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UMS Concert Program, December 2-3, 1989: Messiah -- George Frideric Handel

UMS Concert Program, December 2-3, 1989: Messiah -- George Frideric Handel image UMS Concert Program, December 2-3, 1989: Messiah -- George Frideric Handel image UMS Concert Program, December 2-3, 1989: Messiah -- George Frideric Handel image UMS Concert Program, December 2-3, 1989: Messiah -- George Frideric Handel image UMS Concert Program, December 2-3, 1989: Messiah -- George Frideric Handel image UMS Concert Program, December 2-3, 1989: Messiah -- George Frideric Handel image UMS Concert Program, December 2-3, 1989: Messiah -- George Frideric Handel image UMS Concert Program, December 2-3, 1989: Messiah -- George Frideric Handel image UMS Concert Program, December 2-3, 1989: Messiah -- George Frideric Handel image
Day
2
Month
December
Year
1989
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University Musical Society
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Season: 111th
Concert: 14th & 15th
Hill Auditorium, Ann Arbor, Michigan

THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN
George Frideric Handel THE UNIVERSITY CHORAL UNION
DONALD BRYANT, Conductor
Kathryn Bouleyn Day, Soprano Gail Dubinbaum, Mezzo-soprano
Carroll Freeman, Tenor Stephen Bryant, Bass-baritone
Nancy Hodge, Harpsichordist Marilyn van der Velde, Organist MEMBERS OF THE ANN ARBOR SYMPHONY ORCHESTRA
Saturday Evening, December 2, 1989, at 8:00
Sunday Afternoon, December 3, 1989, at 2:00
Hill Auditorium, Ann Arbor, Michigan
Messiah -A Sacred Oratorio
George Frideric Handel was born in the German city of Halle on February 23, 1685, and died in London on April 14, 1759. He traveled widely as a young man and, after a sojourn in Italy in his twenties, began writing Italian operas. He settled in London at the age of 26 to write more of them, but when the popularity of Italian opera began to decline, he turned his efforts to writing oratorios, which were, in essence, operas without stage action. Most of Handel's oratorios were on Biblical subjects, chosen from the Old Testament, but not in any true sense sacred works. Messiah, his only oratorio based on the New Testament, was something different. It is not a dramatic work like the oratorios before and after it, but a contemplative one, which Handel called "A Sacred Oratorio."
Messiah is in three parts. The first celebrates the birth of Jesus, from eager anticipation and prophecy to jubilant fulfillment and thanksgiving. The second part deals with the Passion and its redemptive significance, culminating in the magnificent "Hallelujah" chorus, and the third is a great affirmation of faith, growing from quiet profundity to the ringing jubilation of the chorus "Worthy Is the Lamb" and the final grand "Amen."
The University Musical Society appreciates Great Lakes Bancorp's grant in support of these Messiah concerts. This sponsorship demonstrates the company's interest in and commitment to the performing arts in our city. We salute Great Lakes Bancorp for its significant participation in this community-wide holiday offering.
For the convenience of our patrons, the box office in the outer lobby is open during intermission for purchase of tickets to upcoming Musical Society concerts.
The harpsichord heard in these concerts is a double manual, fwe-octave instrument built in 1978 by Willard Martin, Opus 101, owned by Marilyn Mason, Professor and University Organist, U-M.
Cameras and recording devices are not allowed in the auditorium. Halls Cough Tablets, courtesy of Warner Lambert Company, are available in the lobby.
14th & 15th Concerts of the 111 th Season Nineteenth Annual Choice Series
In order that the continuity of the work be maintained, it is requested that the audience refrain from applause until the end of each part of the program.
Sinfonia
Tenor: Comfort ye, My people, saith your God, speak ye comfortably to Jerusalem, and cry unto her, that her warfare is accomplished, that her iniquity is pardon'd. The voice of him that crieth in the wilderness. Prepare ye the way of the Lord, make straight in the desert a highway for our God.
