, windy blasts, uncomprehended power. On the mountain pinnacle, alone, monastery and castle ruin, engrave them in memory, for the poet lives by being.
Breathe the sacred ether, fling arms about the world, with the great, the worthy only boldly stay in company. Let the passions bluster in brazen harmony, when strong storms rage, the right word you will find.
Wanderers Nachtlied (Goethe)
Over every summit is peace, in every tree-top you feel scarce a breath; the birds in the wood are hushed. Only wait, soon you will be at peace.
Dcr Schiffer (Fricdrich Schlegcl)
In wind and storm on the river I fare, ever hoping for a kindlier sky. The waves madly roar as my bark rushes on; a reef and a whirlpool threaten me anon. So I would have it, and so it must be. I do not desire a life full of comfort. To live my own life shall be my reward.
Uldino! Uldino! Mcntre gonfiarsi l'anima, from Attila.......... Giuseppe Verdi
(1813-1901)
Attila is one of Verdi's patriotic operas, a stirring martial drama of confrontation and contrasts. First performed in Venice in 1846, the opera concerns the invasion of Italy by the Huns (Fifth Century, A.D.) and Attila's subsequent murder by Odabclla, whose father had earlier been killed by Attila.
The second scene of Act I takes place in Attila's tent, where Attila lies asleep. He wakes, clearly under the influence of a dream, in which he has been visited in his sleep by a vision of an old man who warned him solemnly against continuing his march on Rome. In this aria, Attila relates the dream and his consequent determination to Uldino, his attendant.
"As my soul seemed to swell with pride before Rome, a huge old man appeared who seized me by the hair . . . My senses were dazed, my hand froze upon my sword; he smiled in my face and thus commanded me: 'You are appointed as scourge only against mankind. Withdraw! The path now is barred; this is the territory of the gods!' Such words sound sombre, even fatal, within me, and the soul in Attila's breast is paralyzed with terror. Now my senses are free! I blush for my fear. Call the Druids, the captains, the kings . . . Now, wicked Rome, more rapidly than the wind will I fly to thee!"
Four British Folk Songs............................. an. Benjamin Britten
(1913-1976)
Benjamin Britten left England for North America in 1939, with the tenor Peter Pears, whose artistry inspired many of the composer's greatest operatic roles and song cycles. While in the United States, a chance reading of an article by E. M. Forster on the Suffolk poet Crabbc crystallized his resolve to return home. In 1942, Britten settled in the Suffolk town of Alde-burgh, where six years later he founded the Aldeburgh Festival. Between the years 1943 and 1961, he produced six volumes of British folk song arrangements, with piano accompaniment.
The Foggy, Foggy Dew (from Suffolk)
When I was a bachelor I lived all alone, and worked at the weaver's trade
And the only, only thing that I ever did wrong, was to woo a fair young maid.
I wooed her in the winter time, and in the summer too . . .
And the only, only thing I did that was wrong, was to keep her from
the foggy, foggy dew.
One night she came to my bedside when I lay fast asleep, She laid her head upon my bed and she began to weep. She sighed, she cried, she damn near died, she said: What shall I do So I hauled her into bed and I covered up her head, just to keep her
from the foggy, foggy dew.
Oh, I am a bachelor and I live with my son, and we work at the weaver's trade. And cv'ry single time that I look into his eyes, he reminds me of the fair young maid. He reminds me of the winter time, and of the summer too, And of the many, many times that I held her in my arms, just to keep her from
the foggy, foggy dew.
O Waly, Waly (from Somerset)
The water is wide I cannot get o'er, and neither have I wings to fly.
Give me a boat that will carry two, and both shall row, my love and I.
O, down in the meadows the other day, a-gathering flowers both fine and gay,
A-gathcring flowers both red and blue, I little thought what love can do.
I leaned my back up against some oak thinking that he was a trusty tree; But first he bended, and then he broke; and so did my false love to me. A ship there is, and she sails the sea, she's loaded deep as deep can be. But not so deep as the love I'm in: I know not if 1 sink or swim. O, love is handsome and love is fine, and love's a jewel while it is new. But when it is old, it groweth cold, and fades away like morning dew.
The Bonny Earl o' Moray (Scottish tune)
Ye Hielands and ye Lowlands, O where hae ye been
They hae slain the Earl o' Moray, and laid him on the green.
He was a braw gallant and he rade at the ring;
And the bonnie Earl o' Moray ... he might hae been a King.
O lang will his Lady Look frae the Castle Doune,
Ere she see the Earl o' Moray come soundin' thru' the toon.
0 wae tae ye, Huntley, and wherefore did ye sae
1 bade ye bring him wi' you and forbade ye him to slay. He was a braw gallant and he played at the glove;
And the bonnie Earl o' Moray ... he was the Queen's love!
O lang will his Lady Look frac the Castle Doune,
Ere she sees the Earl o' Moray come soundin' thru' the toon.
Oliver Cromwell (Nursery Rhyme from Suffolk)
Oliver Cromwell lay buried and dead. Hee-haw buried and dead;
There grew an old apple tree over his head, Hee-haw over his head.
The apples were ripe and ready to fall, Hee-haw ready to fall;
There came an old woman to gather them all, Hee-haw gather them all.
Oliver rose and gave her a drop, Hee-haw gave her a drop;
Which made the old woman go hippety hop, Hee-haw hippety hop.
The saddle and bridle, they lie on the shelf, Hee-haw lie on the shelf;
If you want any more you can sing it yourself, Hee-haw sing it yourself.
Don Quichotte a Dulcinee (Paul Morand).................... Maurice Ravel
(1875-1937)
In 1932, Ravel was commissioned, along with Manuel de Falla, Jacques Ibert, and Darius Milhaud to provide music for a film version of Don Quixote, starring the famous singing actor Feodor Chaliapin. However, Ravel's delay in finishing his contribution resulted in the commis?sion being awarded to Ibcrt. Ravel's three songs of Don Quichotte a Dulcinee were finally introduced to the public in 1934 by Martial Singher at the Concerts Colonnc. Born practically on the Spanish border, Ravel had a penchant for Spanish themes throughout his lifetime, evidenced in his Habanera (1895), Rhapsody espagnole and the opera L'Heure espagnolc (1907), Alborado del grazioso (1912), and the famous Bolero (1928). These, his last songs, include a Chanson romanesque, in which, to the rhythm of the guajira, Don Quichotte nobly offers to die for his lady; a Chanson epique, a tender and confident prayer to the Madonna; and finally, a rollicking drinking song, Ravel's farewell to music.
Chanson romanesque-If ever for the rest you are yearning, I'll hush the winds and seas, my love. I will say to the sun: "Cease in your flight, stay in your turning!" If ever for morning you sigh, I will hide the stars, tear asunder the splendor of heaven and banish the night from the sky. But if ever I hear you cry: "Give me your life, prove how you love me," darkness will fall, shadows above me, blessing you still, then I shall die! O Dulcinee!
Chanson epique -Unto my soul her presence lending, Saint Michael, come! Her champion let me be, with knightly grace her fame defending, Saint Michael, come! To earth descending, with good Saint George before the shrine of the Madonna with face divine. May the light of heaven be lying, give to my spirit purity and lend my heart sweet piety and lift my soul in ecstasy undying! (O good Saint George and Saint Michael, hear me.) An angel watches ever near me, my own beloved, like, so like you Madonna, maid divine! Amen.
Chanson a boire-Lady adored! Wherefore this sorrow I live in your glance divine; say not that love and good wine bring to us mortals grief tomorrow. Drink then! Drink tojoy! For good wines make you laugh like a merry boy! Who wants a maid (not I, I'm thinking), a maid who mopes all day long, silent and pale, never a song, frowning to see her lover drinking! Drink then, drink tojoy!
