UMS Concert Program, May 14, 1991: May Festival --

Season: 112th
Concert: Forty-third
Ann Arbor

may festival
Ann Arbor May Festival 1991 Kurt Masur & Leipzig Gewandhaus Orch. May 1 4, 1991
may festival
Greetings!
Greetings and welcome to this 98th Annual Ann Arbor May Festival. This is indeed a festival to indulge yourself in the celebration of music. We welcome the return of the Gewandhaus Orchestra of Leipzig with conductor Kurt Masur, who now travel to Hill Auditorium from a reunified Germany.
The moving political events on the international scene reveal the importance of music and musical figures. Music continues to be a driving force in our lives, and we are grateful for that
As the Musical Society moves ever closer to the 1 OOth anniversary of the May Festival, we extend our heartfelt thanks to you, the concertgoers, and to the musicians, the concertgivers, who together make these performances exhilarating.
Sincerely,
Kenneth C. Fischer Executive Director University Musical Society of the University of Michigan
Table of Contents
8 The Gewandhaus Orchestra of Leipzig
10 KurtMasur
13 May Festival Program for Wednesday, May 1
21 May Festival Program for Thursday, May 2
25 May Festival Program for Friday, May 3
31 May Festival Program for Saturday, May 4
46 199192 University Musical Society Season Announcement
49 Encore Acknowledgements
Please retain this program book to bring with you each night you attend the festival.
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Burton Memorial Tower, Ann Arbor, Ml 481091270
The University Musical Society
of the University of Michigan
Board of Directors
Norman G. Herbert President
Lois U. Stegeman Vice President
Rebecca McGowan Secretary
Carl A. Brauer, Jr. Treasurer
Robert G. Aldrich Herbert Amster Maurice S. Binkow Paul C. Boylan Jon Cosovich John H. D'Arms James J. Duderstadt Walter L Harrison Thomas E. Kauber Richard L Kennedy Thomas C. Kinnear Patrick B. Long Judythe R. Maugh John D. Paul Ann S. Schriber George I. Shirley Herbert E. Sloan
Gail W. Rector President Emeritus
Advisory Committee
Ann Schriber Chair
Milli Baranowski Gail Barnes Sue Bonfield Charles Borgsdorf Bradley Canale Sandra Connellan Elena Delbanco Anne Duderstadt Margo Halsted Charles Hills JoAnne Hulce Alice Davis Irani Stuart Isaac Frances Jelinek Howard King Judy Lucas Lynn Luckenbach Charlotte McGeoch Joan Olsen Agnes Reading Helen Siedel Miriam Stephan James Telfer Alvan Uhle Jerry Weidenbach Mary White Shelly Williams Elizabeth Yhouse Nancy Zimmerman
Staff
Kenneth C. Fischer Executive Director
Gigj Andresen Catherine S. Arcure Sara J. Billmann SallyA.Cushing Leilani Denison Barbara L Ferguson Judy Johnson Fry Michael L Cowing Deborah Halinski Lorna Hildebrandt Millicent Jones JohnB. Kennardjr. Michael J. Kondziolka Thomas M. Mull Cindi Park Robin Stephenson Joan C. Susskind Carol G. Wargelin
Student Assistants: Andrew BerryhiU Richard Chisholm Ali B.C.Johnson Julia Day Karen Cowles Michelle Ingels Ann Mary Quarandillo
University
Choral Union
and Festival Chorus
Thomas Hilbish Interim Conductor
Deborah Halinski Manager
Donald Bryant Conductor Emeritus
The University Musical Society extends special thanks to:
Martha Ause Margot Campos Pauline Coleman EUie Davidson Naomi Gottlieb Sandie Hehr JoAnne Hulce Janet Jeffries TedKrause Arthur Lanski MaeLanski Charlotte McCeoch John McKeighan Jeff Mortimer
Franc NunooQuarcoo JoanOlsen Carole Rycus Mary Sexton Barbara Smith David Smith Mary Elizabeth Smith Peter Smith EUeatrice Thompson Connie Velin Margie Warrick Shelly Williams Nancy Zimmerman
The University Musical Society is grateful for the support of Philips Display Components for underwriting the Philips Preconcert Presentations and appreciates the talents of speakers:
Hachig Kazarian David Smith Donald Sinta George Shirley MarkVolpe
Michael Gartz Michael Dashner Richard LeSueur Kenneth Fischer
General Information
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A wealth of information about events, the UMS, restaurants, etc., is available at the information table in the lobby of each auditorium. Volunteers and UMS staff can assist you with questions and requests. The information table is open thirty minutes before each concert and during intermission.
Gewandhaus Orchestra of Leipzig
One of the most prestigious ensembles in the world today, the Gewandhaus Orchestra of Leipzig returns for an extensive tour of the United States and its third May Festival residency. Under the leadership of music director Kurt Masur, the orchestra last toured the United States in the 198889 season. The next season, the Gewandhaus toured the Soviet Union, Japan, and the People's Republic of China. Its current tour features appearances throughout California and the Southwest, as well as the four concerts in Ann Arbor this week.
Although the orchestra has a roster of 200 members, its overseas touring ensemble consists of only 150. The remaining 50 musicians perform at both Leipzig's opera house and the historic St. Thomas Church, which saw the premieres of several cantatas by Johann Sebastian Bach and is still the home of a weekly cantata concert series. The orchestra also maintains nine string quartets, three chamber orchestras, and four wind quintets, as well as a brass ensemble and an ensemble specializing in early instruments.
The Gewandhaus is an orchestra rich in history, one which has played an important role in the development of music in the Western world. The renowned symbol of Leipzig's cultural tradition, it has compiled an illustrious list of music directors, including Felix Mendelssohn, Richard Wagner, Arthur Nikisch, Gustav Mahler, Bruno Walter, Wilhelm Furtwangler, Richard Strauss, Otto Klemperer, Fritz Busch, Erich Kleiber, and Sir Thomas Beecham.
The Gewandhaus Orchestra of Leipzig
The Gewandhaus Orchestra was the natural outgrowth of the sophisticated musical life of Leipzig, where the foundation for a concert tradition had been laid in the seventeenth century by the Collegia Musica. These were amateur ensembles, the most famous of which had been established by Georg Philipp Telemann and directed by Johann Sebastian Bach. The orchestra known today as the Gewandhaus evolved from the city's first professional orchestra, which had been founded in 1743, and was funded by the citizens, merchants, and music lovers of Leipzig. In 1781, the ensemble was dubbed the "Gewandhaus," in honor of its new permanent residence, the home of Leipzig's prosperous linen merchants.
In 1835, another landmark year for the orchestra, Felix Mendelssohn became principal conductor. The first Gewandhaus conductor to use a baton, he created the ensemble, balance, and unanimity that are hallmarks of the orchestra today. Mendelssohn also initiated the policy, still in effect, of presenting the works of past composers, while fostering a contemporary repertoire as well. He launched a series of historical concerts to revive public interest in J. S. Bach, whose works had gone largely unperformed since his death in 1750.
Through the years, the Gewandhaus Orchestra's repertoire has continued to expand. Under Kurt Masur's direction, the orchestra performs music from the mideighteenthto the twentieth centuries, regularly giving premieres of works by German composers. In the fall of 1981, the orchestra performed ten commissioned works, as part of the gala opening of its new conceit hall, and recently, it presented cycles of the orchestral works
of Richard Strauss and Johannes Brahms.
When the
Gewandhaus Orchestra of Leipzig completes its Festival residency this week, it will have performed 17 concerts in Ann Arbor, all under the direction of Kurt Masur. Prior to the May Festivals 1989 and 1987 (four concerts each), the orchestra appeared in 1974,1981,1982, and twice in 1984.
Gewandhaus Orchestra of Leipzig
First Violins
Professor Christian Funke FrankMichael Erben Eberhard Palm Fred Roth Andreas Seidel Henrik Hochschild Klaus Hebecker Wolfram Fischer Ralf Heise
OttoGeorg Moosdorf Wolfgang Grantzel Eberhard Oettel Rolf Harzer HansRainer Jung Uwe Boge Thomas Tauber Regina Hombsch Brita Ziihlke Katrin Stoschek
Second Violins
Peter Gerlach Horst Baumann Tilmann Buning Hans Barwald Monika Neumann Werner Keim KarlHeinz Leidiger Jiirgen Weise Lothar Gumprecht Jiirgen Hetzer Christine Nagel Ludolf Kohler Beate Hundt Rudolf Conrad Dietrich Reinhold
Violas
Wolfgang Espig Bernd Jacklin Olaf Hallmann Klaus Schwenke Giinter Donath PeterMichael Borck Werner Scheiter Jiirgen Wipper Hermann Schicketanz Heiner Stolle Reinhard Kleekamp
Kurt Masur, conductor Midori, violinist Christian Funke, violinist J urnjakob Tirnm, cellist Elisabeth Leonskaja, pianist Claudine Carlson, mezzosoprano The Festival Chorus Thomas Hilbish, director

Cellos
Professor Jiirnjakob Timm Michael Sanderling Giinther Stephan Lothar Max Siegfried Jager Uwe Stahlbaum Ulrike Strauch Adolf Heinrich Jiirgen Schroeder HansPeter Linde Heiko Schumann Christian Erben
Double Basses
Rainer Hucke Rainhard Leuscher HansJiirgen Schmidt Erwin Nerling Peter Strauch Werner Miiller Andreas Rauch Eberhard Spree
Flutes
KarlHeinz Passin Wolfgang Loebner Christian Sprenger Joachim Naumann Ulrich Other
Oboes
KlausPeter Giitz Uwe Kleinsorge GUnter Heidrich Gerhard Hade Holger Landmann
Clarinets
Wolfgang Mader Thomas Ziesch Matthias Kreher Werner Wunder Ingolf Barchmann
Bassoons
Thomas Reinhardt Hans Schlag Lutz Klepel Gottfried Kronfeld
Horns
Ralf Gbtz Clemens Roger Eckhard Runge Christian Kretschma Rolf Sehring Siegfried Gizyki Amand Schwantge Wilhelm Fuchs
Trumpets
Jon Roderick MacDonald Sven Wunder Giinter Rbssler Giinter Navaratil
Trombones
Karl Jacob Jorg Richter Jiirgen Schubert Dirk Lehmann RalfWeiner
Tuba
Jiirgen Bednarz
Harp
Elisabeth UngerMatje
Percussion
Professor Karl Mehlig Peter Bollmann Dieter Wegerich Gerhard Hundt Philipp Schroeder
Keyboard Instruments
Ulrich Urban Josef Christof
Kurt Masur music director
Kurt Masur, music directordesignate of the New York Philharmonic, has been music director oftheGewandhaus Orchestra since 1970. He has led the way in reviving two of the Gewandhaus Orchestra's greatest traditions, giving the premier performances of contemporary
works and presenting historically accurate performances of works by the masters.
Appointed principal guest conductor of the London Philharmonic in September of 1988, Mr. Masur also appears regularly with the Berlin Philharmonic, London Philharmonic, Munich Philharmonic, Orchestre National de Paris, Philadelphia Orchestra, Royal Philharmonic, Czech Philharmonic, and the San Francisco Symphony.
Kurt Masur was first heard in North America in 1974 when he made his United States debut with the Cleveland Orchestra and his first American tour with the Gewandhaus Orchestra. Since then, he has led the Gewandhaus on several North American tours, which have featured a Beethoven Cycle at Carnegie Hall in 1984, a Brahms Cycle at Avery Fisher Hall in 1986, and a New York performance of the Beethoven piano concertos, with Andre1 Watts as soloist in 1989. Mr. Masur also led the Gewandhaus Orchestra in Bach's St Matthew Passion and Beethoven's Rdelioai the Salzburg Easter Festival during the 198990 season.
Born in Silesia, Germany, Kurt Masur began his musical training at the piano. He went on to study both piano
performance and conducting at the Music College of Leipzig. After graduation, he was named orchestra coach at the Halle County Theater, later becoming kapellmeister of the Erfurt and Leipzig Opera Theaters. In 1955, Mr. Masur was named conductor of the Dresden Philharmonic, and in 1958 he returned to opera as general director of music of the Mecklenburg State Theater of Schwerin. From 1960 to 1964, he was senior director of music at Berlin's Komische Oper, where he collaborated with Professor Walter Felsenstein, one of German opera's most influential directors. The Komische Oper's world tours were instrumental in establishing Kurt Masur's international reputation, which was also fostered by his numerous guest conducting appearances in Europe. In 1967, Maestro Masur was appointed chief conductor of the Dresden Philharmonic, a post he held until 1972.
Kurt Masur has recorded nearly one hundred albums. Among his recordings with the Gewandhaus are the complete Beethoven Symphonies, Dvorak Slavonic Dances, Mendelssohn's Paulus, Schubert's Rosamunde, Richard Strauss' four Last Songs vnh soprano Jessye Norman, and an album of Strauss songs with tenor Siegfried Jerusalem on the Philips Classics label. The five Mendelssohn symphonies are also available on Vanguard Records. In November of 1988, his recording of Ariadne aufNaxoswth]essye Norman, Edita Gruberova, and Dietrich RscherDieskau was released on the Philips Classics label.
A professor at the Leipzig Academy of Music since 1975, Mr. Masur holds honorary degrees from Leipzig University and the University of Michigan (the latter awarded during his 1987 May Festival residency). He will become the New York Philharmonic's next music director, beginning with the 199192 season.
It is a privilege to welcome Kurt Masur and his Gewandhaus Orchestra back to Ann Arbor for these 1991 Festival concerts. The maestro's Ann Arbor podium appearances will now number 17, including his five concerts prior to the 1987 and 1989 May Festivals, all with the Gewandhaus Orchestra.
University Musical Society
Gewandhaus Orchestra of Leipzig
Kurt Masur, artistic director & conductor Midori, violinist
Wednesday Evening, May 1,1991, at 8:00 Hill Auditorium, Ann Arbor, Michigan
P ROGRAM
Concerto in D minor for Violin and Orchestra, Op. 47 . . . Allegro moderato Adagio di molto Allegro ma non tanto
Midori, violinist
Sibelius
Intermission
Symphony No. 3 in A minor, Op. 56 ("Scottish") . . Andante con moto, allegro un poco agitato Vivace ma non troppo Adagio Allegro vivacissimo
Mendelssohn
The preconcert carillon recital was performed by Judy Ogden, Lecturer in the School of Public Health and a student of
Margo Halsted, University Carillonneur.
Kurt Masur and the Gewandhaus Orchestra are represented by Columbia Artists Management Inc., New York City.
Midori is represented by ICM Artists, Ltd., New York City.
The Gewandhaus Orchestra records for Philips, Vanguard, Angel, and VoxTurnabout Records.
The box office in the outer lobby is open during intermission for tickets to Thursday, Friday, and Saturday May Festival
Fortieth Concert of the 112th Season
98th Annual May Festival
Program Notes
Violin Concerto in D minor, Op. 47
Jean Sibelius
Born December 8, 1865, in Hameenlinna (Tavastehus) Died September 20, 1957, in Jarvenpaa
Early in his life, Sibelius manifested an interest in music; he actually began composing before having received any instruction in music theory. After studying piano and violin, he made a definite decision in his twentieth year to become a composer. He studied in Helsinki and later in Berlin, returning to Finland in 1899. It was at that time that he received a monetary grant from the Finnish state, which enabled him to devote his entire creative endeavors to composition.
Having styled himself "a dreamer and poet of nature," Sibelius came to carve for himself a special place in the development of Scandinavian music, with his native Finland dominating the genre. His works reveal a close identity with Finnish nationalism, and his inspiration often came from Norse mythology and the Scandinavian naturalist poets. Indeed, one would be hard pressed to find one of his works that is not characterized by the typical "Sibelius sound," where scenery and deed alternate in shifting blends of tone, often combining the qualities of picture and story.
Just as the symphonies -and even more so the tone poems -may strike the listener as containing great canvases of Finland's landscape and heroic past, the Violin Concerto seems to be tinged by a mood of communion with nature. Music analysts and commentators have remarked about this work's "bardic songs heard against a background of pagan fires in some wild Northern night," "the settled melancholy of a Finland of Northern darkness," and the violin's expression of "the labor and the love of a sensitive, almost morbidly modern, personality among the crude and prehistoric conditions of an unprotected land and ancient myths."
Sibelius wrote the Violin Concerto at Lojo, Finland, in 1903; it was premiered on February 8,1904, under the composer's direction, with Victor Novacek as the soloist Sibelius then revised the work during the summer of 1905, and in this new, definitive version it was first performed in Berlin on October 19,1905, with Karl Halif playing the violin under the direction of Richard Strauss.
By virtue of its thematic material and the way in which it is developed, Sibelius' only concerto stands alongside his symphonies and tone poems as testament to the composer's right of inclusion in the list of the great European composers of the twentieth century. Music writer Louis Biancoli best summarizes the makeup of this work in the following words: "Despite its strongly modern character and modified sonata form, Sibelius' score belongs to the romantic tradition of the nineteenthcentury concerto. The socalled 'bardic' moods and exotic folkish strains give it a special salience of its own. The opposition of violin and orchestra is almost unique in its brooding contrast, and the rhapsodic note of remote minstrelsy is strong, especially in the first movement But the technique, the mounting climaxes, the surging drama of tone and theme, the highregister fluttering all give it a kinship with other repertory of the later romantic period."
The first movement is in free sonata form. The principal theme is announced by the solo violin over divided and muted strings, the somber character accentuated by an imitation of the opening motive by a clarinet Two more important themes follow, and, after a cadenza for the solo, the three subjects are recapitulated and developed at the same time.
The Adagio di molto, a romanza, opens with a brief prelude followed by a broad, singing melody from the solo instrument The preludial woodwind motive returns to introduce a short contrasting section, which soon gives way to the return of the principal theme, now in the orchestra with elaborate figuration for the violin. There is a short coda.
The finale is a concentrated rondo on only two themes. The first is hurled forth from the solo violin over a relentless rhythm in the strings and timpani. Violins and cellos chant the defiant second theme. Both are developed with startling ingenuity to a brilliant end.
Symphony No. 3 in A minor, Op. 56 ("Scottish")
Felix Mendelssohn
Born February 3, 1809, in Hamburg Died November 4, 1847, in Leipzig
During his short life of 38 years, Mendelssohn dominated the musical world of Germany and exercised the same influence in England for more than a generation after his death. The reason for this may very well have been the fact that he was one of the most naturally gifted musicians of the nineteenth century, having developed his talent to an unprecedented degree while still a young boy. A product of his early years were the twelve Sinfonias for Strings, written between 1821 and 1823, already showing the composer's mastery of musical forms through the Classical style of Mozart. These were followed by the "mature" symphonies starting with No. 1, Op. 11, in 1824. Although the "Scottish" Symphony, Op. 56, is known as No. 3, it was the last of the five to be written. The "Reformation" Symphony from 1832 (known as No. 5, Op. 107) followed the
first; this was followed by the "Italian" from 1833 (known as No. 4, Op. 90) and the Lobgesang("Song of Praise") with soloists and chorus, written in 1840 and known as No. 2, Op. 52. This confusion was due to the fact that the symphonies were numbered as they were published and were not published in the order in which they were composed, the "Italian" and "Reformation" being published after the composer's death.
The idea to write a "Scottish" Symphony came to Mendelssohn while visiting Scotland in 1829. In a letter from Edinburgh on July 30, the composer wrote: "We went, in the deep twilight, to the palace of Holyrood, where Queen Mary lived and loved. There is a little room to be seen there with a winding staircase leading to it This the murderers ascended, and finding Rizzio, drew him out... and killed him. The chapel is roofless, grass and ivy growing abundantly in it, and before the altar, now in ruins, Mary was crowned Queen of Scotland. I believe I found today in that old chapel the beginning of my Scottish Symphony."
Indeed, Mendelssohn did write the first ten bars of the opening Andante on the day of his visit to Holyrood. The symphony, however, had to wait 13 years before it was completed. It would be hard to guess how much of his Scottish visit Mendelssohn could remember at that point and how much of those recollections influenced the contents of this Symphony. Many a scholar has concluded that there is not much in this work that is of a Scottish nature; Mendelssohn's dislike for nationalistic music is well documented. It is also a wellknown fact that the original score did not bear the nickname that has been affixed to the work for almost 150 years, nor did any of the early program booklets. It is recounted that once Robert Schumann was told at a performance of this Symphony that it was the "Italian" he was listening to; at the end of the performance Schumann is said to have exclaimed, "Charming! It so vividly represents Italy that it compensates one for never having been there." Mendelssohn himself never revealed whether indeed there was a program to this symphony. Even if Romantic notions may still linger in this century of pragmatism, for this work to be enjoyed it matters not whether the listener wants to hear in the score a description of the countryside of Scotland or simply a piece of "absolute" music. As Mendelssohn himself said, "Notes have as definite a meaning as words, perhaps even a most definite one."
Aside from being Mendelssohn's most mature work and perhaps his finest, the "Scottish" Symphony also bears historical significance as the movements are all joined together, marking a definite step toward the creation of the symphonic poem. Also the structure of the first movement, where material of the introduction is used to unify the work thematically, foretells the use of this technique to create a relationship between the first movement and all subsequent ones.
The first movement begins with a slow and solemn introduction marked Andante con moto. The oboe theme heard at the beginning casts its shadow over most of the other themes of the symphony. The main section of the movement, marked Allegro un poco agitato, is cast in a modified sonata form and exhibits a generally somber orchestral coloring; its main theme treats the opening idea in variation style. Against reminders of the main theme in the background, the second theme makes its first appearance in the unexpected key of B minor, played by solo clarinet The development section is marked by a remarkable series of modulations, the dynamic intensification of its themes, and gripping dramatic scenes seemingly mingling the world of nature with the experience of nature (as in the passage that clearly depicts the sea gripped by a raging storm). After the recapitulation, which starts pianissimovnth the main theme on clarinet and first violins, comes a lengthy coda reminding us of the mysterious modulatory sequence and growing to an impassioned climax. Unusually, this is rounded off by a return of the introductory material, which, as the excitement fades away, leads into the Scherzo with a minimum of break.
The Scherzo, marked Vivace ma non troppo, is an exceptionally high spirited movement, also in sonata form and based on a pentatonic scale; many musicologists have commented on the resemblance to the Scottish air Charlie is my Darling. The main theme is first presented by a solo clarinet The proceedings are marked by the graceful rhythmic treatment
The third movement, Adagio, bears a marked influence from Beethoven and is strongly prophetic of Brahms. Imprinted with resignation and yearning, its gravity and allencompassing sadness might remind the listener of Mendelssohn's gloomy recollections of Holyrood. With every turn, the slow, lyric melody that is presented at the outset is varied and elaborated.
The final brisk movement, Allegro vivadssimo, exhibits a militant mood that is unprecedented in Mendelssohn's works, while its copious thematic material, much of it of a folklike nature, is treated in a free fantasy mode. At the outset, the first violins present two lively melodies, one after the other. A second pair of themes, a little less emphatic, begins with a jaunty motive for oboe, followed by a rumbustious melody for fortissimo strings. After the energetic development of the themes, the recapitulation is brief, giving prominence to the coda. Here, the theme from the introduction is transformed in variation style, free from its previous elegiac mood, into a marchlike hymn of triumph, reaching the magnificent conclusion and lending unity to the entire work.
Mendelssohn completed his "Scottish" Symphony, regarded as the summit of his symphonic achievements, on January 20,1842. After presenting the work the following June at a concert of the Philharmonic Society of London, the composer was granted the privilege of dedicating this symphony to Queen Victoria.
--Edgar ColonHernandez
Midori violinist
'"Phe
A extraordinary violinist Midori has, at the age of 19, been acclaimed by critics, audiences, and fellow musicians as one of this century's most gifted artists. Already celebrated worldwide for
fulfilling the tremendous promise of her earliest successes, she is now building upon the broad experiences of her career to date and is expected to become one of the most distinguished artists of the next century.
In less than a decade, since her brilliant debut with the New York Philharmonic under Zubin Mehta at the gala New Year's Eve concert in 1982, Midori has shared the great concert stages of the world with such eminent artists as Claudio Abbado, Vladimir Ashkenazy, Daniel Barenboim, Leonard Bernstein, Charles Dutoit, YoYo Ma, Zubin Mehta, Andre Previn, Mstislav Rostropovich, Isaac Stern, Michael Tilson Thomas, and Pinchas Zukerman, and with prestigious ensembles including the Berlin Philharmonic, the Boston Symphony, the Chicago Symphony, the Israel Philharmonic, the London Symphony, the Los Angeles Philharmonic, rOrchestre de Paris, and The Philadelphia Orchestra.
Midori began her 19901991 season playing gala openingnight concerts with the Boston Symphony and the Minnesota Orchestra. Later in the season, she again appeared with the Boston Symphony for two Carnegie Hall performances, in addition to subscription series concerts. Her other orchestral engagements include appearances with the symphony orchestras of
Baltimore, Dallas, Detroit, Louisville, Montreal, Pittsburgh, St Louis, San Francisco, and Toronto. In Europe, she makes a major tour with the Toronto Symphony and gives two concerts with ensembles including the Czech Philharmonic, the Royal Philharmonic, and the Stockholm Philharmonic.
As a recitalist, Midori is equally active, having toured North America and Europe extensively. The former tour culminated in October 1990 with a tremendously successful Carnegie Hall recital debut, which was recorded for both audio and video release by Sony Classical. In November of 1990, she made recital debuts in London, at the Barbican Centre, and in Paris, at the Palais de Champs Elysees. She also played in the leading halls of Milan, Rome, Bonn, and Lyons, among others.
Midori returns frequently to her native Japan, where her most recent performances included several soldout recitals, as well as concerts that inaugurated the newly founded Pacific Music Festival together with the London Symphony, conducted by both Leonard Bernstein and Michael Tilson Thomas. In September of 1989, she was the featured soloist with the New York Philharmonic on its East Asian tour.
Midori is an exclusive Sony Classical (formerly CBS Masterworks) recording artist. Her muchacclaimed debut for that label, a live recording of the Dvorak Violin Concerto with Zubin Mehta and the New York Philharmonic, was released in the summer of 1989. A record of the Paganini Caprices for solo violin followed in the fall of 1989, and a third release featuring the two Bartok Violin Concertos with the Berlin Philharmonic under Mehta has been recently issued. Her recording plans also include a solo album of virtuoso encore pieces. Her earliest recordings, made at age 14 and 15 for Philips, included concerted works of Bach, Vivaldi, Paganini, and Tchaikovsky.
Midori has received numerous honors, including the Los Angeles Music Center's Dorothy B. Chandler Performing Arts Award, which was presented to her as part of a gala celebration televised by PBS in early 1990. In 1988, she was lauded by the Japanese government as the Best Artist of the Year, the youngest person ever to
receive that nigh honor. She was also given the Crystal Award, sponsored by Symphony Hall of Osaka, for her contribution to the arts by the most widely read newspaper in Japan, Asahi Shimbun.
Midori's unique talents and lively personality have made her one of the most popular figures in the music world. She has received wide recognition in the media, and her television appearances have included the Today Show, the Tonight Show, Good Morning America, CBS This Morning, the MacNeilLehrer Report, CNN's Futurewatch, and Nova. She also participated in the salute to Nathan Milstein at the 1988 Kennedy Center Honors Gala with Mr. Zukerman, and in the gala concert broadcast worldwide from Tanglewood in honor of Leonard Bernstein's 70th birthday.
Midori was bom in Osaka, Japan, in 1971 and began studying the violin with her mother, Setsu Goto, at a very early age. In 1982, she came to New York, where she studied with Dorothy DeLay, Jens Ellermann, and YangHo Kim. When Zubin Mehta first heard her play, he was so impressed that he invited her to be a surprise guest soloist on the New York Philharmonic's traditional New Year's Eve concert, an occasion that effected a standing ovation and the impetus to begin a major career.
Midori lives in New York City and graduated from the Professional Children's School in 1990. She plays a 1735 Guarnerius del Gesu, "exDavid."
This evening, the artist makes her debut appearance in Ann Arbor.
Program Notes
Concerto in A minor for Violin, Cello, and Orchestra, Op. 102
Johannes Brahms Born May 7, 1833, in Hamburg Died April 3, 1897, in Vienna
In 1853, Brahms embarked on a concert tour with the Hungarian violinist Eduard Hoffmann (a.k.a.Remenyi). It was during their stop at Gotringer, near Hanover, that Brahms came to meet Joseph Joachim, the virtuoso violinist -also a composer -with whom he established an immediate rapport that flourished into their long friendship. Joachim proved to be enormously influential in Brahms' career, as well as in the younger man's development as a composer. The two shared an identity of artistic outlook and a great admiration for each other's works; together, they stood firmly against the "New German School" as exemplified by Liszt and, later, Wagner. It was at Joachim's suggestion that Brahms met Robert Schumann and his wife Clara, both of whom were to become so important in his life as well as in his further development as a composer. Early on, Brahms benefited immensely from Joachim's advice regarding orchestration and from hearing Joachim's Hanover Quartet perform some of his chamber works. More importantly, when Brahms wrote his masterful Violin Concerto in 1878, Joachim -for whom the work was composed -provided invaluable guidance in the treatment of the violin as a solo instrument. Equally important, as a conductor Joachim introduced several of Brahms' orchestral works, thus garnering recognition for the younger composer and establishing his reputation, especially in England where the virtuoso conductor was regarded with high esteem.
It is said that every friendship will eventually be tested, and this was certainly the case for Brahms and Joachim. When Joachim began divorce proceedings against his wife, the famous mezzosoprano Amalie Weiss, Brahms sided with Amalie; the rift that ensued in their friendship was hard to overcome. As a means to end the animosities and repair the damage done to their relationship, Brahms wrote the Concerto for Violin, Cello, and Orchestra, Op. 102, in 1887. He dedicated the work to Joachim and designated the virtuoso as the person "for whom it was written." Brahms' peace offering was accepted, resulting in the
reestablishment of the severed friendship. Joachim performed the solo violin part at the work's first performance, a private affair held on September 23, 1887, in BadenBaden. The composer led the orchestra, and Robert Hausmann, a member of the celebrated Joachim Quartet, was the solo cellist. The official premiere took place on October 18 of the same year in Cologne, with the same three principals.
The "Double" Concerto -as it is often referred to -was described by its composer as "a strange flight of fancy." The most recent antecedents prior to Brahms' Concerto can be found in Mozart's Sinfonia Concertante in Eflat major, K. 364 (for violin and viola) and Beethoven's "Triple" Concerto (for violin, cello, and piano). Beyond this, the "Double" Concerto reflects Brahms' interest in Baroque music, as it exhibits features of that musical era's concerto grosso and a predominantly polyphonic structure, albeit clothed in a nineteenthcentury idiom.
In the opening of the Allegro, the full orchestra announces four measures of the principal theme, of which the last three notes provide the cello with a dramatic entrance in the form of a recitativecadenza; a similar passage for the violin follows. After the introduction, the proceedings follow the typical concerto form. In a tuttipassage, the principal theme is heard once more with a degree of elaboration, leading to the second theme in the major mode, first presented by the cello and receiving an answer from the violin. In the development section that follows, the main thematic material is imaginatively handled through the variation technique and elaboration that takes place throughout the entire movement. This is followed by the traditional recapitulation marked by further thematic elaboration.
The second movement, Andante, is built upon a simple songlike "ABA" structure. In the outer sections, the two soloists often play as "one voice," while in the contrasting middle section they engage in dialogue fashion.
The third movement, marked Vivace non troppo, is in rondo form; it is characterized by the subtle virtuosity allotted to the soloists as well as by the magisterial use of technical and structural means. Over the light accompaniment of strings and bassoon, the cello presents the main theme. This theme is restated fortissimo, after which the soloists present the second theme in the major mode. In typical rondo fashion, episodes employing these two themes alternate with everincreasing elaborations, until an energetic coda brings the work to its conclusion.
Musical Society
Gewandhaus Orchestra of Leipzig
Kurt Masur, artistic director & conductor
Christian Funke, violinist
Jiirnjakob Timm, cellist
Thursday Evening, May 2,1991, at 8:00 Hill Auditorium, Ann Arbor, Michigan
Program
Concerto in A minor for Violin, Cello, and Orchestra, Op. 102 Allegro Andante Vivace non troppo
Brahms
Christian Funke & Jurnjakob Timm
Intermission
Symphony No. 2 in D major, Op. 73 . . . Allegro non troppo Adagio non troppo Allegretto grazioso, quasi andantino Allegro con spirito
Brahms
The preconcert carillon recital was performed by Sara Sjoberg, a sophomore majoring in Spanish and Economics and a
student of Margo Halsted, University Carillonneur.
Kurt Masur and the Gewandhaus Orchestra are represented by Columbia Artists Management Inc., New York City.
The Gewandhaus Orchestra records for Philips, Vanguard, Angel, and VoxTurnabout Records.
The box office in the outer lobby is open during intermission for tickets to the Friday and Saturday May Festival concerts.
Fortyfirst Concert of the 112th Season
98th Annual May Festival
Symphony No. 2 in D major, Op. 73
Johannes Brahms 18331897
Brahms has often, with arguable justification, been called the last of the great classical composers; a fervent admirer of Beethoven, he was moved by a desire to be linked to the tradition of the symphony as set by the master. However, Brahms cannot so easily be regarded as a mere neoclassicist (as he was called in life and even after his death); it is only the most superficial listener who could deny that his music possesses qualities of the most intense romanticism. The richness and abundance of his musical genius poured forth in his symphonies, as it did in his chamber works, choral pieces, and his long list of songs. Like Beethoven before him, he provided a strong voice, dramatic content, and perfection of structure to the symphony; this, however, he complemented with the introduction of the German lied to the essence of symphonic form. Beethoven had not made use of this lyric, uncomplicated, and somewhat rustic vein in his symphonies as it was later to be found in Brahms', but the practice was perpetuated into the turn of this century by Mahler, and to some small degree, by Bruckner.
Brahms was over forty years old when he completed his first Symphony. Having garnered a substantial reputation with his smallscale works (particularly his chamber music) and with Schumann's pronouncement naming him Beethoven's successor as a symphonist, Brahms felt tremendous pressure and weight of responsibility in presenting his first work in the form to the world. As a result, work on the first Symphony took him fifteen years between initial conception and the production of the completed score in 1876. Opus 68 turned out to be a magisterial work, and, having overcome his fears regarding his abilities to compose in the grandest of forms for instrumental music, he immediately set to work on his next symphony.
Brahms wrote his Symphony No. 2 in D major in 1877, completing the score in less than four months. This work has often been called Brahms' "Pastoral" Symphony. There is perhaps an element of truth in this descriptive nickname, particularly in relation to the first and second movements and possibly the third. Of his four symphonies, the tone of the Second is the most idyllic. The serene expression of the first movement is contrasted with the more deeply contemplative character of the second movement, where the lyrical sentiment is most apparent as the style of the lied is clearly found in the melody. The third movement
demonstrates a skillful use of variation technique and an effective juxtaposition of alternating fast and moderately slow sections. The finale expresses great jubilation. All in all, Opus 73 provides vivid example of Brahms' long melodic lines, his contrapuntal skill as demonstrated in the combination of melodic lines, the richness of harmony dictated by seriousness of purpose, the impressive coherence obtained in the use of thematic material, and the feeling of balance and unity in the structure as a whole.
The first movement, Allegro non troppo, is written in sonataallegro form. The tranquil opening of basses, horns, and woodwinds reveals the emotional tone as well as the musical keynote of the symphony; the first theme compounds musical ideas to be utilized later in the work. A second portion of the first theme is stated in a quiet undulating melody played in the high register of the violins. A transition builds to a full climax; this leads into the tender second theme, which is introduced by the cellos and casts a shade of melancholy on the previously sunny proceedings. The development section begins with an elaboration of the first theme; the intermingling melodies and vigorous contrasting phrases of the development finally subside into a quiet passage that leads into the recapitulation. Here, the return of the first theme is combined with the second theme winding about it. The coda that concludes the movement features an ethereal horn solo.
Unlike Mendelssohn and Schumann, for instance, Brahms followed the practice of the classics by placing the slow movement as the second instead of the third movement of his symphonies. The songlike Adagio non troppo is deeply contemplative in character with long phrases and rich chromaticism. The cellos introduce the first theme based on a
descending line, which leads to an accompanying counterpoint, basically ascending and played by the bassoons. A transition passage introduces a new key and leads into the second theme, marked L 'istesso tempo, ma grazioso. A third theme introduces the development; this section builds up with increased rhythmic and melodic motion. The recapitulation brings back a second theme, this time richly ornamented, before closing with a restatement of the second theme.
The third movement, Allegretto grazioso, quasi andantino, is more like a song than a scherzo, and is perhaps closer in style to some of Brahms' piano pieces labeled Intermezzi. The main theme, introduced by the oboe with pizzicato accompaniment from the cellos, suggests the steps of a dance; there is, however, nothing dancelike about the development section or the richness of thematic variation in the middle episode.
The last movement, Allegro con spirito, is once again built on the sonataallegro form. The principal theme begins mysteriously in the strings, extends to the woodwinds, and at last is expounded by the entire orchestra. The second theme is also introduced by the strings. In the development section, Brahms' mastery of contrapuntal technique is most evident; here, the composer makes frequent use of broken polyphony as the thematic threads of melody and counterpoint are distributed into small and even smaller motives. With one last statement of the second theme, proclaimed by the trumpets, Brahms brings his Second Symphony to its brilliant conclusion.
-Notes by Edgar ColonHernandez
Gail Rector Portrait On View
In the 113year history of the University Musical Society only six leaders have served as the top administrator. For 30 of those years, Gail W. Rector made his mark as a masterful impresario during his tenure as the fifth president of the University Musical Society. From 1957 until his retirement in 1987, Mr. Rector orchestrated the appearances of more than 1,400 distinguished international artists and performing groups.
In the tradition of presidents before him, a portrait of Mr. Rector is now completed and is on permanent display in the lobby of Hill Auditorium alongside the past UMS Presidents: Henry Simmons Frieze, Alexander Winchell, Francis W. Kelsey, and Charles A. Sink. The Ann Arbor and university communities congratulate Mr. Rector on this occasion, honoring and remembering his distinguished service to the arts and to the University Musical Society.
The final portraitsitting took place March 19, 1991, following a visit by portrait artist Kevin Gordon of New York, who wanted to see where the portrait would be displayed.
This portrait tribute was made possible by a special group of UMS supporters and personal friends of Mr. Rector. To underwrite its cost, a committee headed by UMS board member Robert Aldrich and former UMS board members Douglas Gary and Thurston Theime enthusiastically contacted individuals and raised the necessary funds. Those people are listed in the gift portion of this program.
Jiirnjakob Timm cellist
Jiirnjakob Timm is an internationally renowned conceit soloist whose numerous orchestral engagements include frequent tours as soloist of the Gewandhaus Orchestra. He is also known through his recordings and radio appearances. In 1973, he became first cellist of the Gewandhaus Orchestra and a member of the Gewandhaus Quartet A graduate of the Leipziger Hochschule fur Musik, Mr. Timm has been a prize winner in international competitions in Moscow, Markneukirchen, and Geneva.
Christian Funke violinist
Christian Funke was born in Dresden, and studied at the Hochschule fur Musik "Carl Maria von Weber" in his native city. He continued his studies with Igpr Besrody at the Moscow Tchaikovsky Conservatory and became the first foreign student to graduate with special distinction. In 1972, Mr. Funke was engaged by the Dresden Staatskapelle as first concertmaster. Since 1979, he has been first concertmaster and soloist of the Gewandhaus Orchestra.
Mr. Funke has won several international competitions and can be heard on numerous recordings. A recipient of the Art Prize of the GDRin 1984, Mr. Funke was named professor of violin at the Hochschule fur Musik "Franz Liszt" in 1985. Since 1987, Mr. Funke has been the leader and soloist of the Bach Orchestra.
Musical Society
Gewandhaus Orchestra of Leipzig
Kurt Masur, artistic director & conductor Jiirnjakob Timm, cellist
Friday Evening, May 3,1991, at 8:00 Hill Auditorium, Ann Arbor, Michigan
P ROGRAM
Excerpts from Romeo and Juliet.... Montagues and Capulets The Young Juliet Masks
Romeo and Juliet Friar Laurence The Death of Tybalt Romeo and Juliet before parting Romeo at the Tomb of Juliet
Prokofiev
Intermission
Seven Love Songs for Cello and Orchestra...............Henze
Jurn jakob Timm, cellist Till Eulenspiegels lustige Streiche, Op. 28..............R. Strauss
The preconcert carillon recital was performed by Philip Burgess, a doctoral organ student and a student of Margo
Halsted, University Carillonneur.
Kurt Masur and the Gewandhaus Orchestra are represented by Columbia Artists Management Inc., New York City.
The Gewandhaus Orchestra records for Philips, Vanguard, Angel, and VoxTurnabout Records.
The box office in the outer lobby is open during intermission for tickets to Saturday night's May Festival concert.
Fortysecond Concert of the 112th Season
98th Annual May Festival
Program Notes
Excerpts from Romeo and Juliet
Sergei Prokofiev
Bom April 23, 1891, in Sontsovka, Ukraine Died March 5, 1953, in Moscow
Shakespeare's tragedy about starcrossed lovers, Romeo and Juliet, has been the source of inspiration for composers of many nationalities throughout the last two centuries. In addition to symphonic works and more than ten operas, it has prompted incidental music for theater and film productions, songs, and even piano pieces. Among the best known compositions based on the stage work are: Bellini's opera Capuleti e iMontecchi[ 1830); Berlioz' "dramatic symphony" with chorus and soloists (1839); Gounod's opera (1867); Tchaikovsky's Fantasy Overture (1870); Prokofiev's ballet (19356); Bernstein's Broadway musical West Side Story (1957); and Nino Rota's score for the Franco Zeffirelli film (1968). Of these works, except perhaps for Bernstein's and possibly Tchaikovsky's, Prokofiev's score is the one most often heard.
In 1934, while Prokofiev was living in Paris, a suggestion came from the Kirov Theater of Leningrad to present a new ballet based on Shakespeare's Romeo and Juliet The ending, in which the two main protagonists commit suicide, presented a problem; as Prokofiev wrote, "living people can dance; the dying cannot" It was therefore decided to rewrite the ending with Romeo arriving just in time to save Juliet
Prokofiev began work on this ballet in 1935. Preceded by such ballets as Ala andLoili{94}5), The Taleof the Buffoon (a.k.a. Chout (1915), TheSteelStep (1925), and The Prodigal Son (19289), Romeo and Juliet marks the arrival at Prokofiev's new, less aggressive and more lyrical style of composition. In contrast with his earlier ballets, all of which were in one act and written for the Paris stage, the threeact narrative dancedrama structure of Romeo and Juliet was basically dictated by the nature of classical ballet that was still favored in the Soviet Union. Due to its lyrical inventiveness and formal organization, as well as the magnitude of its scope and the fine delineation and development of characters, Romeo andJulietYos become the most successful threeact ballet since Tchaikovsky's dance scores.
The work became the longest of Prokofiev's ballets, despite the fact that he composed it in a scant four months. In the summer of 1935, he played the piano score for the theater directorship, who decided the material was unsuitable for dancing. Although several revisions were written, including the restoration of the
original tragic ending, the ballet was not presented until 1938, far from Leningrad, in Brno, Czechoslovakia. In the interim, Prokofiev wrote two orchestral suites (Opp. 64a and b) based on the ballet for conceit performance, as well as a suite for solo piano, arranged in 1937. It was through these suites that the music became familiar to concert audiences, even before the ballet was actually staged for the first time. Taking movements from both suites, Maestro Masur has compiled the Suite heard in this performance. like Prokofiev's suites, the movements are not necessarily presented in chronological order as they occur in the ballet
Montagues and Capulets (Allegro pesante) is an ironic portrayal of the arrogant old Veronese noblemen from the rival families. In a contrasting middle section [Molto tranquillo), Juliet dances with her suitor, Paris.
The Young Juliet (Vivace) evokes the naive young maiden, mischievously hindering the Nurse's attempts to get her dressed for the ball. At one point, Juliet sees herself in the mirror and gradually becomes aware of the fact that she is becoming a woman. The guests perform a Minuet [Assaimoderate) as they arrive at the Capulets' ball.
Masks [Moderato marciale) is a depiction of Romeo's secret entrance with his two friends, Mercutio and Benvolio, to the Capulets' ball, obviously uninvited.
In Romeo and Juliet (Lento), the light of morning begins to fill Juliet's room as the lovers awaken after their first and only shared night of love. This scene contains some of the most bittersweet passages of the score.
Friar Laurence (Andante espressivo) is represented by two themes, one played by bassoons, tuba, and harp, the other played by divided cellos. In this scene, the Friar conceives a plan to aid the young lovers; he gives Juliet a potion that will bring about a deathlike sleep. In the meantime, he plans to send word to the exiled Romeo to come back to Verona to spirit Juliet away.
The Death of Tybalt (Andante-Animato -Presto) pictures the last part of the duel that ensues between Tybalt and Romeo. Tybalt has just slain Mercutio, as Romeo tried to separate the two. In a blind fury, Romeo avenges his friend by killing his beloved Juliet's cousin, Tybalt
For Romeo and Juliet before parting (Lento -Poco piu animato) we go back to Juliet's room where, in a haunting and poetic moment, the lovers say their farewells in a sorrowful pas de deux. This is the most extensively developed movement of the suite.
Romeo at the Tomb of Juliet (Adagio) depicts the tragic last scene in which Romeo, not having received Friar Laurence's message, arrives at Juliet's tomb;
believing Juliet to be dead, he drinks poison. Juliet awakens after Romeo has died; in despair, she takes his dagger and fatally stabs herself.
Prokofiev wrote that with the music for this ballet, he wanted "to achieve a simplicity which will, I hope, reach the hearts of all listeners. If people find no melody and no emotion in this work of mine, I shall be very sorry; but I feel sure that they will sooner or later." And so they have.
-Edgar ColonHernandez
Sieben Liebeslieder (Seven Love Songs) for Cello and Orchestra
Hans Werner Henze
Bom July I, 1926, in Gutersloh, Westphalia
Hans Werner Henze was born in Gutersloh, Westphalia, Germany, on July 1,1926; he has lived in Italy for many years. Henze demonstrated his musical interests at an early age, though this led to family tensions at a time (the late 1930s) when politics rather than art inevitably dominated German family life. The experience of chamber music played almost secretly in the partially Jewish household of a friendly neighbor confirmed the composertobe in the notion that music was antiauthoritarian, the embodiment of individuality -something that has remained a powerful part of his musical outlook to this day. He began to compose at about the age of 12, even before he had begun systematic instruction. When he was drafted in 1944, he continued composing under the inevitable restrictions of military life, turning them to advantage by training himself to hear mentally complex musical combinations.
After the war, Henze began studies with Wolfgang Former in Heidelberg, where he attained a technical mastery of counterpoint and began to compose the works that represented his earliest successes. But by the late 1940s, he had become an eager participant in the summer courses offered at Darmstadt by Rene Leibowitz, one of the leading proponents of the dodecaphonic school that emanated from Vienna. During the ensuing years, he began to produce a wideranging array of scores in virtually every medium, from small chamber combinations to symphony and opera. His music sometimes shows startling contrasts between one work and the next, testimony to his independent treatment of the Schoenbergjan method, which has never hampered his own expressive purposes.
Since the early 1950s, he has lived mostly in Italy. During the late 1960s and through the 1970s, his music frequently reflected his concern for the political dilemmas of our time, presented in scores that often
belonged to the generalized category of "music theater" and demonstrated a creative eclecticism in their choice of materials. In recent years, Henze has moved away from such constant political engagement in his music, returning to the composition of abstract large works, such as his Symphony No. 7 and the Sieben Liebesliedertox Cello and Orchestra.
Sieben Liebesliederwas first performed in Cologne on December 12,1986. Heinrich Schiff was the soloist, and David Shallon conducted the Cologne Radio Symphony Orchestra. The work received its American premiere on August 10,1988, when the composer conducted the Tanglewood Music Center Orchestra, with YoYo Ma as the soloist
The composer has provided the following -purposely brief and even slightly evasive -note on his piece:
"This composition took shape between autumn 1984 and late summer 1985. The basis of its seven movements are seven English poems from very different stylistic periods, containing the most diverse expressive content and meters, which I have analyzed in content and structure and translated into music, really quite in the sense of song composition gradually converted into instrumental music. The identity of the texts will not be revealed."
As befits a composition by one of the great opera composers of our time, the music is essentially lyric and sharply characterized. Though the composer prefers not to identify the texts that were his original inspiration, the listener can identify the special character of each of the seven fairly short movements, ranging from great outbursts to somber meditation. The work begins quietly, almost as chamber music, with three low woodwinds (two bassoons and bass clarinet), and ends equally quietly, with the solo cello joined by three other solo strings to make a string quartet (in which the cello nonetheless remains the principal voice). In between, however, the composer works the entire orchestra thoroughly, while allowing his protagonist to remain at center stage virtually throughout.
-Courtesy of SchottEuropean American Music
Till Eulenspiegels lustige Streiche, Op. 28
Richard Strauss
Bom June 11, 1864, in Munich
Died September 8, 1949, in GsrmischPartenkirchen
Strauss completed what is perhaps the most popular of his tone poems in May of 1895, in Munich; it was published in September under the full title: Till Eulenspiegels lustige Streiche, nach alterSchelmenweise -in Rondeauform ("Till EulenspiegePs Merry Pranks, after the oldfashioned roguish manner -in Rondo form"). The first performance took place at a Giirzenich concert in Cologne on November 5,1895.
In the study of Strauss' creative process, the score of Till Eulenspiegelis particularly interesting. The composer expected to treat his subject as an opera, but due to difficulties in the characterization of Till, the opera project was never realized; instead, he opted for the form of symphonic poem. The long preliminary occupation with the Till Eulenspiegel legend enabled Strauss to compose his tone poem with speed.
Strauss found his subject in an old Volksbuch attributed to Dr. Thomas Murner (14751530). The name "Eulenspiegel" literally means "Owlglass" and is said to come from an old German proverb: "Man sees his own faults as little as a monkey or an owl recognizes his own ugliness in looking into a mirror." Strauss' symphonic poem seems to follow closely the story in the legend about a rascal (Till) who rides through the marketplace astride his horse, scattering the women's wares in utter confusion. Disguised as a pastor, he drips with unctions and morals. Later, in his cavalier manner he pays court to several pretty ladies, one of whom makes an impression on him. The lady rejects him and he storms into a rage, swearing vengeance on all mankind. For his pranks, Till is brought before a court of justice; the drum roll suggests that his practical jokes have caught up with him as he is condemned to the gallows. He goes up the ladder and is hanged; although with a last gasp for air Till's mortal part is no more, the return of his impudent theme suggests that his spirit still lives on.
This frolicsome epic has been set in the traditional framework of a rondo, and, in keeping with such a structure, one hears the statement of several themes that return in typical rondo fashion. Between these thematic repetitions, several episodes occur, carried by motives that sharply contrast with the basic themes. Foremost among these themes are the opening introduction, Till's hom motive, and the portentous descending interval of the rogue's condemnation. The brief epilogue quotes the introduction before bringing the work to its conclusion.
Program Notes
Overture to Ruslan and Ludmila
Mikhail Ivanovich Glinka
Bom June I, 1804, in Novospasskoye (now Glinka), near Smolensk Died February 15, 1857, in Berlin
The son of a wealthy landowner, Mikhail Glinka attended school in St. Petersburg and later studied composition in Italy and Germany. Given that the Russian composers prior to him were either amateurs or strongly influenced by foreign schools, Glinka is regarded as the founder and father of Russian music. In his reliance upon Russian folksongs as a source of inspiration, he was the first to give Russian music a language of its own. Furthermore, in his nationalistic approach to composition, he came to exert a profound and freely acknowledged influence upon Balakirev (18371910) and Tchaikovsky (18401893).
The fairytale poem Ruslan and Ludmila established the 21yearold Pushkin's success virtually overnight. Pushkin was attracted by Glinka's project for an opera based on the poem, but he had hardly begun to arrange the libretto when he died as the result of a wound incurred in a duel. Glinka then employed no less than five librettists to complete the adaptation of Pushkin's already complete tale. The opera premiered on December 9, 1842, at the Bolshoi Theater in St. Petersburg.
The overture was written in clear classical form, its material mainly drawn from the opera's final scenes. It begins with the full orchestra playing fortissimo chords to then introduce the main theme in D major played by violins, violas, and flutes. After a brisk passage of woodwinds, the cellos, violas, and bassoons announce the secondary theme in F major, a graceful melody of folklike character. Following a repeat of the orchestral fortissimo, a third theme taken from one of Ruslan's arias then makes its appearance. Afterwards, all this thematic material is briefly developed; with the repeat of the exposition comes a rousing coda in which a wholetone scale descending bass (employed in the opera as a motive for the villain) is prominent. Climactic brilliance and excitement mark the overture's final passages. Glinka's colorful orchestration and transparent texture firmly established the Russian tradition that was to be followed by RimskyKorsakov and Prokofiev.
University Musical Society
Gewandhaus Orchestra of Leipzig
Kurt Masur, artistic director & conductor
The Festival Chorus Thomas Hilbish, interim director
Elisabeth Leonskaja, pianist C 1 a u d i n e Carlson, mezzosoprano
Saturday Evening, May 4,1991, at 8:00 Hill Auditorium, Ann Arbor, Michigan
P ROGRAM Overture to Ruslan and Ludmila...................Glinka
Concerto No. 2 in G major for Piano and Orchestra, Op. 44.....Tchaikovsky
Allegro brillante e molto vivace Andante non troppo Allegro con fuoco
Elisabeth Leonskaja, pianist
Intermission
Alexander Nevsky, Cantata for Mezzosoprano,
Chorus, and Orchestra, Op. 78..................Prokofiev
Russia under the Mongolian Yoke
Song about Alexander Nevsky
The Crusaders in Pskov
Arise, Ye Russian People
The Battle on the Ice
The Reid of the Dead
Alexander's Entry into Pskov
Claudine Carlson, mezzosoprano, & The Festival Chorus
Kurt Masur and the Gewandhaus Orchestra of Leipzig are represented by Columbia Artists Management Inc., New York City.
Elisabeth Leonskaja is represented by Shaw Concerts, Inc., New York City.
Claudine Carlson is represented by ICM Artists, Ltd., New York City.
The Gewandhaus Orchestra records for Philips, Vanguard, Angel, and VoxTurnabout Records.
Fortythird Concert of the 112th Season
98th Annual May Festival
Piano Concerto No. 2 in G major, Op. 44
Piotr Ilyich Tchaikovsky
Born May 7, 1840, in Votkinsk, Russia
Died November 6, 18Q3, in St. Petersburg (now Leningrad)
In the winter of 1874, Tchaikovsky presented his newly written first Piano Concerto -one of the bestloved in the repertoire today -to his much admired and trusted senior colleague at the Moscow Conservatory, Nikolai Rubinstein, for an opinion on the work. Tchaikovsky suffered one of the biggest disappointments of his career when, on Christmas Eve, Rubinstein -who had been so supportive of the composer in the past -rejected the concerto with a torrent of scathing criticism, summarily declaring the work illcomposed and unplayable. This unexpected reaction from Rubinstein left the composer totally devastated and sank him into an unhealthy state of depression. Tchaikovsky then sent his concerto to Hans von Biilow, who found it "original, noble, and powerful." On October 25, 1875, Biilow took the concert world by storm when he presented the work in Boston with unprecedented success. After this, Rubinstein reconsidered his position, recognizing the concerto for the masterpiece that it is, and added it to his repertoire, playing it quite often throughout Russia.
Four years later, Tchaikovsky began a new concerto, completing the work on May 10,1880. The composer worked at it deliberately and without hurrying. Pronouncing himself well satisfied with it, he once again sent his new work to Rubinstein for his opinion; this time, Rubinstein -perhaps remembering that his rash judgment of the first concerto had been proven wrong -exercised the tact and diplomacy that he had lacked previously and responded by requesting the honor of premiering the work. This, however, did not come to pass, as Rubinstein died a few months later of consumption. The work was finally premiered on May 30, 1882, by Sergei Taneyev, a student of Rubinstein's and Tchaikovsky's most trusted musical friend. On that occasion, the orchestra was led by Rubinstein's brother, Anton.
The critics of the time, however, were not ready for Tchaikovsky's rather innovative concerto; the outer movements include prominent concertante solo parts, and the middle movement incorporates qualities of chamber music into the symphonic writing. Just as was the case with Brahms' Second Piano Concerto when it was played in Vienna for the first time during that same year, the critics declared Tchaikovsky's work to be "more of a symphony with piano obbligato than a concerto,"
failing to recognize its wonderfully crafted construction and immediate expressiveness. Not until recently has the concerto gained its deserved favor in the concert hall, where it is still overshadowed by its predecessor; this may be in part because of the considerable difficulties encountered in its virtuoso writing.
The first movement, Allegro brillante e molto vivace, is built upon a free sonata form. The opening is vigorous and noble in a somewhat ceremonious way. The main theme is proclaimed, forte, by the orchestra and immediately reuttered by the piano, after which by itself, the solo instrument takes charge of the proceedings for 30 measures. The orchestra then presents the first part of the second theme with a dialogue for clarinet and horn in imitation, followed by the continuation of the theme in the unaccompanied piano. This thematic material is then developed freely, thoroughly, and most effectively.
The Andante non troppo is noteworthy for its treatment of the orchestral accompaniment, in which solo passages for violin and cello are so conspicuous as to make the work resemble a "Triple" concerto. At the beginning of the movement, accompanied by sparse string chords, an extended violin solo presents the main thematic ideas, followed by a substantial dialogue on these ideas, in which the solo cello takes the lead while the violin provides thematic reply. The piano then elaborates this material by itself before the orchestra in full gets involved. The eloquent but simple main theme bears a subtle resemblance to the vigorous opening of the first movement. The middle episode of this movement highlights the three soloists in an extended passage of chamberlike music. (It is interesting to note that after Tchaikovsky wrote this concerto, he finally wrote a piano trio.)
The Finale, marked Allegro confuoco, is shorter than either of the first two movements; it provides a festive counterpart to the ceremonious first movement and is the most Russiansounding of the three. This playfully episodic movement has been characterized as a rondolike structure based on four themes. The first of these, in G major, is announced at once by the piano, with an accompaniment from the strings playing pizzicato. The second theme, in E minor, is based on a dotted figure for the piano and strings. The third one is in the tonic key and is initiated by the piano. A fourth theme, in B minor, is shared by the piano and the orchestra. A brief and brilliant coda brings the concerto to its joyous conclusion.
-Edgar ColonHernandez
Alexander Nevsky, Cantata for Mezzosoprano, Chorus, and Orchestra, Op. 78
Sergei Prokofiev
Born April 23, 1891, inSontsovka, Ukraine
Died March 5, 1953, in Moscow
In 1936 and 1938, Prokofiev embarked on extensive concert tours abroad, both of which took him for long periods of time to the United States. While in Hollywood, he undertook studies on film music technique; prior to this, the composer had worked on two film scores, Lieutenant Kije and The Queen of Spades, even though neither film was ever completed. His newly acquired techniques in creating music for the cinema were immediately put to use upon his return from his last trip abroad, when Russia's leading film director, Sergei Eisenstein, suggested a collaboration on his newest venture. Alexander Nevsky is certainly one of the greatest films ever made; it owes much of its classic status to Prokofiev's contribution to the project. Both composer and director strove successfully to combine their talents and deal intuitively with each other's art. The film certainly has no equal in the business of partnership between a director and a composer, except perhaps for Laurence Olivier's Henry V with the music of Sir William Walton.
The film and the score both capture the heroic spirit and historic relevance of the defense of Novgorod by Prince Alexander Yaroslavitch Nevsky, when in 1242 the city was besieged by the militaristic German Knights of the Teutonic Order. With the purported intent of christianizing East Prussia and large areas of Russia, the Germans sacked, pillaged, and brutalized the country until Nevsky's armies defeated them on the frozen waters of Lake Chud. The film was certainly a product of its time; it is of no small relevance that the film was made before the signing of the SovietNazi pact, and predictably, it bears the propagandist imprint of the Soviet regime, which at the time was so violently antiGerman. Political issues aside, both the film and its score are full of dynamism and vitality and were enthusiastically acclaimed internationally upon the movie's release.
The success of the score prompted Prokofiev to excerpt the best parts, expanding here, elaborating there, to create a cantata for mezzosoprano, chorus, and orchestra. The cantata, completed in 1939, consists of seven movements that basically correspond to key portions of the film; the texts were written by the composer himself in collaboration with V. Lugovski.
Russia under the Mongolian Yoke. The somber opening movement corresponds to the first scenes of the film. The desolation and gloominess of the music reflects Eisenstein's description: "Woeful traces of the
ravages wrought on Russia by the Mongols -heaps of human bones, swords, rusty lances, fields overgrown with weeds and ruins of burned villages."
Song about Alexander Nevsky. This section, in which the chorus sings about the valorous deeds of Nevsky when he was victorious over the invading Swedes at the Battle on the Neva, is built upon a simple ABA structure. The first section has a slightly mournful character to it; this is followed by a more militant section. The return of the first section now has a more victorious feeling to it
Yes, it happened on the River Neva --
on the River Neva, on the wide waters.
There we slew our foes' pick of fighting men --
their pick of fighting men, the army of Swedes.
Ah! How we fought, how we routed them!
Ah! We smashed their ships of war to kindling!
In the fight, our blood was freely shed
for our great land, our native Russian land.
Hey! Where the broadaxe swung was an open street,
through their ranks a lane where spears ran!
We mowed down the invading Swedes
like feathergrass grown on desert soil.
We shall never yield native Russian land.
They who march on Russia shall be put to death!
Rise against the foe, Russian land, arise;
rise to arms, great Novgorod!
The Crusaders in Pskov. A bleak picture is now painted as the Teutonic Knights, masquerading as religious crusaders, invade Russia. The Knights are musically depicted by means of a Latin chant using Gregorian cadences and underscored by brutal, modern harmonies and sonorities. After a string interlude based on the aria in the sixth movement, the crusaders' theme returns, this time punctuated by menacing horns and trombones.
Peregrinus expectavi pedes meos in cymbalis... (A foreigner, 1 expected my feet to be cymbalshod)
Arise Ye Russian People. Set off by the din of brass and metallic percussion, a warlike call to arms against the invaders emerges. Towards the middle, a hymnlike motive is heard (marked [a] in the translation), which recurs at different points in other movements.
Arise to arms, ye Russian folk,
in battle just, in the fight to death;
arise, ye people free and brave,
defend our fair native land!
To living warriors high esteem,
immortal fame to warriors slain!
For native home, for Russian soil,
arise ye people, Russian folk!
[a In our great native Russia no foe shall live;
Rise to arms, arise, native mother Russia!
No foe shall march across Russian land,
no foreign troops shall raid Russia;
unseen are the ways to Russia,
no foe shall ravage Russian fields.
The Battle on the Ice. This has been described as the best battle music for film ever written. High strings chillingly set the scene as the dawn mists spread over the frozen lake. The music begins to build as the two armies move forward in confrontation from opposite banks. The chorus once again sings the chant of the invading armies against the intermingling Russian motive in the orchestra. In a highly dissonant passage, the clash of arms is distinctly represented with a terrifying war cry [b. The crusader's theme now returns in empty octaves, but this gives way to a new joyful Russian theme, foretelling victory. The Knights' theme appears in fragmentation, each time in lower dynamics as the remaining Teutonic armies sink beneath the breaking ice. Over the stillness that ensues with the end of the battle, the strings give rise to the hymnlike motive from the previous movement
Peregrinus expectavi pedes meos in cymbalis est!
b] Vincat arma crucifera! Hostis pereat!
(A foreigner, I expected my feet to be cymbalshod!
Victory to the arms of the cross bearers! Let the foe
perish!)
The Field of the Dead. Again, high tremolando strings depict the devastation over the battle field and the waste of human life. As she looks for her beloved among the dead, a Russian maiden intones a mournful song:
I shall go across the snowclad field, I shall fly above the field of death. I shall search for valiant warriors, my betrothed, my stalwart youths. Here lies one felled by a wild sabre; there lies one impaled by an arrow. From their wounds blood fell like rain on our native soil, on our Russian fields. He who fell for Russia in noble death shall be blest by my kiss on his dead eyes; and to him, brave lad, who remained alive I shall be a true wife and a loving friend. I'll not be wed to a handsome man: earthly charm and beauty fast fade and die. I'll be wed to the man who's brave. Give ye heed to this, brave warriors!
Alexander's Entry into Pskov. In the last scene, the hero is welcomed into the liberated city. The Russian themes from earlier movements are heard again. To a sound of light percussion instruments, the women present a new song of celebration, taken on by the men and followed by a dance of rejoicing, exhibiting brilliant writing for the woodwinds. This leads into the climactic and final reiteration of the hymnlike theme as the bells of the city ring out in celebration.
In a great campaign Russia went to war. Russia put down the hostile troops. In our native land no foe shall live. Foes who come shall be put to death!
Celebrate and sing, native mother Russia! In our native land foemen shall not live. Foes shall never see Russian towns and fields: they who march on Russia shall be put to death!
In our Russia great, in our native Russia
no foe shall live!
Celebrate and sing, native mother Russia!
All of Russia came in triumph to the celebration.
Celebrate and rejoice, Russian motherland!
--Edgar ColonHernandez
Elisabeth Leonskaja pianist
Born in Tiflis,
U.S.S.R., pianist Elisabeth Leonskaja made her orchestral debut at age 11 and made her solo recital debut two years later. From 1964 through 1971, Miss
Leonskaja studied at the Moscow Conservatory with Jacob Milstein, and during that time she won prizes in three international competitions: the 1964 Georges Enescu Competition in Bucharest, the 1965 Marguerite Long Concour in Paris, and the 1968 Queen Elisabeth Competition in Brussels. These successes were followed by tours of Belgium, East Germany, Czechoslovakia, finland, France, Italy, Rumania, Austria, and Russia.
Before Miss Leonskaja left the Soviet Union in 1979 to take up residence in Vienna, she performed as the partner of Sviatoslav Richter. That same year she appeared at the Salzburg Festival and in 1980 participated in the "Lucerne Music Week," establishing herself as a major artist in the West
The year 1979 also marked her debut with the Vienna Symphony under Carlo Maria Giulini, and since then Elisabeth Leonskaja has become a familiar guest soloist with Europe's leading orchestras, including the London, Royal, Czech, Munich, and Rotterdam Philharmonic Orchestras, the Amsterdam Concertgebouw and Zurich Tonhalle Orchestras, the Frankfurt, Munich, Hamburg, and Koln Radio Orchestras, the Vienna and Bamberg Symphony Orchestras, Salzburg Camerata, English Chamber Orchestra, Orchestre de Paris, and Leipzig Gewandhaus Orchestra. She has worked with conductors Rudolf Barshai, Jin Belohlavek, Herbert
Blomstedt, Semyon Bychkov, Christoph von DohnaYiyi, Rafael Friihbeck de Burgos, Michael Gielen, Sir Colin Davis, Gunther Herbig, Erich Leinsdorf, Kurt Masur, Vaclav Neumann, Sandor Vegh, Horst Stein, and David Zinman. She has graced the festivals of Vienna, Salzburg, Lucerne, Bath, and La Roque d'Antheron and participated in the Salzburg "Music Week."
Elisabeth Leonskaja's sensational North American debut took place at the Hollywood Bowl with the Los Angeles Philharmonic, and subsequent engagements included The Cleveland Orchestra and St Louis Symphony. Her highly acclaimed New York Philharmonic debut occurred in February 1989 when, on short notice, she replaced an indisposed Claudio Arrau, advancing by a few days her previously scheduled appearances; she gave three performances of Beethoven's Concerto No. 4 and two of Liszt's Concerto No. 2, conducted by Kurt Masur.
In addition to performances in Vienna, London, Paris, Munich, and Frankfurt, and a tour of Japan with the Bamberg Symphony Orchestra, Elisabeth Leonskaja's 198990 season was highlighted by her New York City recital debut, presented by the prestigious 92nd Street Y, and by appearances with the Houston Symphony Orchestra, conducted by Christoph Eschenbach. Her 1990 91 season saw a return engagement with the New York Philharmonic at Avery Fisher Hall, recitals in Baltimore's Shriver Hall and Chicago's Orchestra Hall, and appearances in Vienna, Prague, and Frankfurt.
Her many recordings of the solo, concerto, and chamber music repertoire have established Miss Leonskaja as an international star of the first rank. Philips released her recording of the Rachmaninoff Cello Sonata with Heinrich Schiff in 1983, and her highly acclaimed albums of Mussorgsky, Tchaikovsky, Brahms, and Schumann were released in 1988 by TeldecDecca, to whom she is now under exclusive contract In January 1991, she recorded Tchaikovsky's Concerto No. 2 with Kurt Masur and the Leipzig Gewandhaus Orchestra, the same work she performs this evening in her Ann Arbor debut.
Claudine Carlson mezzosoprano
Whether in recital,
concert, or opera, mezzosoprano Claudine Carlson has been hailed by critics for her vocal elegance and complete musicianship, as well as for the extraordinary scope of her repertoire.
Her career regularly encompasses performances with virtually all of the world's great symphony orchestras, and she has appeared with such eminent conductors as Daniel Barenboim, Antal Dorati, Charles Dutoit, Carlo Maria Giulini, Rafael Kubelik, Kurt Masur, Leonard Slatkin, Sir Georg Sold, Yuri Temirkanov, and David Zinman, among others. Her performance of Leonard Bernstein's Kaddish Symphony with the composer conducting the orchestra of L'Accademia Nazionale di Santa Cecilia in Rome and the National Symphony, at both the Kennedy Center and Avery Fisher Hall, was acclaimed internationally. She is also in constant demand at important music festivals, including Ravinia, Tanglewood, Mostly Mozart, the Hollywood Bowl, the Casals Festival, Meadow Brook, Blossom, and the Colorado Festival.
Miss Carlson's 198990 season included appearances in the fall singing Sheherazadevnth The Philadelphia Orchestra, Alexander Nevskymth the San Francisco Symphony, and Romeo andjulietwth the Atlanta Symphony. In the spring, she returned to The Philadelphia Orchestra for performances of Ravel's L 'Enfant et les sortileges and sang with the Kansas City Symphony in Mahler's Symphony No. 8 and the Montreal Symphony in Debussy's Pelleas etMelisande, which was recorded by LondonDecca with Charles
Dutoit conducting. Her previous season (198889) was also highlighted by appearances with The Philadelphia Orchestra and the Montreal Symphony in Berlioz' La Damnation de Faust, performances with the St. Louis Symphony in Alexander Nevsky, the San Juan Symphony in Mahler's Symphony No. 3, and, in France, in Mahler's Das klagende Lied She began her 199091 season by singing Beethoven's Missa Solemnismh the Dallas Symphony, followed by appearances with the symphony orchestras of Baltimore, St. Louis, Kansas City, Alabama, and Savannah.
Claudine Carlson's recordings include Brahms' Songs for Alto, Viola, and Piano, two works of William Grant Still, Prokofiev's Alexander Nevsky and Ivan the Terrible, Landowsky's opera Le Fou, a recent RCA release of Carlos Chavez' Nocturne, and a French song recital on Town Hall Records entitled "Reflections de France." For the Pro Arte label, she has recorded Berlioz' La Marseillaise mh Philippe Entremont and the Denver Symphony.
The Frenchborn artist received an early introduction to music from her mother, an accomplished pianist. She came to America as a young girl, taking voice lessons in California and later studying at the Manhattan School of Music. She was a First Prizewinner in the National Federation of Music Clubs Singing Competition and also received the Martha Baird Rockefeller Award. Miss Carlson now resides in southern California.
Claudine Carlson is now heard in her Ann Arbor debut
The Festival Chorus
Since its debut in the spring of 1970, The Festival Chorus has performed annuallywith distinguished orchestras and conductors from around the world. In addition to sharing the Hill Auditorium stage with these worldclass musicians as they visited and performed in Ann Arbor, the Chorus has taken its musicianship to seven countries abroad in three concert tours -to Europe during America's 1976 bicentennial year, to Egypt in 1979, and to Spain in 1982. These activities were under the leadership of Donald T. Bryant, who formed The Festival Chorus from the membership of the larger University Choral Union upon his appointment as chorus director in the fall of 1969.
Throughout these years, The Festival Chorus has performed with Willem van Otterloo and the Melbourne Symphony Orchestra; Jindrich Rohan and Jiri Belohlavek and the Prague Symphony Orchestra; Neeme Jarvi and
the Leningrad Philharmonic; Seiji Ozawa and the Boston Symphony Orchestra; Jean Martinon and the Hague Philharmonic; Edo de Waart and the Rotterdam Philharmonic; Sergiu Comissiona and the Baltimore Symphony Orchestra, and Philippe Entremont and Aldo Ceccato and the Detroit Symphony Orchestra.
In the May Festivals, the Chorus has sung with The Philadelphia Orchestra, Pittsburgh Symphony Orchestra, Gewandhaus Orchestra of Leipzig, and Los Angeles Philharmonic, under Stanislaw Skrowaczewski, Eugene Ormandy, Aaron Copland, Robert Shaw, Theo Alcantara, Sir John Pritchard, Thor Johnson, Sir Alexander Gibson, Zdenek Macal, Michael Tilson Thomas, Kurt Masur, and Andre Previn. In addition, the Chorus has sung at Ford Auditorium and the Meadow Brook Music Festival in Detroit, at Orchestra Hall in Chicago, and in East Lansing's University Auditorium.
The Festival Chorus has also presented numerous special concerts. They include performances of Dave Brubeck's cantata Truth with the Detroit Symphony Orchestra both here and in Detroit, concerts of Schubert's songs and his Mass in Aflat, American folk songs and spirituals, Founders Day concerts, and special oratorio concerts of Handel's Israel in Egypt'and Judas Maccabaeus. On January 14,1990, selected singers of the Choral Union and Festival Chorus participated in a Tribute Concert salute to Donald Bryant upon his retirement when they performed Genesis, a choral work written by Dr. Bryant specially for the occasion. Most recently, in February 1991, these singers collaborated with the Ann Arbor Cantata Singers and the Ann Arbor Symphony Orchestra under Carl St. Clair to present Maurice Durufle's Requiem
The longestablished choral tradition of the Musical Society reaches back to 1879, when a group of local church choir members and other interested singers gave its first concerts, an event that signaled the birth of the University Musical Society. Strengthening this centuryold spirit of community collaboration, chorus membership remains open to all by audition, with a resulting mix of townspeople, students, and faculty with one common denominator -a love of music and singing.
The Festival Chorus
First Sopranos
Patricia Reed Amalfitano Janet Bell Joan M. Bell Cheryl BrownWest Ann Burke Mary Ellen Cain Young Cho Rebecca L. Collino Elaine Cox Kathryn Foster Elliott Lydia Gilmour Lori Kathleen Gould Melissa Hertz Carolyn Leyh Nancy Lodwick Elizabeth R. Maason Amy K. McGee Loretta I. Meissner Nancy Pearce Carole Lynch Pennington Susan Sargent Alice M. Schneider Ilene A. Seltzer Virginia Smith Margaret Warrick
Second Sopranos
Martha Ause Marilyn Buss Doris Datsko Jan Gyselinck Patricia Hackney Doreen Jessen Ann Kathryn Kuelbs Judy Lehmann Loretta Lovalvo Judy Lucas Kim Mackenzie Marilyn Meeker Trisha Neff Joanne Owens Sara Jane Peth Gretta Spier Kay Stefanski Sue Ellen Straub Patricia Tompkins Jean Marion Urquhart Barbara Hertz Wallgren Rachelle B. Warren Charlotte Wolfe
Thomas Hilbish, interim conductor Jean SchneiderClaytor, rehearsal accompanist Deborah Halinski, manager
First Altos
Yvonne Allen Margo Angelini Carol A. Beard more Christiane Beerwerth Alice Cerniglia Viola Cheung Laura Clausen Mary C. Crichton Anna Egert Marilyn A. Finkbeiner Ruth Gewanter Wendy Glanville Jacqueline Hinckley Nancy Houk Jean Huneke Carol Hurwitz Gretchen Jackson Nancy Karp Carolyn King Patricia Kowalski Marianne Page Lisa Pape Karin Hunt Roth Anne Facione Russell Jari Smith Joan Stahman Kathryn Stebbins Patricia Steiss Marianne Webster Barbara H. Wooding Ann F. Woodward
Second Altos
Anne Lampman
Abbrecht Lubomyra A.
Chapelsky Anne C. Davis Lynne de Benedette Alice B. Dobson Deborah A. Dowson Andrea Foote Mary E. Haab Carol Kraemer
Hohnke Dana Hull Wendy Jerome Loree Kallay ?Catherine Klykylo
Sally A. Kope Elsie Lovelace Frances Lyman Cheryl Melby
MacKrell Lois P. Nelson Anne Ormand Shirley Parola Julie Ann Ritter Joan M. Roth Sara Ryan Carren Sandall Margaret Sharemet Cynthia J. Sorensen Alice Warsinski Wendy White
First Tenors
John Ballbach Charles R. Cowley Fr. Timothy J. Dombrowski Bob Douglas Peter C. Flintoft Marshall Franke James Frenza Marshall J. Grimm Claudette L. Grinnell Arthur Gulick, M.D. Troy E. Hollar Forrest G. Hooper Joseph Kubis Robert E. Lewis Paul Lowry Robert K. MacGregor Bernard Patterson Dan Ringrose Toby Steele Helen F. Welford
Second Tenors
Steve M. Billcheck John W. Etsweiler, III Dwjght L. Fontenot Carl T. Gies Albert P. Girod, Jr. Ted Hefley Thomas Hmay Martin G. Kope David M. Rumford
Bill Ruszler Henry Schuman Carl R. Smith Brent Wolff
First Basses
John Alexander Mark D. Anema Chris Bartlett Dean Bodley Donald J. Bord Michael Brand John M. Brueger Howard Cash Wan Keung Chan Philip Gorman Lawrence L. Lohr Charles Lovelace John MacKrell Robert A. Markley Joseph D. McCadden Sol Metz Tom Morrow Mark Nelson Kelley Newton John Gordon Ogden William Ribbens David Sandusky James C. Schneider Nicholas Wallin Donald R. Williams
Second Basses
James David Anderson William Guy Barast Howard Bond Kee Man Chang Gabriel Chin Don Faber Howard Grodman Donald L. Haworth Ramon R. Hernandez Charles T. Hudson Don Kenney Charles F. Lehmann William P. McAdoo W. Bruce McCuaig Robert Pettigrew Marshall Schuster William A. Simpson Jeff Spindler Robert Stawski Robert D. Strozier Terril O. Tompkins Stewart L. Tubbs John Van Bolt Thomas G. Zantow
Thomas Hilbish conductor
Conductor Thomas
Hilbish, Professor Emeritus of Music and Director Emeritus of University Choirs at the University of Michigan, has served as interim conductor of the Musical Society's Choral Union and
Festival Chorus during the 199091 season. First, he conducted the Choral Union singers in their annual Messiah concerts, then prepared selected singers for their participation in Maurice Durufle's Requiemmtti the Ann Arbor Symphony Orchestra in February, and now presents The Festival Chorus for Saturday night's performance of Alexander Nevsky.
After studying at the University of Miami and the Westminster Choir College, Professor Hilbish spent 16 years as supervisor of music in the Princeton Public Schools before joining the faculty of the University of Michigan in 1965. He soon formed the UM Chamber Choir, which became internationally recognized for its excellence as it toured under his direction through Italy, the Soviet Union, Spain, Poland, Czechoslovakia, and Hungary. The choir also made several recordings, one of which received a Grammy nomination in 1981.
Throughout his fortyyear career in music, Thomas Hilbish has established himself as one of America's leading conductors of choral music, widely respected for his ability to inspire musicians to achieve levels of performance far beyond expectations. He has prepared choirs for many distinguished conductors, including Robert Shaw, Thomas Schippers, and Leonard Bernstein, and has made guest appearances at universities and festivals throughout the United States and abroad.
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Music Happens Here
Choral Union Series
Orpheus Chamber Orchestra Murray Perahia, pianist
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Mariss Jansons, conductor
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Handel's Messiah
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Charles Rosen, pianist
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Forces Afoot
Ekaterina Maximova & Vladimir Vasiliev -Stars of the Bolshoi Ballet & Company
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Family Affair
Ekaterina Maximova & Vladimir Vasiliev Stars of the Bolshoi Ballet & Company
Les Ballets Africains of Guinea
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Arleen Auger, soprano Handel's Messiah The King's Singers
New York City Opera National Company
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Ekaterina Maximova Si Vladimir Vasiliev -Stars of the Bolshoi Ballet & Company
Arleen Auger, soprano Handel's Messiah Mazowsze Charles Rosen, pianist
Marathon
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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 March 25, 1991. If an error or omission is noted, we sincerely apologize and would appreciate a call at your earliest convenience (7471178).
UMS would also like to thank those generous donors who wish to remain anonymous.
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Dr. and Mrs. Robert G. Aldrich Mr. and Mrs. Carl A. Brauer, Jr. Mr. and Mrs. Howard S. Holmes Karen and Joe O'Neal Dr. and Mrs. Harry A. Towsley Ronald and Eileen Weiser Marina and Robert Whitman
Leaders
Catherine S. Arcure
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Mr. and Mrs. John Alden Clark Mr. and Mrs. David S. Clyde Mr. and Mrs. Roland J. Cole Dennis Dahlmann Jack and Alice Dobson President and Mrs. James
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Dr. and Mrs. Joe D. Morris Mr. and Mrs. Charles Overberger Mr. and Mrs. William B. Palmer Dr. and Mrs. Michael Papo Maxine and Wilbur K. Pierpont Tom and Mary Printing Mr. and Mrs. Gail W. Rector Ginny and Ray Reilly Richard and Susan Rogel Mary Caroline Rottschafer Mr. and Mrs. Charles L Sargent Richardand Norma Sarns Professor Thomas J. and Ann Sneed
Schriber Carol and Irving Smokier
Dr. Hildreth H. Spencer Maya Savarino and Raymond Tanter Dr. and Mrs. E. Thurston Thieme Mr. and Mrs. Robert R. Tiseh Dr. and Mrs. Francis V. Viola III Mr. and Mrs. Theodor R. Von
Voigtlander
Mr. and Mrs. Marc von Wyss Jerry and Elise Weisbach Ruth and Gilbert Whitaker Paul and Elizabeth Yhouse R. Roger and BetteF.Zauel
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Dr. and Mrs. Gerald D. Abrams Gardner and Bonnie Ackley Joan and David Anderson Bob and Martha Ause Bradford and Lydia Bates Mr. Hilbert Beyer Howard and Margaret Bond Charles and Linda Borgsdorf Ernie and Betsy Brater Allen and Veronica Britton David and Sharon Brooks John H. and Barbara Everitt Bryant Mrs. Wellington R. Burt Jean M. and Kenneth L Casey Jeffrey and Cynthia Colton Mr. and Mrs. R. G. Conger Katharine and Jon Cosovich H. Richard and Florence Crane Dr. and Mrs. Ronald Cresswell Ray and Eleanor Cross Dr. and Mrs. Preston V. Dills, Jr. William T. Dobson and Mary H.
Dobson
Martin and Rosalie Edwards John W. Etsweiler III Mr. Greg Fenerli Anne and James Ford Dr. and Mrs. William L Fox Elmer G. Gilbert and Lois M.
Verbrugge
William and Ruth Gilkey Drs. Sid Gilman and Carol G.
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Mr. and Mrs. William B. Holmes Dr. and Mrs. Verne L Hoshal, Jr. Ralph and Del Hulett Keki and Alice Irani Gretchen and John Jackson Keith and Kay Jensen Mrs. Edith Staebler Kempf Howard King and Elizabeth Sayre
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Castleman
Mr. and Mrs. A. William Klinke 11 Barbara and Charles Krause OlyaLash
Carolyn and Paul Lichter Edwin S. and Edwin J. Lindberg Dean S. Louis, M.D. Larry and Rowena Matthews Richard C. McBrien Mr. and Mrs. John M. McCollum Charlotte McGeoch Richard and Elizabeth McLeary Dr. Barry Miller Mr. and Mrs. Cruse W. Moss M. Haskell and Jan Barney Newman William and Joan Olsen Dr. and Mrs. T. N.T.Olson Eleanor and Peter Pollack William and Christine Price Leland and Elizabeth Quackenbush Michael and Helen Radock Elisabeth J. Rees
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Dr. and Mrs. S. B. Winslow Len and Maggie Wolin Martin and Nancy Zimmerman Mr. and Mrs. Ronald G. Zollars Pinchas Zukerman
Benefactors
Armand and Marilyn Abramson
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Jean W. Campbell
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Evelyn Ecdes, M.D.
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KatsuKiko Eguchi
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Donald EJahncke
Lincoln Jaros
EmilH.andNormaR.Jebe
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Allen Lichter and Karen Eve Simon
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Daniel E. and Susan S. Upschutz
ViChengand HsiYen Iiu
Harold J. