UMS Concert Program, Oct. 1, 1990: Chamber Music Society Of Lincoln Center --

Season: 1990-1991
Concert: First
The University Of Michigan Ann Arbor

1990-1991 Concert Season
Chamber Music Society of Lincoln Center
Oct. 1, 1990
The University of Michigan Ann Arbor
A Salute to Our
Corporate
Underwriters
On behalf of the Univer?sity Musical Society, I am privileged to recognize the companies whose support of UMS through their corporate underwriting reflects their position as leaders in the Southeastern Michigan business community.
Their generous support provides a solid base from which we are better able to present outstanding performances for the varied audiences of this part of the state.
We are proud to be associ?ated with these companies. Their participation in our underwriting program strengthens the increas?ingly important partner?ship between business and the arts. We thank these community leaders for this vote of confidence in the Musical Society and for the help they provide us to serve you, our audience, better.
Kenneth C. Fischer
Executive Director University Musical Society
A Salute to Our
Carl A. Brauer, Jr.
Owner, Brauer
Investment
Company
"One of the most exciting assets of our culturally-rich community... University Musical Society."
Harold A. Poling
Chairman and Chief Executive Officer, Ford Motor Company
" Ford Motor Company is proud of its long-standing association with the University Musical Society. The Society is a vital part of our artistic community, each year attracting outstanding orchestras and performers from throughout the world to our area. The Society's international musical, dance and choral programming is recognized for quality, creativity and excellence throughout the United States and Canada."
Howard S. Holmes
President, Chelsea Milling Company.
"The Ann Arbor area is most fortunate to have the most enjoyable and outstanding musical entertainment made available by the efforts of the University Musical Society. We are very fortunate and I am happy to do my part to keep this activity alive."
Chelsea Milling Company
Roy E. Weber
Chairman, President and Chief Executive Officer
"Great Lakes Bancorp is pleased to support the University Musical Society, an organization that shares our established history of over 100 years of quality performance."
Corporate Angels
Dr. John Psarouthakis
Chairman,
J.P. Industries, Inc.
"The University Musical Society continues to represent the finest in artistic achievement. J.P. Industries is very pleased to be a corporate sponsor in this year's performances."
Ronald Weiser
Chairman and Chief Executive Officer, McKinley Associates
"McKiniey Associates is proud to support the University Musical Society and the cultural contribution it makes to the community."
Patrick B. Long
Chairman, KMS Industries, Inc.
"KMS Industries is a proud sponsor of the University Musical Society."
Sue S. Lee
President, Regency Travel Agency, Inc.
"It is our pleasure to work with such an outstanding organization as the Musical Society at The University of Michigan."
George H. Cress
Chairman, President and Chief Executive Officer, Society Bank, Michigan
"Society Bank, Michigan, has a long history of civic commitment and we are delighted to join the University Musical Society in its contribution to the arts in our community."
Gerald V. MacDonald
Chairman, Manufacturers National Corporation
"As a locally-based corporation, Manufacturers is proud to help support the University Musical Society and the arts in this community. The performing arts enrich all of our lives and bring us together in a spirit of celebration."
Ronald M. Cresswell
Ph.D., Vice President and Chairman, Pharmaceutical Division, Warner-Lambert Company
"Warner-Lambert is very proud to be associated with the University Musical Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor."
General Information
University Musical Society Auditoria Directory and Information
Coat Rooms
Hill Auditorium:
Coat rooms are located on the east and west sides of the main lobby and are open only during the winter months.
Rack ham Auditorium:
Coat rooms are located on each side of the main
lobby.
Power Center:
Lockers are available on both levels for a minimal charge. Free self-serve coat racks may be found on both levels.
Drinking Fountains
Hill Auditorium:
Drinking fountains are located throughout the main floor lobby as well as on the east and west sides of the first and second balcony lobbies.
Rackham Auditorium:
Drinking fountains are located at the sides of the inner lobby.
Power Center:
Drinking fountains are located on the north side of the main lobby and on the lower level, next to the restrooms.
Handicapped Facilities
With the addition of the ramp on the west side of Hill Auditorium, all auditoria now have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Lost and Found
Call the Musical Society Box Office at 764-2538.
Parking
Parking is available in the Thayer and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. Free reserved parking is available to Encore members at the Guarantor, Leader, Concertmaster, and Bravo Society levels.
Public Telephones
Hill Auditorium
A wheelchair-accessible public telephone is located at the west side of the outer lobby.
Rackham Auditorium
Pay and campus telephones are located on each side
of the main lobby.
Power Center
Pay phones are available in the ticket office lobby.
Refreshments
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts. Refreshments are not allowed in the seating areas.
Restrooms
Hill Auditorium
Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first balcony lobby.
Rackham Auditorium
Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby.
Power Center
Men's and women's rooms are located on the south side of the lower level. A wheelchair-accessible restroom is located on the north side of the main lobby. A men's room is located on the south side of the balcony level. A women's room is located on the north side of the balcony level.
Smoking Areas
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Tours
Guided tours of the auditoria are available to groups by advance appointment only. Call 763-3100 for details.
Concert Guidelines
To make concertgoing a more convenient and pleasurable experience for all patrons, the Musical Society has implemented the following policies and practices:
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. Cameras and Recorders
Cameras and recording devices are not allowed in the auditoria.
Burton Tower
In a 1921 commencement address, University president Marion LeRoy Burton suggested that a bell tower, tall enough to be seen for miles, be built in the center of campus to represent the idealism and loyalty of U-M alumni. Burton served as president of the University and as a Musical Society trustee from 1920 to his death in 1925.
In 1935 Charles M. Baird, the University's first athletic director, donated $70,000 for a carillon and clock to be installed in a tower dedicated to the memory of President Burton. Several organizations, including the Musical Society, undertook the task of procuring funds, and nearly 1,500 individuals and organizations made contributions. The gift of the UMS totalled $60,000.
Designed by Albert Kahn, Burton Memorial Tower was completed in 1940, at which time the University Musical Society took residence of the first floor and basement.
The other floors are arranged as classrooms and offices used by the School of Music, with the top reserved for the Charles Baird Carillon.
Burton Tower is a favorite campus and Ann Arbor landmark as well as the familiar mailing address for UMS concertgoers.
Hill Auditorium
The University Musical Society presentation of the 20th Annual May Festival inaugurated Hill Auditorium in May, 1913. Since then, Hill has been recognized not only as one of The University of Michigan's most distinguished architectural landmarks, but a world-class performance space that has helped to establish Ann Arbor's reputation as a cultural center.
Construction was made possible by a $200,000 bequest to the University by Arthur Hill, a former regent, who believed the University needed a suitable auditorium for holding music festivals, concerts, and other university gatherings. Charles Sink, then Musical Society president, helped to raise an additional $150,000.