Every valley shall be exalted, and every mountain and hill made low; the crooked straight, and the rough places plain.
Chorus: And the glory of the Lord shall be revealed, and all flesh shall see it together; for the mouth of the Lord hath spoken it.
Bass: Thus saith the Lord of Hosts: Yet once a little while, and I will shake the heavens and the earth, the sea and the dry land; and I will shake all nations; and the desire of all nations shall come. The Lord, whom ye seek, shall suddenly come to His temple, e'en the mes?senger of the covenant, whom ye delight in: behold, He shall come, saith the Lord of Hosts.
But who may abide the day of His coming and who shall stand when He appeareth -For He is like a refiner's fire.
Chorus: And He shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness.
Contralto and Chorus: Behold, a virgin shall conceive and bear a Son, and shall call His name Emmanuel: God with us. O thou that tellest good tidings to Zion, get thee up into the high mountain! Lift up thy voice with strength! Lift it up, be not afraid! Say unto the cities of Judah, Behold your God! Arise, shine for thy light is come; and the glory of the Lord is risen upon thee!
Bass: For behold, darkness shall cover the earth, and gross darkness the people: but the Lord shall arise upon thee, and His glory shall be seen upon thee. And the Gentiles shall come to Thy light, and kings to the brightness of Thy rising.
The people that walked in darkness have seen a great light, and they that dwell in the land of the shadow of death, upon them hath the light shined.
Chorus: For unto us a Child is born, unto us a son is given, and the government shall be upon His shoulder; and His name shall be called Wonderful, Counsellor, the Mighty God, the Everlasting Father, the Prince of Peace.
Pastoral Sympltony
Soprano: There were shepherds abiding in the field, keeping watch over their flock by night. And lo! the angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sore afraid.
And the angel said unto them, Fear not: for behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the City of David, a Saviour, which is Christ the Lord.
And suddenly there was with the angel a multitude of the heavenly host praising God, and saying:
Chorus: Glory to God in the highest and peace on earth, good will toward men.
Soprano: Rejoice greatly, O daughter of Zion. Shout, O daughter of Jerusalem. Be?hold, thy king cometh unto thee. He is the righteous Saviour and He shall speak peace unto the heathen.
Contralto: Then shall the eyes of the blind be open'd, and the ears of the deaf unstopped. Then shall the lame men leap as an hart, and the tongue of the dumb shall sing.
Contralto and Soprano: He shall feed His flock like a shepherd, and He shall gather the lambs with His arm, and carry them in His bosom, and gently lead those that arc with young. Come unto Him, all ye that labor and are heavy laden, and He will give you rest. Take His yoke upon you, and learn of Him, for He is meek and lowly of heart, and ye shall find rest unto your souls.
Chorus: His yoke is easy, His burden is light.
INTERMISSION
Chorus: Behold the Lamb of God that taketh away the sin of the world.
Contralto: He was despised and rejected of men, a man of sorrows and acquainted with grief He gave His back to the smitcrs, and His cheeks to them that plucked off the hair. He hid not His face from shame and spitting.
Chorus: Surely He hath borne our griefs, and carried our sorrows: He was wounded for our transgressions. He was bruised for our iniqui?ties, the chastisement of our peace was upon Him.
And with His stripes we are healed.
All we like sheep have gone astray; we have turned every one to his own way; and the Lord hath laid on Him the iniquity of us all.
Tenor: All they that see Him laugh Him to scorn: they shoot out their lips, and shake their heads, saying:
Chorus: He trusted in God that He would deliver Him: let him deliver Him, if He de?light in Him.
Tenor: Thy rebuke hath broken His heart; He is full of heaviness. He looked for some to have pity on Him, but there was no man, neither found He any to comfort Him.
Behold, and see if there be any sorrow like unto His sorrow.
He was cut off out of the land of the living: for the transgression of thy people was He stricken.
But Thou didst not leave His soul in hell, nor didst Thou suffer Thy Holy One to see corruption.