Four Songs................................................. Charles Ives
(1874-1954)
Charles Ives was one of America's most remarkable and extraordinary composers, his innovative and radical procedures profoundly changing the direction of American music. He began by playing in his father's town band in Danbury, Connecticut, and at age fourteen he was a church organist and composed his first piece, Variations on "America." After studying organ
and composition at Yale University, Ivcs moved to New York as an insurance clerk, at the same time filling several organist positions. In 1907, he and a friend formed an insurance agency that became very successful. From 1910 to 1918, Ives was at his most prolific, working on several compositions simultaneously; but the long hours he worked at both his business and his composing took their toll, and in 1918 he was seriously ill, suffering cardiac damage. He wrote few works after that and devoted the rest of his life to revising his compositions. In 1919, Ives decided to publish some of his music without copyright or performing rights and at his own expense. The first of these was his masterpiece, the Concord Sonata for piano, inspired by the writings of Emerson, Hawthorne, the Alcotts, and Thoreau. In 1922, in the same manner, he published a volume of 114 Songs, written between 1888 and 1921 and marked by great diversity of style ranging from lyrical Romanticism to powerful dissonance. Both the Concord Sonata and the 114 Songs were distributed gratis by Ives himself to anyone wishing to receive copies.
Charlie Rutlage (D. J. O'Malley)
Another good cowpuncher has gone to meet his fate,
I hope he'll find a resting place, within the golden gate.
Another place is vacant on the ranch of the XIT,
'Twill be hard fo find another that's liked as well as he.
The first that died was Kid White, a man both tough and brave,
While Charlie Rutlage makes the third to be sent to his grave,
Caused by a cowhorse falling, while running after stock.
'Twas on the spring round up, a place where death men mock,
He went forward one morning on a circle through the hills.
He was gay and full of glee, and free from earthly ills.
But when it came to finish up the work on which he went,
Nothing came back from him, his time on earth was spent.
'Twas as he rode the round up, a XIT turned back to the herd.
Poor Charlie shoved him in again, his cutting horse he spurred.
Another turned, at that moment his horse the creature spied and turned,
And fell with him, beneath poor Charlie died.
His relations in Texas his face never more will see,
But I hope he'll meet his loved ones beyond in eternity.
I hope he'll meet his parents face to face,
And that they'll grasp him by the right hand at the shining throne of grace.
In the Alley
On my way to work one summer day, just off the main highway,
Through a window in an alley smiled a lass, her name was Sally,
0 could it be she smiled on me!
All that day, before my eyes, amidst the busy whirl,
Came the image of that lovely Irish girl,
And hopes would seem to rise, as the clouds rise in the skies,
When I thought of her and those beaming eyes.
So that evening, dressed up smart and neat,
1 wandered down her street, at the corner of the alley Was another man with Sally, and my eyes grew dim. She smiles on him, and only on him!
At the River (Robert Lowry)
Shall we gather at the river, where bright angel feet have trod,
With its crystal tide forever flowing by the throne of God
Gather at the river! Yes, we'll gather at the river, the beautiful river,
Yes, we'll gather at the river that flows by the throne of God.
Shall we gather Shall we gather at the river
The Circus Band
All summer long, we boys dreamed 'bout big circus joys!
Down Main Street comes the band, Oh! "Ain't it a grand and glorious noise!"
Horses are prancing, knights advancing; helmets gleaming, pennants streaming;
Cleopatra's on her throne! That golden hair is all her own.
Where is the lady all in pink Last year she waved to me I think.
Can she have died Can! that! rot! She is passing but sees me not.
About the Artists
American-born bass Samuel Ramey is today one of the world's most acclaimed opera stars. His commitments at all the major opera houses, with the foremost symphony orchestras, and on record bear witness to this fact. In the next five years, he is scheduled for new productions of his vast repertoire with practically every major opera company in the world: Covcnt Garden, La Scala, the New York City Opera, the Metropolitan Opera, the opera
companies of Hamburg, Berlin, Florence, Venice, Geneva, Paris, the Salzburg Festival, the San Francisco Opera, and the Lyric Opera of Chicago. In many of these appearances, he is the focal point of productions mounted especially for him.