Originally holding 5,000-seats, Hill now contains 4,169. Detroit architect Albert Kahn designed the building with the help of New York acoustical engineer Hugh Tallant. Every word spoken from the stage can be heard unamplified from virtually every part of the hall, making it a favorite of performers and concertgoers throughout the world.
The UMS celebrated the 75th anniversary of Hill Auditorium in a gala performance on October 29, 1988 featuring the Vienna Philharmonic with conductor Leonard Bernstein celebrating his 70th birthday.
Power Center
for the Performing Arts
The Power Center for the Performing Arts is celebrating its 20th season as one of the Midwest's most hospitable venues for theater, dance, and music. Dedicated on October 5, 1971, with the world premiere of Truman Capote's "The Grass Harp," the Power Center has been host to hundreds of the most prestigious names in the performing arts and tens of thousands of their patrons.
Eugene B. Power, a former regent of The University of Michigan, and his wife, Sadye, contributed $3 million toward the facility's original cost of $3.5 million. A 28,000-square-foot addition, including rehearsal spaces and costume and scenery shops, opened in the fall of 1981. The Center has seating for 1,414 patrons.
The University Musical Society's first presentation in Power Center was of Marcel Marceau in October, 1971.
Rackham Auditorium
A school of graduate studies was founded at The University of Michigan in 1913, but upon receiving a $ 14.2 million gift in 1933, the school was renamed to honor the donors, Horace H. and Mary A. Rackham. Horace Rackham was a successful Detroit attorney and an original stockholder in Ford Motor Company. This donation was one of the most ambitious and liberal gifts ever given to higher education.
$2.5 million was allocated for the purchase of land and construction, and the Rackham Building was completed in 1938. Designed by William Kapp of the Detroit firm of Smith, Hinchman, and Grylls and architectural sculptor Corrado Parducci, the building is of lush interior design.
The 1,176-seat auditorium is luxurious and comfortably appointed with wide aisles and large, upholstered chairs. Its intimacy, beauty, and fine acoustics have long provided the ideal setting for chamber music performances.
In 1941, the University Musical Society presented its first Chamber Music Festival there, which was the first organized event of its kind in Ann Arbor.
The UMS celebrated the 50th anniversary of the Rackham Building in September 29, 1988, with a special performance by the Tokyo String Quartet.
19901991 Concert Season
Monday, October 1, 8:00 p.m.
Chamber Music Society of Lincoln Center Rackham Auditorium
Saturday, October 6, 8:00 p.m.
Klezmer Conservatory Band Hill Auditorium
Tuesday, October 16, 8:00 p.m.
Chilingirian String Quartet Rackham Auditorium Underwritten in part by a grant from the Edward Mardigian Foundation
Friday, October 19, 8:00 p.m.
Leningrad Philharmonic
Mariss Jansons, conductor
Dmitri Alexeev, pianist
Hill Auditorium
Reception following the concert
underwritten by a grant from Society
Bank
Thursday, October 25, 8:00 p.m.
London Classical Players Roger Norrington, conductor Hill Auditorium
Friday, October 26, 8:00 p.m. Saturday, October 27, 8:00 p.m.
Ballet Francais de Nancy Power Center
Sunday October 28, 3:00 p.m.
Shanghai Acrobats and Imperial Warriors of the Peking Opera Power Center
Tuesday, October 30, 8:00 p.m. Itzhak Perlman, violinist Pinchas Zukerman, violinist &
violist Hill Auditorium
Wednesday, November 14, 8:00 p.m.
Prism Quartet and Chester String Quartet Rackham Auditorium
Saturday, November 17, 8:00 p.m.
Billy Taylor Trio Hill Auditorium
Monday, November 19, 8:00 p.m.
Royal Winnipeg Ballet Power Center
Saturday, December 1, 8:00 p.m. Sunday, December 2, 2:00 p.m.
Handel's "Messiah"
Hill Auditorium
Underwritten by a grant from Great
Lakes Bancorp
Thursday, December 6, 8:00 p.m.
Vladimir Ashkenazy, pianist Hill Auditorium
Thursday, December 13, 7:00 p.m.
Little Singers of Paris Hill Auditorium
Thursday, January 10, 8:00 p.m.
Yo-Yo Ma, cellist Hill Auditorium
Monday, January 14, 8:00 p.m.
Leontyne Price, soprano Hill Auditorium Underwritten by a granrfrom Manufacturers Bank A part of The U-M Commemoration of the birthday of the Rev. Martin Luther King, Jr.
Wednesday, January 30, 8:00 p.m.
Camerata Musica --Berlin Rackham Auditorium
Sunday, February 3, 4:00 p.m.
Faculty Artist Concert Rackham Auditorium
Sunday, February 10, 4:00 p.m.
Detroit Symphony Orchestra Neeme Jarvi, conductor Nadja Salemo-Sonnenberg, violinist Hill Auditorium
Monday, February 11, 8:00 p.m.
Amsterdam Loeki Stardust Quartet Rackham Auditorium
Wednesday, February 13, 8:00 p.m. Friday, February 15, 8:00 p.m. Saturday, February 16, 8:00 p.m.
New York City Opera Company Mozart's "The Marriage of Figaro" Power Center
Wednesday, February 20, 8:00 p.m. Thursday, February 21, 8:00 p.m.
Mummenschanz Power Center
Tuesday, March S, 8:00 p.m.
Hilliard Ensemble Rackham Auditorium
Thursday, March 7, 8:00 p.m.
Houston Symphony
Christoph Eschenbach, conductor
& pianist Hill Auditorium
Friday, March 8, 8:00 p.m.
Nexus
Hill Auditorium
Thursday, March 14, 8:00 p.m.
An die Musik Rackham Auditorium
Saturday, March 16, 8:00 p.m.
Pirin, Bulgarian Folk Ensemble Hill Auditorium
Thursday, March 21, 8:00 p.m.
Israel Philharmonic Orchestra Zubin Mehta, conductor Hill Auditorium
Monday, March 25, 8:00 p.m.
American Indian Dance Theatre Power Center
Tuesday, April 2, 8:00 p.m. Joseph Holmes Chicago Dance Power Center
Wednesday, April 3, 8:00 p.m.
New World Symphony
Michael Tilson Thomas, conductor
Hill Auditorium
Saturday, April 13, 8:00 p.m.
Elly Ameling, soprano Rackham Auditorium
Saturday, April 20, 8:00 p.m. Butch Thompson Trio Rackham Auditorium
Philips Pre-Concert Presentations
Tuesday, October 16 Chilingirian String Quartet Speaker: Hachig Kazarian A part of Armenia Odyssey II: A Festival of Armenian Culture at The University of Michigan September 1990-April 1991
Tuesday, October 30 PerlmanZukerman Recital Speaker: David Smith Photographer for the University Musical Society
Wednesday, Novemebr 14
PrismChester Quartets Speaker: Donald Sinta Professor of Music (Saxophone), University of Michigan
Monday, January 14 Leontyne Price Speaker: George Shirley Professor of Music (Voice), University of Michigan A part of The U-M Commemoration of the birthday of the Rev. Martin Luther King, Jr.
Sunday, February 10 Detroit Symphony Orchestra Speaker: TBA
Thursday, March 7 Houston Symphony Speaker: Michael Gartz Liberty Music Shop
Monday, March 25
American Indian Dance Theatre
Speaker: Michael Dashner
Native American Representative,
Office of Minority Student Services,
University of Michigan
A part of the Native American Indian
Student Festival Pow-Wow Week at
The University of Michigan
Saturday, April 13
Elly Ameling
Speaker: Richard LeSueur
Cataloguer, Ann Arbor Public
Library
Saturday, April 20 Butch Thompson Trio Speaker: Kenneth C. Fischer Executive Director, University Musical Society
All concertgoers are invited to enjoy our informative Philips Pre-concert Presentations. Speakers with special interest and knowledge share their insights on aspects of the perform?ing arts pertinent to that evening's performance. All presentations take place in the Rackham Building, University of Michigan, and start one hour before published concert times.
Admission is complimentary.
An educational program underwrit?ten by a grant from Philips Display Components Company.
The University Musical Society
of The University of Michigan
In 1879, a group of music enthusiasts met at the urging of Mrs. G.C. Hunt to study Handel's Messiah. The group formed a club headed by Dr. Henry Simmons Frieze, a University professor and former University president. The club adopted the name of "The Choral Union" and kept regular rehearsals and concerts. As a great many members were involved with the University, they established a formal organization to present concerts, which they named the University Musical Society.
Since then, the University Musical Society has flourished and now presents approximately 45 concerts each season, including the well-loved annual performances of Handel's Messiah performed by the Choral Union in December.
The Musical Society presents artists of national and world acclaim to audiences throughout Michigan and Northern Ohio. From its inception, the UMS has presented concert seasons of the highest artistic quality, ranking among the very best in the United States. The UMS presents symphony orchestras, recitalists, chamber music, choral ensembles, dance, and ethnic performances in three world-class auditoria.
World premieres and debuts have liberally dotted the history of the UMS, and performers such as Enrico Caruso, Arthur Rubinstein, Sergei Rachmaninoff, Ignace Jan Paderewski, Vladimir Horowitz, Luciano Pavarotti, Leonard Bernstein, Herbert von Karajan, Elisabeth Schwarzkopf, Igor Stravinsky, Jessye Norman, Leontyne Price, Glenn Gould, Jose Greco, Martha Graham, Alvin Ailey, Vienna Philharmonic, Chicago Symphony, Philadelphia Orchestra, New York Philharmonic, Budapest String Quartet, and Guarneri String Quartet comprise a short list of artists performing under Musical Society auspices.
The UMS is committed to preserving its finest traditions and building upon them. With new series offerings, programs for young people, group sales, educational endeavors, special projects and festivals, radio shows, collaborative projects, and the commissioning of new works, the Musical Society looks forward to carrying its tradition of excellence in performing arts presentations into the next century.
Although the UMS maintains its operations on the University campus, it receives no direct appropriation from the University and is a not-for-profit organization.
UNIVERSITY MUSICAL SOCIETY
CHAMBER MUSIC SOCIETY OF LINCOLN CENTER
Fred Sherry, Artistic Director
Ida Kavafian, Violinist David Shifrin, Clarinetist
Paul Neubauer, Violist Robert Routch, Hornist
Fred Sherry, Cellist Lee Luvisi, Pianist
Monday Evening, October 1, 1990, at 8:00 Rackham Auditorium, Ann Arbor, Michigan
PROGRAM
Trio in B-flat major, Op. 11 (piano, clarinet, cello)......Beethoven
Allegro con brio
Adagio
Tema con variazione: allegretto
Lee Luvisi, David Shifrin, Fred Sherry
'Sextet, "Quilt Panels" (clarinet, horn, strings, piano) .....Caltabiano
David Shifrin, Robert Routch, Ida Kavafian, Paul Neubauer, Fred Sherry, Lee Luvisi
INTERMISSION
Quartet No. 1 in G minor, Op. 25 (p.iano and strings) .....Brahms
Allegro
Intermezzo: allegro ma non troppo
Andante con moto
Rondo alia zingarese: presto
Lee Luvisi, Ida Kavafian, Paul Neubauer, Fred Sherry
""Quilt Panels" was commissioned by the Chamber Music Society of Lincoln Center for world premiere on this tour.
The Chamber Music Society of Lincoln Center is represented by Columbia Artists Management Inc., New York
City.
Concerts by the Chamber Music Society of Lincoln Center are produced for broadcast by WNYC, New York Public
Radio, and are distributed nationally by American Public Radio; these broadcasts arc made possible by a grant from
Julicn J. Studley, Inc. The Chamber Music Society records for Musical Heritage Society, Musicmasters, and Omega
Record Classics.
First Concert of the 112th Season Twenty-eighth Annual Chamber Arts Series
Program Notes
Trio in B-flat major, Op. 11, for Clarinet, Cello, and Piano
Ludwig van Beethoven (1770-1827)
Little is known about the composi?tional history of this Trio, but two pieces of documentary evidence are available. The theme for the vari?ations in the last movement is from an aria in Joseph Weigl's (1766-1846) opera L'amor marinaro, which was first performed in Vienna on October 15, 1797. Weigl, Haydn's godson and student of Salieri and Al-brechtsberger, was a very successful composer of German and Italian operas.
Since the publication of the Trio was advertised in Vienna on October 3, 1798, it is safe to assume that it was composed during that year. The only pertinent information about the circumstances that prompted Bee?thoven to compose the Trio appears in Czerny's Complete Theoretical and Practical Pianoforte School. He stated that the variation theme was chosen at the wish of the clarinet?ist for whom the Trio was written. Czerny does not mention him by name. A.W. Thayer, however, in his monumental biogra?phy of the composer, suggests the musician in question is Josef Beer. This theory is qualified with a question mark; however, it is not without foundation. Beer (1744-1811), a Bohemian clarinet virtuoso who improved the instrument by adding a fourth key, lived and played in Vienna. He took the clarinet part in Beethoven's E-flat major Quintet for Piano and Winds, Op. 16, in a performance with the composer at the piano on April 2, 1798, six months before the publication of the Trio. In spite of its opus number, the Quintet is the earlier work. The Trio could be the artistic fruit of the collaboration of Beethoven and Beer, who also participated in the first performance of the Septet on April 2, 1800.