Chorus: Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of glory shall come in. Who is this King of glory The Lord strong and mighty, the Lord mighty in battle. Who is this King of glory The Lord of hosts, He is the King of glory.
Please note the following change in the program:
MARK BEUDERT, TENOR, will replace CARROLL FREEMAN who has had to cancel due to illness.
MARK BEUDERT was a winner of the 1985 Luciano Pavarotti International Voice Competition and has recently been invited by Mr. Pavarotti to succeed him in his role in La Favorita at the Teatro Fenice in Venice. His undergraduate work was done at Columbia University, followed by two years of study with inter?nationally-famed tenor Franco Corelli. Thence followed two years singing in various opera houses in America, Mexico, and the Caribbean in repertoire ranging from Monteverdi through the major French and Italian roles to Stravinsky's The Rake's Progress.
He made his New York City Opera debut in 1986 and has returned there each year since, appearing as Alfredo in La Traviata and the title role in The Student Prince, which he sang with the company on their tour of China,
For the past two years Mr. Beudert has been based in Great Britain where he made his debut in Hay 1988 with the Scottish Opera in the title role of Bernstein's Candide. He has appeared with the English National Opera in Weill's Street Scene and with the Australian Opera as Pinkerton in Madama Butterfly.
In January 1990 Mr. Beudert begins a sabbatical period
as a candidate for a Master's Degree in Music at the
University of Michigan. Plans after graduation include
return engagements with the Scottish Opera and the English National Opera.
Tenor: Unto which of the angels said he at any time, thou art my son, this day have I begotten thee
Chorus: Let all the angels of God worship Him.
Contralto: Thou art gone up on high, thou hast led captivity captive and received gifts for men; yea, even for thine enemies, that the Lord God might dwell among them.
Chorus: The Lord gave the word: Great was the company of the preachers.
Contralto and Soprano: How beautiful arc the feet of him that bringeth good tidings of salva?tion; that saith unto Zion, Thy God reigneth!
Chorus: Break forth into joy, glad tidings, Thy God reigneth! How beautiful arc the feet of him that bringeth tidings of salvation; that saith unto Zion, Thy God reigneth! Break forth into joy, glad tidings, Thy god reigneth!
Chorus: Their sound is gone out into all lands, and their words unto the ends of the world.
Bass: Why do the nations so furiously rage together: why do the people imagine a vain thing The kings of the earth rise up, and the rulers take counsel together: against the Lord, and against his Anointed.
Chorus: Let us break their bonds asunder, and cast away their yokes from us.
Tenor: He that dwelleth in heaven shall laugh them to scorn; the Lord shall have them in derision.
Thou shalt break them with a rod of iron; Thou shalt dash them in pieces like a potter's vessel.
The Choral Union invites you to join them in sing?ing the "Hallelujah Chorus." Unless you wish to keep it, please leave the music at the door when leaving.
Chorus and Audience: Hallelujah! for the Lord God omnipotent reigneth.
The kingdom of this world is become the kingdom of our Lord and of His Christ; and
He shall reign forever and ever. King of Kings, and Lord of Lords.
Pause
Soprano: I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth. And tho' worms destroy this body, yet in my flesh shall 1 sec God! For now is Christ risen from the dead, the first fruits of them that sleep.
Chorus: Since by man came death, by man came also the resurrection of the dead. For as in Adam all die, even so in Christ shall all be made alive.
Bass: Behold, I tell you a mystery; we shall not all sleep, but we shall all be changed, in a moment, in the twinkling of an eye, at the last trumpet.
The trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed.
For this corruptible must put on incorrup-tion, and this mortal must put on immortality.
Contralto: Then shall be brought to pass the saying that is written, Death is swallow'd up in victory.
Contralto and Tenor: O death, where is thy sting O grave, where is thy victory The sting of death is sin; and the strength of sin is the law.
Chorus: But thanks be to God, who giveth us the victory through our Lord Jesus Christ.