Part of Samuel Ramcy's international success lies in the fact that his voice ranges from the coloratura bass of the bel canto era to the dramatic bass repertoire. In the ' canto repertoire, he has sung such operas as Handel's Rinaldo and Semele; Mozart's Le Nozze di Figaro and Don Giovanni (both the title role and Leporello); Rossini's Moise, Le Comte Ory, L'ltaliana in Algeri, Scmiramide, Turco in Italia, II Barbierc di Siviglia, and Maometto II; Donizetti's Anna Bolena and Lucia di Lammermoor; and Bellini's Puritani and Meyerbeer's Robert Ic Diable. In the dramatic bass field, he has made something of a specialty of evil characters: the three famous devils in Boito's Mefistofelc, Gounod's Faust, and Berlioz' La Damnation de Faust; all four villains in Offenbach's The Tales oHoffinann; and Nick Shadow in Stravinsky's The Rake's Progress.
His great versatility has led him from standard roles such as King Philip in Verdi's Don Carlo to more specialized repertoire, such as the title role in the same composer's Attila. He has appeared as Escamillo in Carmen and in the title role of Massenet's Dot) Quichotte; he has sung Collincin La Boheme and Archibaldoin Montemczzi's L'Amoredei Tre Re, as wellasOlin Blitch in Carlisle Floyd's Susannah and the title role in Bartok's Bluebeard's Castle.
With the vast number of important recordings he has made for CBS Mastcrvvorks, Philips, Deutsche Grammophon, Angel, LondonDecca and RCAErato, Mr. Ramey has become the most recorded American-born bass in history. He also appears frequently on television, most recently seen in the Metropolitan Opera's new production of Bluebeard's Castle, in which he essayed the title role opposite Jessye Norman's Judith.
Samuel Ramcy was born in 1942, in Colby, Kansas, and attended Kansas State University and Wichita State University, where he studied with Arthur Newman. In 1973, he made his professional debut as Zuniga in Carmen with the New York City Opera and in 1976 sang at the Glyndebourne Festival. After engagements with the Netherlands Opera and Hamburg State Opera, he performed at La Scala in Milan and the Vienna State Opera in 1981 and has been singing at the Metropolitan Opera since 1984.
This evening, both Samuel Ramcy and Warren Jones are heard in their Ann Arbor debuts.
Warren Jones regularly collaborates with many of today's great concert artists, including Kathleen Battle, Marilyn Home, Roberta Peters, Carol Vaness, Bcnita Valente, Tatiana Troyanos, Samuel Ramey, Hakan Hagegard, Judith Blcgen, Elisabeth Soderstrom, and with Martti Talvela before the bass's untimely death last July. He has appeared on national television with Luciano Pavarotti, and his musical associations have taken him from Carnegie Hall and Lincoln Center's Great Performers Series to Tanglewood, Ravinia, Caramoor, and the Mostly Mozart Festival in New York. He has played at Milan's La Scala, Vienna's Konzerthaus, and at other theaters in Scandinavia and Asia. Among other regular commitments, Mr. Jones partici?pates in the Schubertiade Festival each year at the 92nd Street "Y" in New York (a com?prehensive performance of the entire works of Franz Schubert stretching over a ten-year period).
Warren Jones served as assistant conductor of the Metropolitan Opera for ten years; assisted James Levine at the Salzburg Festival for three summers; and has presented master classes and seminars at universities and music conservatories across the country. He is known as a prominent judge for the Walter Naumbcrg Foundation Awards, the Metropolitan Opera auditions, and the Artists' Association International Fine Arts Competition. He was born in Washington, D.C. and was graduated with honors from the New England Conservatory of Music.
Concert Guidelines
Starting Time for Concerts The Musical Society will make every attempt to begin its performances on time. Please allow ample time for parking. Latecomers arc asked to wait in the lobby until seated by ushers 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. In case of emergency, advise your paging service of auditorium and seat location and ask them to phone University Security at 763-1131.