In any event, Beer was not a casual friend. For Beer to suggest Beethoven com?pose a trio with clarinet is very plausible. Perhaps Beer wished, and Beethoven in?tended, to create a companion piece to Mozart's Trio for Clarinet, Viola, and Piano, K. 498. Beethoven's three-movement struc?ture parallels Mozart's, in which soprano and
alto instruments are added to the piano. On the other hand, Beethoven chose soprano and tenor instruments. The tenor (cello) also has to function as a bass.
The work appeared with the title Grand Trio pour le Pianoforte avec une Clarinette on Violin, et Viobncelk, with the dedication to Countess Thun. The lady was a piano student and supporter of Mozart, and her daughter and son-in-law Prince Lichnowsky would play a crucial role in the performance history of Fidelia a few years later. Because chamber music was composed primarily for music-mak' ing at home and amateur clarinetists were scarce, the substitution of violin for clarinet was a forgone conclusion. This is also the case with Mozart's E-flat major Trio. Since the eighteenth century, countless amateurs have played both trios in their alternate versions.
The B-flat major Trio is shorter than those of Beethoven's Op. 1, because it does not have a scherzo. Yet, it shows technical refinement, concentration and a predilection for imitative writing. The opening, with its forceful unison statement of all instruments, has no precursor in Beethoven's oeuvre and was paralleled only about ten years later in the Fifth Symphony. There are frequent, sharp dynamic accents. Note the dynamic intensification of the restatement of the prin?cipal theme in the recapitulation. The Adagio gives all the instruments good opportunities to "sing" and to ornament. The opening motive stems rhythmically and metrically from the second movement of the little Piano Sonata Op. 49, No. 2. (Disregard the chro?nologically meaningless opus number.) The calm atmosphere is violently disturbed twice: midway, before the restatement of the main theme and, unexpectedly, before the morendo ending.
It is not possible to recount all the stories about Beethoven's use of the melody from Weigl's opera for the variation finale. Strangely enough, the first edition of the Trio gave the first line of the aria Beethoven used but omitted Weigl's name. No doubt Beetho?ven liked the tune and realized its potential for variations.
The nine variations form an attractive kaleidoscope of pictures. The first is for piano alone; the second is a canonic dialogue for clarinet and cello. The fourth variation and the marchlike seventh are in B-flat minor, the latter in contrast to the eighth, a lyrical duet for clarinet and cello. Its melodic con-
tour literally anticipates two identical melo?dies of Weber (from his opera Oberon) and Mendelssohn (A Midsummer Night's Dream), which also evolve from the descending scale of their respective basic keys (B-flat major and E major). The canonic ninth variation is extended into a merry and humorous finale. Concluding a large scale work with a varia?tion-finale, Beethoven set the stage on which momentous events were to unfold.
Dr. Joseph Braunstein
Sextet, "Quilt Panels," for Clarinet, Horn, Violin, Viola, Cello, and Piano Ronald Caltabiano (b. 1959)
An initial inspiration for Quil: Panels came in the early morn?ing hours of a cool October day in 1987, at the first full show?ing of the AIDS Quilt in Washington, D.C. The enormous range of emotions I felt included shock, grief, joyful memories, anger, and an overwhelming sense of loss. The six "panels" of this sixteen-min-ute sextet (played without break) are an attempt to make explicit these emotions, which words can only imply. Perhaps because of these personal associations, my usual com?positional procedures were often put aside in favor of a more instinctive stream of musical consciousness.
The work proceeds as follows: Panel One: After a brief introduction dominated by wide, angry, ascending inter?vals in the horn, this panel is led by a quiet, almost motionless cello solo, which builds in momentum and complexity to a fierce, con?centrated cadenza.
Panel Two: The clarinet prevails in a sustained, rhythmless counterpoint of de?scending sighing gestures, with occasional interjections of the previous material. Final clarinet sighs accompany a brief violin ca?denza introducing the next section.
Pane! Three: Dancelike violin and piano interplay, increasingly interrupted by the previous clarinet material. Conflict rather than dialogue predominates. The violin ma-
terial evolves into the frenetic activity of the next panel.
Panel Four: A jagged four-bar arpeggiated pattern is heard primarily in the piano while motives from previous sections are spun from slow legato cantus statements. A climax is torn off, leaving the viola playing at the top of its range while the rest of the ensemble hurls ferocious stabbing chords.
Pane! Five: An extremely slow string chorale accompanies melodic fragments in the horn, clarinet, and piano. As the activity increases we are taken back to the opening horn gestures, now as part of the total ensem?ble.
Panel Six: Numbing chords and fero?cious cello and piano gestures lead to a closing viola solo, which elicits memories from the rest of the work and ends with fragments of the opening cello solo.
Most aspects of Quilt Panels can be traced to the sequence of major, minor, and diminished thirds presented at the outset by the cello. These thirds generate harmonies that run the gamut of tonal qualities from fully tonal to modal and bi-modal to nearly atonal. They generate melodies, oriented around thirds and sixths, as well as quasi-tonal arpeggiated figures, such as the driving rhythms of Panel Four. Further, the rhythms and harmonic sequences are produced by procedures using the same material. For ex?ample, the entire work can be heard as having a tonic E, with revolving dominants on C-sharp and G, and with subdominant rela?tionships on F and D. The relationship be?tween the materials, implict throughout, is finally made explicit in the closing viola solo.
The work is dedicated to all those fighting the war.
Ronald Caltabiano
Bom in New York in 1959, Ronald Caltabiano is a graduate of The Juilliard School, where he studied with Vincent Persichetti and El?liott Carter. His early studies were with Elie Siegmeister and Andrew Thomas. Abroad, he has studied composition with Peter Maxwell Davies and conducting with Gennady Rozhdestvensky. Caltabiano's music has been performed by such ensembles as the Juilliard, Arditti, and Emerson string quartets, the Guggenheim Concert Band, The Fires of London, the San Francisco Symphony and the Pittsburgh New Music Ensemble. He is the recipient of commissions from the San Francisco Symphony, Chamber Music America, the New York State Council on the Arts, and Exxon Corporation. His honors include a Rockefeller Foundation Fel?lowship, two Beams prizes from Columbia University, and awards from ASCAP and BM1.
Mr. Caltabiano is presently a member of the theory faculty of the Manhattan School of Music in New York City; he was formerly assistant to the composer Aaron Copland for several years. A special United Nations con?cert marking the closing of its 40th Anniver?sary Session was devoted entirely to the music of Ronald Caltabiano.