Soprano: If God be for us, who can be against us Who shall lay any thing to the charge of God's elect It is God that justifieth. Who is he that condemneth It is Christ that died, yea rather, that is risen again, who is at the right hand of God, who makes interces?sion for us.
Chorus: Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom, and strength, and honor, and glory, and blessing. Blessing and honor, glory and power, be unto Him that sitteth upon the throne, and unto the Lamb forever and ever. Amen.
Donald Bryant to Retire January 14
In the distinguished lineage of University Choral Union conductors, Donald Bryant is the seventh, adding his twenty years of dedicated service and expertise to this Ann Arbor institu?tion before his retirement next month. Dr. Bryant has followed in the noteworthy footsteps of these Choral Union conductors (and their conducting tenures): Calvin B. Cady (1879-88), Albert A. Stanley (1888-1921, also founder of the May Festival), Earl V Moore (1922-39), Thor Johnson (1939-42), Hardin Van Deursen (1942-47), and Lester McCoy (1947-69).
In addition to nourishing the long-established role of the Choral Union in Messiah and May Festivals, Donald Bryant augmented these activities with the formation of a new, smaller, and more flexible group of singers known as the Festival Chorus. This chorus has performed with visiting orchestras in the Choral Union Series and at the May Festivals, given oratorio and other special concerts, and, led by Dr. Bryant, represented Ann Arbor and the University Musical Society abroad in three foreign concert tours.
A glance backward in time reveals that music was to be Donald Bryant's lifetime destiny. Born October 27, 1918, on the central Ohio farm his ancestors settled in 1804, he began piano lessons at age eight with a cousin, had his own students and led a church choir by age 14, and at age 15 was hitchhiking each Saturday for private study with a teacher in Columbus (120 miles round trip). He had his high school diploma at age 16 and wanted to attend New York's Juilliard School of Music, but his young age and lack of funds forced a postponement. Mean-
while, to earn money, he teamed up with a traveling evangelist, as solo singer, pianist, and leader of gospel hymns during the tent revival meetings. A few years later, he entered Capital University in Columbus for undergraduate studies in piano and composition and, after four years of service in World War II, returned there for his master's degree. It was in 1946 that Donald Bryant's Juilliard dream became a reality. He earned a master's degree in piano perfor?mance and also studied singing with Mack Harrell, serving as Harrell's studio accompanist as well.
In the twenty years between Juilliard and his Ann Arbor Choral Union appointment, Dr. Bryant was directorpianist for the Columbus Boychoir School, based in Princeton, New Jersey, and in this weekend's Messiah performances, he is delighted and proud to have two of his former choirboys as soloists -Carroll Freeman and Stephen Bryant (his son). For two decades, he led the boys on concert tours of South America, Europe, and Japan, recorded albums for RCA and Columbia, and appeared with them many times on NBC-TV In this country, the Boychoir sang with leading symphony orchestras, such as The Philadelphia Orchestra, the Boston Symphony both at Tanglewood and in Boston, and with the New York Philharmonic during festivities for the 1961 opening of New York's Lincoln Center.
While in Ann Arbor, Dr. Bryant has composed numerous works for both the Musical Society and the First Presbyterian Church, where he is music director. They include many sacred choral works; an opera, The Tower of Babel; Death's Echo, a choral work commissioned for the 1984 Ann Arbor Summer Festival; choral settings for the poetry of W. H. Auden and the Polish-American Nobel laureate Czeslaw Milosz; Missa Brevis, a short mass premiered a year ago; and most recently, Genesis, the work commissioned by the University Musical Society for premier performance at the "Donald Bryant Tribute Concert" on January 14, the effective date of his retirement.
For his contributions to the Ann Arbor community, Dr. Bryant has been recognized by the Washtenaw Council of the Arts with its "Annie" Award for artistic excellence; Ann Arbor's City Council lauded him as the local leader in helping "hundreds of children in Ann Arbor grow up singing and singing well"; and, as "official pianist" of the Rotary Club, he was named a Paul Harris Fellow earlier this year for service to the community, mankind, and the club, the highest honor a Rotarian can receive.