Coming Concerts
Donald Bryant Tribute Concert Sunday Evening, January 14, at 8:00, Hill Auditorium
This special occasion offers UMS patrons the opportunity to share in the versatility of Donald Bryant's musicianship and to honor him for his twenty years of service as conductor of the University Choral Union. In this concert, he will be on stage throughout -as conductor, composer, accompanist, and solo pianist.
To recognize Dr. Bryant's lifelong interest in composing, the Musical Society com?missioned him to write a work for first performance on January 14, the effective date of his retirement. The result is Genesis, for chorus, orchestra, and soloists, with libretto by Dr. Bryant's son, Travis Bryant.
Tickets at S5 and S8 arc available for purchase in the outer lobby box office of Hill Auditorium during the intermission of this concert, or in Burton Tower during regular box office hours (10 a.m. to 6 p.m. weekdays, 10 a.m. to 1:00 p.m. Saturday), telephone (313) 764-2538. For group ticket discounts, call 763-3100.
Complete Program
Three Pieces by Donald Bryant for Combined Children's Choruses, texts by Travis Bryant God Made the Sun Shine Love Knows All Seasons Oneness With God Boychoir of Ann Arbor Ann Arbor Youth Chorale Children's Choir of First Presbyterian Church
Three Renaissance Pieces -The Festival Chorus
Eight Schubert Songs -The Festival Chorus, conducted from the piano by Dr. Bryant
Three Chopin Etudes -Donald Bryant, pianist
Etude in G-sharp minor. Op. 25 (Double-thirds) Etude in E-flat minor. Op. 10 Etude in A minor, Op. 25 (Winter Wind)
Intermission
Genesis, composed and conducted by Donald Bryant, libretto by Travis Bryant Creation Garden of Eden The Flood The Festival Chorus, orchestra, and soloists:
Julia Broxholm Collins (Eve, The Dove) Sally Carpenter (The Raven) Carroll Freeman (Noah, Adam) Stephen Bryant (God)
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. Undenvritten 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 Fleishcr, cotiductor; John O'Conor, pianist
New York City Opera National Company................ Sat., Sun. Feb. 17, 18
Puccini's "La Boheme"
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.
UNIVERSITY MUSICAL SOCIETY Board of Directors
John W. Reed, President
David B. Kennedy, Vice President
Thomas E. Kaupcr, 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 Schribcr, Chair
Sue Bonfield Charles Borgsdorf Bradley Canale Sandra Connellan Katharine Cosovich Alice Davis Irani Elena Delbanco Anne Dudcrstadt
Joann Gargaro Joyce Ginsberg Charles Hills JoAnnc Hulce Stuart Isaac Frances Jclinek Shirley Kauper
Howard King Lynn Luckenbach Alan Mandel Ingrid Martin Charlotte McGeoch Joan Olscn Agnes Reading
Dorothy Reed Miriam Stcphan Raven Wallace Mary White Sally White Shelly Williams Nancy Zimmerman
University Choral Union and Festival Chorus
Donald T. Bryant Julia Broxholm Collins Nancy Hodge Jean Schncider-Claytor
Staff
Kenneth C. Fischer, Executive Director
Catherine S. Arcure Sally A. Cushing Leilani Denison Barbara L. Ferguson
Judy Johnson Fry Michael L. Gowing Debbie Halinski Lorna Young Hildebrandt
John B. Kcnnard, Jr. Michael J. Kondziolka Thomas M. Mull Laura Rosenberg
Robin Stcphcnson Joan C. Susskind Pamela S. Tccplc Carol G. Wargclin Nancy Welder
Student Assistants: Sara Billmann, Mark Ligcski, Karen Paradis, Ann Mary Quarandillo
This activity supported by Michigan Council for the Arts.
UNIVERSITY MUSICAL SOCIETY
Burton Memorial Tower, Ann Arbor, MI 48109-1270 Telephones: (313) 764-2538763-TKTS