Quartet for Piano and Strings in G minor, Op. 25 Johannes Brahms (1833-1897)
In the summer of 1861, Brahms rented a little place in Hamm, a suburb of Hamburg, in order to live in a quiet atmosphere conducive to his creative work. He had accumulated the follow?ing sketches: the Symphony in C minor; the G-minor, A-major, and C-minor Piano Quar?tets; some songs, and the German Requiem. He began to work on the Quartet in C minor, but put it aside in favor of the Quartets in G minor and A major. The C-minor Quartet was finally published 14 years later (1875).
Joseph Joachim, who was in close touch with Brahms in the 1850s, assumed that the work on the Piano Quartets dated from 1855. Max Kalbeck, Brahms's friend and biogra?pher, reported that Brahms, Joachim, and others played the G-minor Quartet in Detmold in 1857. This was not the definitive version of 1861 played publicly by Clara Schumann in Hamburg on November 16, 1861.
A private reading took place a year later in Vienna in the apartment of Julius Epstein, a professor at the Vienna Conservatory. He lived in the house where Mozart had com?posed The Marriage of Figaro and had played three of the quartets dedicated to Haydn in the presence of the master. It is the house where, in 1787, the sixteen-year-old Beetho?ven played for Mozart. Brahms and members of the Hellmesberger Quartet sight-read the Piano Quartet in G minor with aplomb and enthusiasm. The composer at once secured their collaboration in a concert that would introduce him to the Viennese public as both composer and pianist. This concert took place on November 16, 1862. Brahms's personality and the playing appealed more to the public than his G-minor Quartet. The press was negative. One important critic found only desert, storm, horror, frost, destruction, and desolation. The Hungarian finale earned the greatest applause. It happened that the bridge of the cello fell down. The public took the misfortune in good humor because the move?ment was repeated.
The first Allegro is rich with musical ideas. The principal theme enters somewhat timidly. There is no repeat of the exposition. The G-minor tonality is abandoned in the second half of the movement, whose ending bears the stamp of tragedy. Brahms called the
second movement an "Intermezzo," a term he inherited from Schumann. It follows only formally the Scherzo with Trio pattern; mu?sically and spiritually it has nothing to do with the traditional scherzo. There is no gaiety and humor, but is rather serious in mood with muted strings. It is not vigorous, and aside from a few forte accents, has only piano and pianissimo passages. The Trio in A-flat maintains the triplet motion, stopping briefly only in the transition to the Inter?mezzo. Although the coda is in the key of C major, the somber mood is not broken. It is broken in the Andante, however. Note the appearance of the main theme in the bass part of the transition passage to the march epi?sode. It reaches a triumphant climax in C major before returning to the home key (E-flat) and the solemn ending. In the Rondo alia zingarese, based on a three-measure rhythm, Brahms evokes memories of his con?cert tour with Eduard Remenyi (1830-1898), the talented violinist of gypsy temperament. By employing the Hungarian idiom but rais?ing the tunes to the level of chamber music, Brahms created a virtuoso piece. Arnold Schoenberg later adapted this Quartet for a large symphony orchestra.
Or. Joseph Braunstein
CHAMBER MUSIC SOCIETY OF LINCOLN CENTER
It was with the stated purpose of "bring?ing together from all parts of the world strong musical personalities whose combination and interaction will cre?ate new excitement in chamber music performance" and "providing a comprehen?sive survey of chamber music literature, in?cluding not only repertoire for standard combinations, but also lesser-known works for unusual combinations of instruments," that the Chamber Music Society of Lincoln Center was established in 1969 to be the official performing organization of Alice Tully Hall. Conceived by William Schuman, dur?ing his presidency of Lincoln Center, to complete the representation by the Center of the full spectrum of performing arts, the Society took its shape from an intensive survey of the chamber music field and the
chamber music audience conducted over a three-year period by pianist Charles Wadsworth, who was to become the Society's artistic director for its first 20 years. He was succeeded in July 1989 by cellist Fred Sherry.
In the 21 years of its existence, the Society's adventuresome programming and the exceptional performance standards it has set have not only lured a brand-new audience to experience a new kind of excitement in an old art form preivously reserved for an elite few, but have spurred a large-scale revival of chamber music throughout this country. The Society has given more than 1,000 concerts to date, over 700 of these at its home theater in New York. It has been obliged by popular demand to expand its subscription concerts from the 16 of its inaugural season to 24 this year.
Since 1972 the Society has also given an annual series for four sold-out concerts in the Concert Hall of Washington's John F. Kennedy Center for the Performing Arts. It has also presented an informal series of Sat?urday evening "Cushion Concerts" at an avant-garde art gallery in Manhattan's new Soho section. During the 1974-75 season the Chamber Music Society collaborated with the New York Philharmonic in presenting two week-long "mini-festivals" -one "Around Charles Ives" and one "Around Franz Schubert" -in each case offering five differ?ent programs on five consecutive nights at both Avery Fisher Hall and Alice Tully Hall. Preceding its regular 1981-82 subscription season, the Society presented a week-long "Haydn-Stravinsky Celebration" honoring the 250th birthday of the "father of modern chamber music" and the 100th birthday of "its outstanding 20th century exponent," with a concentration of concerts, lectures, museum and library exhibits, and pre-concert events. The Society also ushered in the worldwide celebration of the 300th anniver?sary of the birth of Johann Sebastian Bach with a week-long concentration of Bach con?certs and lectures in September of 1984 designated as "J. S. Bach: A Musical Offer?ing."
In 1975-76 the Society undertook a two-week-long tour for Columbia Artists Management that was sold out months in advance. In subsequent seasons, it has dou?bled its American tours, extending them as far as Alaska. In June of 1975, the Society gave its first concert outside the United
States, accepting a special invitation from Benjamin Britten to appear at England's fa?mous Aldeburgh Festival. The Society has also been invited to the Casals Festival in Puerto Rico, the Festival of Bermuda, and Miami's New World Festival of the Perform?ing Arts, and in May of 1984 undertook its first extensive overseas tour, performing 11 concerts in eight leading cities of Australia. This was so successful that a return tour was scheduled in 1987. In 1989, it also made a two-week tour of Japan. In 1976, the Society was invited by the South Carolina Arts Com?mission and the International Society of Per?forming Arts Administrators to give three special Bicentennial concerts at the historic Dock Theatre in Charleston, South Carolina, commemorating the first public concerts ever given on U.S. soil. And in June of 1988, the Society participated in the First New York International Festival of the Arts, presenting four special programs of contemporary music that explored the major trends of twentieth-century composition.
Six times the subject of "Live From Lincoln Center" international telecasts, the Chamber Music Society has also achieved a large international following on records, its initial recording for the Book-of-the-Month Club having sold more than 20,000 copies in the first three months. The Society has also recorded for CBS Masterworks, the Musical Heritage Society and its Musicmasters label, Omega Record Classics, and Arabesque. Since the 1977-78 season, all of the Society's New York programs have been broadcast, and for the past ten seasons they have been heard coast to coast on the American Public Radio network.
The six performers at the Lincoln Cen?ter Chamber Music Society's concert this evening represent the Society's permanent personnel of nine virtuosi, each with special reputation in the chamber music repertoire. The permanent artists include pianist Lee Luvisi, violinists Ani and Ida Kavafian, vio-lists Walter Trampler and Paul Neubauer, cellists Leslie Parnas and Fred Sherry, clari?netist David Shifrin, and hornist Robert Routch.
For its New York concerts, the Society has also invited world-famous soloists and vocal and instrumental ensembles specializing in particular areas of the repertoire to collab?orate with the regular artists. The unique structure of the Society and conditions of its
hall allow many to perform for the first time in New York works in which they could not otherwise be heard.
Under a program encouraging out?standing contemporary composers to broaden the repertoire, the Chamber Music Society of Lincoln Center has commissioned 75 works to date. In addition, 11 works have been commissioned for the Society by the Koussevitzky Music Foundation. The com?posers commissioned to provide works for world premiere performance at Tully Hall by the Society thus far represent many different nationalities. They range from long-acknowl?edged veterans like the United States's Sam?uel Barber and William Schuman, England's Lennox Berkeley, Mexico's Carlos Chavez, Argentina's Alberto Ginastera, Switzerland's Frank Martin, and France's Darius Milhaud; to such leaders of the avant-garde as Berio and Boulez; and such fast-rising composers of the younger generation as Japan's Haruna Miyake and Scotland's Oliver Knussen; native New Yorkers John Corigliano, Jr. and William Sydeman; Chicago-born Michael Colgrass, Indiana-born Ned Rorem, California-born Stephen Burton, Iowan Peter Schickele; George Perle from New Jersey and Florida's Ellen Taaffe Zwillich. Their contributions to the Society's repertoire have ranged from duo-sonatas, trios, quartets, and quintets of classical form all the way to a "dramatic abstract" piece for nine solo instruments, in which the woodwinds sit at far corners of the stage and players are at liberty to provide any pitches they like between two given notes.
The Chamber Music Society has given world premieres so far of 76 compositions, in addition to nine New York premieres and six U.S. premieres. A total of 892 works by 227 composers has been programmed by the orga?nization to date.
A unique source of funding for the Society has come from the establishment in 1978 of endowed "chairs" (a practice bor?rowed from academia). The Society now has a total of eight of these, each representing a permanent means of support for one of the instrumental positions required by works in the chamber music repertoire. In addition, a Composer's Chair, named in memory of Elise L. Stoeger, has been endowed by a bequest of her late husband, Milan Stoeger.
The Chamber Music Society of Lincoln Center now makes its third Ann Arbor ap?pearance.
Artists of the 1990 Fall Tour
Ida Kavafian, violinist (Fan Fox and Leslie R. Samuels Chair). Internationally acclaimed both as violinist and violist, Ida Kavafian is the younger sister of Chamber Music Society violinist Ani Kavafian, with whom she often plays in unique duo recitals. Born in Istanbul of Armenian parentage, the Kavafians came to the United States as youngsters and grew up in Royal Oak, Michigan, where Ida began her violin studies with Ara Zerounian and Mischa Mischakoff. Later, she studied with Ivan Galamian and Oscar Shumsky at New York's Juilliard School, from which she holds a Master of Music degree with honors. In 1978, as winner of the Young Concert Artists International Auditions, she made her New York debut in a joint recital with pianist Peter Serkin, and in 1981, she was the recipient of the Young Concert Artists' prestigious Michaels Award, which gave her an Alice Tully Hall solo recital debut. The following year she was awarded the
Silver Medal as the top American prize-winner in the First Indianapolis International Violin Competition, and in 1988 she won the coveted Avery Fisher Career Grant.
Ida Kavafian has been a frequent soloist with major symphony orchestras throughout the United States, including the New York Philharmonic and the Pittsburgh, Detroit, St. Louis, Montreal, Minnesota, and Seattle Symphonies. She has also soloed with orchestras in London, and at the Berkshire Music Festival in Tanglewood, Lincoln Center's Mostly Mozart Festival, the Santa Fe Chamber Music Festival, and the Roundtop Festival. For the past three years, she has been artistic director of New Mexico's Music from Angel Fire Festival and is also a founding member of Tashi, performing with the latter group throughout the United States, Europe, South America, and the Far East, as well as on RCA and Deutsche Grammophon recordings. In 1980, she performed the world premiere, with the Tokyo Metropolitan Symphony, of a concerto written for her by the distinguished Japanese composer Toru Takemitsu. Her instrument is a J. B. Guadagnini violin, made in Milan in 1751.
Ms. Kavafian now makes her second Ann Arbor appearance, after performing here in 1981 with Tashi.
Paul Neubauer, violist (Mrs. William Rodman Fay Chair). Principal violist from 1983 to 1989 of the New York Philharmonic -a post to which he was appointed at the age of 21, the youngest musician in the history of that venerable orchestra to be so honored -Paul Neubauer is a native of Los Angeles, where he began playing the viola at age seven. His principal teachers have been Alan de Veritch, Wil?liam Primrose, and Paul Doktor, with whom he studied at The Juilliard School, obtaining the degree of Master of Music there. Winner of numerous awards, including First Prize in the 1980 Lionel Tertis International Viola Competition, First Prize in the 1982 D'Angelo Competition for Strings, and a Solo Recitalist's Fellowship from the National Endowment for the Arts, Neubauer made his New York recital debut in 1983 at Alice Tully Hall as a winner in the Naumburg International Competition.
Since then, Paul Neubauer has appeared as soloist with a number of leading orchestras, including the New York Philharmonic, the Los Angeles Philharmonic, the orchestras of St. Louis, San Francisco, and Taipei City, the Bavarian State Radio Orchestra, and the English Chamber Orchestra, with which he gave the world premiere of a concerto by Gordon Jacob. He has performed a program of works for viola and orchestra in Alice Tully Hall with the Solisti New York, in addition to his appearances with the Lincoln Center Chamber Music Society. He has participated in numerous festivals (including the Marlboro, Chautauqua, Santa Fe, and Chamber Music Northwest), made a Hollywood Bowl debut in the summer of 1985 with Michael Tilson Thomas conducting, performed with Pinchas Zukerman and James Galway for Lincoln Center's Mostly Mozart Festival, and with Vladimir Feltsman at the Metropolitan Museum of Art. He has recorded for the RCA, Marlboro Society, and Second Hearing labels and was featured in a half-hour recital on BBC-TV's Front Row Center series. Neubauer serves currently on the faculty of the Manhattan School of Music.
He returns this evening after making his Ann Arbor debut with the Chamber Music Society of Lincoln Center in 1986.
Fred Sherry, cellistartistic director. A performer with the Chamber Music Society since the early 1970s, Fred Sherry became the Society's music ad?ministrator in 1981 and last year was named artistic director, succeeding Charles Wadsworth who had filled that position since the ensemble's inception. A native of Peekskill, New York, Sherry joined the permanent artist roster for the first time in the 1984-85 season. He had his principal musical training at New York's Juilliard School, where he studied with Leonard Rose and Channing Robbins. Sherry first came to public attention as winner of the 1968 Young Concert Artists Auditions and made his concert debut at Carnegie Hall on the 1969 Young Concert Artists series. Since then, he has appeared regularly on New York's major recital series at the Metropolitan Museum of Art and the 92nd Street "Y," among others. As a founding member of the chamber music ensemble Tashi, he has performed on four continents
and has recorded extensively for RCA, Columbia, Deutsche Grammophon, and other major labels. Sherry has taken part in numerous festivals, including Lincoln Center's Mostly Mozart, the Casals Festival in Puerto Rico, the Berkshire Music Festival at Tanglewood, the Italian and American Spoleto Festivals, Chamber Music Northwest, and the Interlochen, Scotia, and Bonn Beethoven Festivals. In 1983-84, he founded a new concert series, Bach Cantata Sundays, at St. Ann's Church in Brooklyn Heights, serving as both cellist and conductor.
Particularly identified with twentieth-century music, Fred Sherry has collaborated with many of the leading composers of our time, among them Boulez, Berio, Carter, Copland, Foss, Takemitsu, and Wuorinen. He premiered Mario Davidovsky's Divertimento for Cello and Orchestra with the American Composer's Orchestra, later performing it with the Municipal Orchestra of Buenos Aires and the San Francisco Symphony. In 1988, Charles Wuorinen wrote Five for him, a concerto that was premiered at the New York City Ballet and which he performed again last season at Carnegie Hall. Sherry has also been closely associated with jazz pianist and innovator Chick Corea, with whom he has toured the United States, Europe, and Japan.
Prior to tonight's concert, Fred Sherry appeared on this stage with the Tashi ensemble in 1981 and with the Lincoln Center Chamber Music Society in 1986.
David Shifrin, clarinetist (Charles E. Culpeper Chair). A native New Yorker, David Shifrin had his musical education at the High School of Performing Arts, Michigan's Interlochen Arts Academy, and Philadelphia's Curtis Institute of Music. His principal teachers were Fred Ormand, Anthony Gigliotti, and Robert Marcellus. While still a student, he served as principal clarinetist with the American Symphony Orchestra under Leopold Stokowski and later held similar positions with the Cleveland Orchestra under Lorin Maazel and the orchestras of Dallas and Hono?lulu. Shifrin made his professional debut as a soloist playing the Nielsen Clarinet Concerto with The Philadelphia Orchestra under William Smith in 1969, and his New York recital debut at Alice Tully Hall came in 1983 as the recipient of a Solo Recitalist's Fellowship from the National Endowment for the Arts. In 1987, he was also chosen to receive
an Avery Fisher Award Grant.
Through the years, Shifrin has performed as soloist with most of the major symphony orchestras of the United States and Canada and has made frequent appearances at major festivals, including Lincoln Center's Mostly Mozart, for which he made news playing the original version of Mozart's Charinet Concerto on an extended-range instrument specially constructed for him. As a chamber musician, he has collaborated with the Guarneri, Tokyo, Vermeer, Fine Arts, and New World String Quartets, with oboist Heinz Holliger for a special program at the Metropolitan Museum of Art, and in frequent concerts with the Chamber Music Society of Lincoln Center.
David Shifrin is remembered in Ann Arbor as a faculty member of the University School of Music from 1976 to 1983. Between 1979 and 1981, he performed in three concerts for the University Musical Society: with Judith Blegen and Martin Katz in the Debut &. Encore Series, as soloist in a Faculty Artists Concert, and with Michael Tree and Gyorgy Sandor in the Chamber Arts Series. Currently, he is serving as music director of Chamber Music Northwest and is on the faculties of both Yale University and The Juilliard School. Shifrin has recorded the Copland Clarinet Concerto for EMIAngel, a Brahms-Schumann recital for Delos, and other repertoire on the Nonesuch, Vanguard, CR1, and Chamber Music Northwest Collectors Series labels.
Robert Routch, homist. A frequent guest artist with the Chamber Music Society of Lincoln Center since 1973, Robert Routch is now on the permanent roster of the Society. A native of Lock Haven, Pennsylvania, he attended the Oberlin Conservatory, Curtis Institute of Music, and The Juilliard School, from which he received his Bachelor of Music degree. His principal teachers have been Robert Kehm, Julius Levine, and Phillip Cohen. At the age of 17, Routch made his professional debut playing the Strauss Horn Concerto No. 1 with The Philadelphia Orchestra. Subsequently, he played solo first horn in the Kansas City, New Orleans, and Munich symphony orches?tras. He has also soloed with a number of leading orchestras throughout the United States, in addition to giving solo recitals on such prestigious series as those of New York's Metropolitan Museum of Art and the 92nd Street "Y."
Robert Routch was introduced to chamber music at the 1971 Marlboro Festival and has since toured extensively with the Music from Marlboro and Tashi ensembles. He also appears as a guest artist with the Juilliard, Guarneri, Tokyo, Emerson, American, and Mendelssohn String Quartets. His festival appearances include the Spoleto Festivals in Italy and the United States, Lincoln Center's Mostly Mozart, the Santa Fe Festival, and the summer festival in Sitka, Alaska. His recordings with Music from Marlboro, Tashi, and the Chamber Music Society have been issued on the RCA Red Seal, Columbia Masterworks, Polydor, Erato, Musical Heritage Society, Sunnyside, and CRI labels.
In addition to his recital, chamber music, and orchestral performances, Routch is also a jazz improviser and composer. He has collaborated in performance and recordings with Ornette Coleman, Kirk Leightsey, and the Danish Radio Big Band and is co-founder of Confluence, a jazz quartet with which he has toured the important jazz clubs of France and Spain and appeared at New York's Symphony Space.
A current member of the Manhattan College of Music faculty, Robert Routch is now heard in his Ann Arbor debut.
Lee Luvisi, pianist (Alice Tully and Edward R. Wardwell Chair). One of the most highly respected pianists on the American musical scene, Lee Luvisi joined the Chamber Music Society's artist roster for the 1983-84 season. Born in Louisville, Kentucky, Luvisi was a student of Rudolf Serkin and Mieczyslaw Horszowski at the Curtis Institute in Philadelphia. Upon graduation there, he became the youngest faculty member in the history of that institution. Returning in 1963 to Louisville, he assumed the position of artist-in-residence at the University of Louisville School of Music, which he still holds.
Lee Luvisi's solo activities through the years have included a formidable list of major recitals and orchestral engagements across the United States, Canada, Mexico, and Europe. He has performed with nearly every important orchestra in North America, under such distinguished conductors as Bernstein,
Urmandy, Steinberg, and Shaw. His European career has seen numerous highly acclaimed appearances in London, Vienna, Berlin, and many other major capitals.
As a chamber pianist, Lee Luvisi is a member of the Buswell-Parnas-Luvisi Trio and collaborates regularly with the world's foremost musicians and ensembles. Among these have been the Juilliard, Guarneri, and Cleveland Quartets, and eminent artists such as Itzhak Perlman, Pinchas Zukerman, Alexander Schneider, Zara Nelsova, Richard Stoltzman, Benita Valente, and Jan De Gaetani. He is a frequent guest artist with New York's Mostly Mozart Festival and Chamber Music at the "Y" and has participated for many years in the Marlboro, Aspen, and Casals Festivals.
Luvisi now makes his second Ann Arbor appearance, after performing with the Chamber Music Society artists in 1986.
The Chilingirian String Quartet Coming Tuesday, October 16, Rackham Auditorium, 8:00 p.m.
Program: Sergey Aslamazian's folk-based "Armenian" Suite, Bartok's Quartet No. 4 and Schubert's Quartet No. 15, D. 887.
Philips Pre-concert Presentation: 7:00 p.m., October 16, Rackham Building (free admission). "Armenian Folk Instruments" will be discussed, and perhaps demonstrated, by Mr. Hachig Kazarian, who has been associated with Armenian music for more than 30 years. Mr. Kazarian holds music degrees in both performance and literature.
Thank You Encore!
Great music happens through the University Musical Society because of the much needed and greatly appreciated gifts of Encore Members.
The list below represents names of current donors through September 1, 1990. If an error or omission is noted, we sincerely apologize and would appreciate a call at your earliest convenience (747-1178).
Individuals
Bravo
Herbert Sloan
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John Psarouthakis
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Leaders
Dr. and Mrs. Robert G. Aldrich Richard S. Berger and E.
Margaret Eich
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Guarantors
Jerry Albrecht
Judith Dow and Robert Alexander
Catherine S. Arcure
Mr. P.E. Bennett
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President and Mrs. James
Duderstadt
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Schriber
Carol and Irving Smokier Maya Savarino and Raymond
Tanter
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Sponsors
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Virgo
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King
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'. ' . Andrea
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Adele Ewell
Dr. and Mrs. David N. Ewing
Faculty Wives Club-Ann Arbor Public
School
Mary K. Fancher Pierce H. Farrar Barbara L. Ferguson Erika and Dennis Ferguson Mr. and Mrs. Melvin G. Fiegel Sharon Fike
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Sheri L. Germane
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Elizabeth C. Hassinen
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Candy Hawley
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Alan B. Macnee
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Maxbauer
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NBD-Ann Arbor, N.A.
The Power Foundation
Spear and Associates Realtors, Inc.
The Edward Surovell Company
Washington Street Station
Guarantors
Canton Community Foundation First of America-Ann Arbor Gelman Sciences, Inc.
Jacobson Stores, Inc. Christopher H. Montagna
Photography Riverview Lumber and Building
Supply Co., Inc. Shar Music Products Ulrich's
Sponsors
Comerica Bank-Ann Arbor Imtech Printing, Inc. Mardigian Foundation Michigan National Bank The Old German Restaurant Pepper, Hamilton & Scheetz Plymouth Community Arts Council Charles Reinhart Company Scientific Brake and Equipment
Company
Sneed Foundation, Inc. TT Sports Management, Inc.
Benefactors
Adistra Corporation Campus Inn Edwards Brothers, Inc. King's Keyboard House
Patrons
Bank One, Ypsilanti
Herbert Barrett Management
General Systems Consulting Group
Johnson, Johnson, and Roy, Inc.
L & S Music
Seva Restaurant and Market
SKR Classical
University Microfilms International
Donors
Ann Arbor Convention & Visitors Bureau
Sustaining Members
Faber Travel
Encore Gift Levels
Bravo SI0,000 or more Concertmasters $5,000 or more Leaders $2,000 or more Guarantors $1,000 or more Sponsors $500 or more Benefactors $200 or more Patrons $100 or more Donors $50 or more Sustaining Members $25 or more
The University Musical Society
of The University of Michigan
Board
of Directors
David B. Kennedy President
Ann S. Schriber Vice President
Thomas E. Kauper Secretary
Norman G. Herbert Treasurer
Robert G. Aldrich Carl A. Brauer, Jr. James J. Duderstadt Richard L. Kennedy Patrick B. Long Judythe R. Maugh Rebecca McGowan John D. Paul John Psarouthakis Herbert E. Sloan Lois U. Stegeman
Gail W. Rector President Emeritus
Advisory Committee
Ann Schriber Chair
Sue Bonfield Charles Borgsdorf Bradley Canale Sandra Connellan Katharine Cosovich Elena Delbanco Anne Duderstadt Joyce Ginsberg Charles Hills JoAnne Hulce Alice Davis Irani Stuart Isaac Frances Jelinek Shirley Kauper Howard King Lynn Luckenbach Ingrid Martin Charlotte McGeoch Joan Olsen Agnes Reading Miriam Stephan Raven Wallace Mary White Sally White Shelly Williams Nancy Zimmerman
Staff:
Kenneth C. Fischer,
Executive Director
Gigi Andresen Catherine S. Arcure Sara J. Billmann Sally A. Cushing Leilani Denison Barbara L. Ferguson Judy Johnson Fry Michael L. Cowing Deborah Halinski Lorna Hildebrandt Millicent Jones John B. Kennard.Jr. Michael J. Kondziolka Thomas M. Mull Robin Stephenson Joan C. Susskind Carol G. Wargelin
Student Assistants: Andrew Berryhill Karen Cowles Peter Deneen Ann Mary Quarandillo
University
Choral Union
and Festival Chorus
Thomas Hilbish Interim Conductor
Deborah Halinski Manager
Donald Bryant Conductor Emeritus
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