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 85 and S8 are 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)
The public is invited to a Tribute Reception at the Michigan League after the concert. For tickets, $5 each, call 764-2538.
About the Artists
Renowned in opera, concert, and recital, Kathryn Bouleyn Day has appeared with the major symphony orchestras of North America and Mexico, under conductors including Eugene Ormandy, Edo de Waart, Raymond Leppard, and Zubin Mehta. A regular guest at prestigious summer festivals, she has performed at the Festival of Two Worlds in Italy and the United States, the Mostly Mozart and Caramoor Festivals in New York, and Scotland's Edinburgh Festival.
In recent seasons, Ms. Day has performed Gutrune in Gdtterdtimmenmg, Elisabeth in Don Carlo, and Tatiana in Eugene Onegin. During the current season, she makes her debuts with the Basler Staatstheater as Leonora in Fidelio, Santuzza in Cavalleria Ritsticana at the Opera de Nice, and as Giulietta in Les Contes d'Hofftnann with the Seattle Opera. She is already scheduled to return to Seattle for Venus in Tannha'user and Leonora in Fidelio.
Kathryn Bouleyn Day has visited Ann Arbor five times since 1976, for fifteen perfor?mances of Messiah that include the Choral Union's 100-year concerts and live recording in 1978.
Gail Dubinbaum made her Ann Arbor debut recently as soloist with Kurt Masur and the Leipzig Gewandhaus Orchestra at the 1989 May Festival. She first attracted national atten?tion by winning the Metropolitan Opera Auditions in 1981 and made her Metropolitan debut the following season. Her roles at the Metropolitan include Dorabella in Cost fan tutte, Rosina in The Barber of Seville, and Isabella in The Italian in Algiers, in addition to appearances in Falstaff, Carmen, Rinaldo, Adriana Lecouvreur, La Traviata, Manon Lescaut, Parsifal, and Francesco da Rimini. Abroad, Ms. Dubinbaum made her Vienna State Opera debut in 1986 as Rosina in The Barber of Seville and was later invited to return in the same role.
In concert, Ms. Dubinbaum has performed with the New York Philharmonic under Leonard Bernstein and Zubin Mehta, the Los Angeles Philharmonic with Michael Tilson Thomas and Christopher Hog wood, and with the symphony orchestras of Montreal, Boston, Pittsburgh, San Francisco, Detroit, and Phoenix. Her festival engagements include those at Tanglewood, Blossom, and the Hollywood Bowl. Her orchestral repertoire includes Beethoven's Ninth Symphony, Haydn's Lord Nelson Mass, Mozart's Solemn Vespers, Re?quiem, and Coronation Mass, and Leonard Bernstein's Jeremiah Symphony. Ms. Dubinbaum made her Carnegie Hall debut in 1984 and has been guest soloist for the 92nd Street "Y" Chamber Concert Series in Bach's B-minor Mass. In addition, she appears in solo recitals on both the East and West coasts.
Carroll Freeman's singing engagements have taken him from New York to San Fran?cisco and many points in between. A member of the Texas Opera Theater from 1978-81, Mr. Freeman made his New York City Opera debut in 1982 and his European debut at the Edinburgh Festival in 1983 with the Opera Theatre of St. Louis. Also with the St. Louis Opera, he made his Japanese debut a year ago in Jouri by Minoru Miki. Among his operatic credits are numerous performances of Rossini operas, especially Count Almaviva in Tlie Barber of Seville. He has also had great success in Offenbach's Orpheus in the Underworld, Don Pasquale, Falstaff, and Cost fan tutte. His recent concert engagements include Carmina Burana at Carnegie Hall and Elijah with the Minnesota Chorale, and he is in demand for Messiah performances across the country. In Ann Arbor, he sang Messiah in 1984 and 1985 and will return next month to sing the roles of Noah and Adam in Cenesis at the "Donald Bryant Tribute Concert."
A note of special interest: Carroll Freeman began his professional singing career as a member and soloist of the Columbus Boychoir under Donald Bryant, in the years just preced?ing Dr. Bryant's appointment as conductor of the University Choral Union in 1969. With Bryant and the Boychoir, Mr. Freeman toured the United States, Canada, and Japan, and during this time was also soloist with Leonard Bernstein and the New York Philharmonic, the New York City Opera, and the Bell Telephone Hour on NBC-TV
Stephen Bryant, too, began his singing career as a member and soloist of his father's Columbus Boychoir for six years in the early 1960s, overlapping one year with fellow choirboy Carroll Freeman. In recent years, Stephen has been prominent on Ann Arbor's musical scene as Messiah and May Festival soloist and assistant conductor of the University Choral Union, at the same time earning a double master's degree in vocal performance and choral conducting at the U-M School of Music. He now continues his singing career from a vantage point closer to New York City, in his new position as associate professor of music at William Patcrson College in New Jersey.
Mr. Bryant has performed with the St. Louis and Santa Fe opera companies and with companies throughout Michigan, Ohio, and Wisconsin. In New York, he made his Town Hall debut last year as Lord Sidney in the New York premiere of Rossini's viaggio a Reims. He has performed Bach Cantatas with Musica Sacra and sang the role of Judas in Bach's St. Matthew Passion at Avery Fisher Hall. Other New York appearances include the Druid Guard in Mendelssohn's Walpurgisnacht at the Metropolitan Museum of Art (the same role he sang in the '89 May Festival) and the Emissary in Chcrubini's Lodoiska at Alice Tully Hall.
In addition to Messiah, which he will also sing in California as well as Ann Arbor, Mr. Bryant has performed in Haydn's Lord Nelson Mass, as Scarpia in a concert version of Tosca, and Samuel Barber's Dover Beach with the Lafayette String Quartet. His upcoming engage-
ments include the role of God in Genesis, a new work composed by his father for the January 14 UMS "Donald Bryant Tribute Concert," an appearance with the Florentine Opera in Mil?waukee, and the baritone solo part in the Brahms Requiem at East Lansing's Wharton Center.
Kathryn Bouleyn Day is represented by Columbia Artists Management Inc.; Gail Dubinbaum, by Personal Representative Mr. John Massaro; Carroll Freeman, by Thea Dispeker, Inc.; and Stephen Bryant, by Harwood Management Group, Inc.
The University Choral Union
In the spring of 1879, a group of singers from four local church choirs gathered informally in the organ loft of Ann Arbor's Congregational Church, first, just to listen to choruses from Handel's Messiah being played on the organ by Dr. Henry Simmons Frieze, and then to sing some of them under his direction. That marked the beginning of the University Choral Union, which gave its first concert in December 1879, leading to the formation of a new society to promote the fledgling Choral Union and manage musical activities in Ann Arbor. Thus, on February 24, 1880, the University Musical Society came into being, and Dr. Frieze was elected its first president.
In addition to its annual Messiah concerts, the Choral Union has performed in the Ann Arbor May Festivals since the first Festival in 1894, preserving this choral tradition that began in 1879. Now, as then, membership in the Choral Union remains open to all singers by audition, continuing the long-standing participation of townspeople, students, and faculty.
Donald Bryant, Conductor Julia Broxholm Collins, Assistant Conductor
Laura Rosenberg, Manager Jean Schneider-Claytor, Rehearsal Accompanist
First Sopranos Patsy Auiler Janet Bell
Edith Leavis Bookstein Susan P Booth LetitiaJ. Byrd Mary Ellen Cain Margaret K. Carsky Julia Broxholm Collins Elaine Cox Erica Dutton Kathryn Foster Elliott Michelle Fowke Lori Kathleen Gould Marcia Hall Elizabeth Harris Laurie Heller May Y. Huang Jan Jackson Joyce M. Jenkins Grace Jones Mary Kahn
Elizabeth Mary Kargilis Karen L. Keip June Krebs Theresa A. Lawton Kathy H. Lee Carolyn Leyh Kathleen Lin Bessie Marikis Lynn Marko Caryn McCoy Loretta I. Meissner Margaret Nesse Madelyn Nichols Amy Pennington Carole Lynch Pennington Marian Robinson Susan Sargent Suzanne Schluederberg Alice M. Schneider Anne M. Schneider Cassie St. Clair Charlotte Stanck Marian V Stolar Susan E. Topol
Margaret Warrick Blythe Williams Jennifer S. Williams Shannan L. Williams Karen Woollams
Second Sopranos Martha Ause Barbara Beath Kathlyn A. Bowersox Margaret Brewer Patricia A. Bridges Virginia Burr Marilyn Buss Liza W. Chang Young Cho Rebecca L. Collino Doris Datsko Ann Hunter Dills Lesley Ann Dills Patricia Hackney Jennifer V Hines Claire Holdgate Rosalie J. Koenig Ann Kathryn Kuelbs Janet G. Leckronc Sharon L. Leftridge Judy Lehmann Loretta Lovalvo Kim Mackenzie Gail McCulloch Jill Malin McCullough Marilyn Meeker Nancy Rae Morehead Trisha L. Neff Lydia Nichols Barbara Nordman Joanne Owens Sara Jane Peth Cheryl E Ranson Virginia Reese Alexandra Reid-Schwartz Linda Ricciardi Josephine Schaudcr Judeth G. Schwab Brenda Scotton
Muril Seabrook Ilenc A. Seltzer Letitia Shapiro Kay Sccfanski Leah M. Stein Elizabeth Stewart-Robinson Sue Ellen Straub Nancy Thomas Ms. Mary Tillinghast Patricia Tompkins Jean Marion Urquhart Catherine Wadhams Barbara Hertz Wallgren Dr. Rachelle Warren Kathleen A. Young
First Altos Yvonne Allen Satik Andriassian-
Kennedy Barbara Baily Rosalyn Biederman Amey Buchanan-Kadri Lael Cappaert Carol Carpenter Sally Carpenter Lubomyra A. Chapelsky Lee-may Chen Viola Cheung Dr. Mary C. Crichton Millie Danielson Daisy E. Evans Kathlyn Faber Marilyn A. Finkbeiner Ruth Gewanter Deborah Heyl-Clegg Jacqueline Hinckley Virginia Hmay Dr. Nancy Houk Nancy Karp Carolyn King Lisa Lava-Kellar Frances I ym.ni Mary Mancewicz
Patricia Kaiser McCloud Lois R Nelson Mary Anne Ncmeth Diana Ning Lisa Pape Julie Ann Rittcr Heidi Salter Jari Smith Joan Stahman Laura Stahman Patricia Steiss Jane Van Bolt Joanne VerofT Joanne Weintraub Suzanne Williams Charlotte Wolfe Barbara H. Wooding
Second Altos Anne Abbrecht Marjorie Baird Eleanor P Beam Alice Cerniglia Jennifer Dahlstrom Lisa Danielson Anne C. Davis Elena Delbanco Alice B. Dobson Andrea Foote Danielle Galbraith Mary E. Haab Margo Halstcd Valerie Hawkslcy Nancy Heaton Dana Hull Carol L. Hurwitz Loree Kallay Margaret Kirschner Katherine Klykylo Janet W Koons Sally A. Kope Judy Lucas
Cheryl Melby MacKrell Barbara K. Maes Carrie O'Neill
Anne Ormand Mary B. Price Joan M. Roth Carrcn Sandall Anita Say Scherzer Margaret Sharemet Patricia Ann Shufelt CynthiaJ. Sorcnsen Jeanette Sprik Kathryn Stebbins Alice Warsinski Ann E Woodward
First Tetwrs Charles R. Cowley Bruce Davidson Fr. Timothy J.
Dombrowski Marshall Frankc James Frenza Thomas Jameson Joseph Kubis Robert E. Lewis Paul Lowry Robert K. MacGregor Gene D. Minton Bernard Patterson
Second Tenors John Ballbach Rupert De Salis Dwight L. Fontenot Gary M. Gatien Albert P Girod, Jr. Ray Henry Thomas J. Hmay Mr. Daniel M. Kaller William D. Kinley Martin G. Kope John W. Luginsland Mike Ncedham James D. Priore Robert Reizner David M. Rumford Henry Schuman Carl R. Smith Gary M. Ward
First Basses Mark Anema Marion L. Beam Raoul Louis Bctancourt Dean Bodley Donald J. Bord Michael Brand
Robert R. Brewster John M. Brueger Thomas Cook James M. Ellenberger Philip Gorman Marshall W. Jorgensen Klair H. Kissel Harvey W Krage Lawrence L. Lohr John MacKrell Richard K. Meader Robert E. Meader Jim Melby Sol Metz
John Gordon Ogden Bradley Pritts Jeffrey B. Randall James Rieger Walter Roberts David Sandusky Ross G. Satterwhite James C. Schneider John Sepp Ralph Stahman Donald R. Williams Edward J. Wyman Thomas G. Zantow
Second Basses James David Anderson William Guy Barast Kee Man Chang Edward Curtis Mark Davis JohnJ. Dry den Don Faber Howard Grodman Donald L. Haworth Ramon R. Hernandez Charles E Koons Charles E Lehmann William P McAdoo W Bruce McCuaig John P Plant David Schleicher David A. Scott JefTSpindlcr Robert Stawski Dag Q Storrostcn Robert D. Strozier Terril O. Tompkins John Van Bolt
The Ann Arbor Symphony Orchestra
The Ann Arbor Symphony Orchestra was founded in 1928 by a group of dedicated volunteer musicians with the goal of establishing a community orchestra that would give the area's many talented musicians an opportunity to perform. Though the orchestra has under?gone many changes since then, particularly in the last four years, the underlying concept of featuring musicians with ties to Ann Arbor remains intact.
Since the appointment of Carl St. Clair as music director in 1985 and the decision to charge modest admission fees, the Ann Arbor Symphony has become a thriving organization, both financially and artistically. After several years of dwindling audiences, the Symphony's first sellout performance came in 1987, and this season it anticipates no fewer than four. The 1986-87 season saw the development of an Education and Outreach program that has received regional acclaim and is acknowledged by the NAACP as one of the most effective in the country. Earlier this year, the Ann Arbor Symphony was recognized by the Washtenaw Coun?cil for the Arts with an "Annie" Award for Excellence in the Performing Arts.
Carl St. Clair, Music Director
First Violins Shi-Hwa Wang Concertmaster Linda Ettcr Karen Land Sherry Quint Laura Rowe Katie Rowan Deborah Schmaltz Barbara Sturgis-Everett Dee Wall
Second Violins Tim Kopf Julie Bailey Brian Ettcr Cynthia Housh
Jackie Livesay Linda Shapanka Lisa Tarzia Gayle Zirk
Violas
Nancy Thomas Carol Palms Carolyn Tarzia Cathy Franklin Kathcrinc Jackson
Cellos
Richard Mattson
John Cunningham
Joan Hovda Amy Kuras Margot Amrine Marolin Bcllcficur
Basses
John Kennedy Roger McKay Michelle Robinson Mark Bernat
Oboes
Lorelei Crawford
Kristin Wicdcnmann
Bassoon
Dean Zimmerman
Trumpets
Derek Lockhart
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Timpani James Lancioni
Principal
This activity supported by Michigan Council for the Arts.
UNIVERSITY MUSICAL SOCIETY
Burton Memorial Tower, Ann Arbor, MI 48109-1270 Telephones: (313) 764-2538, 763-TKTS

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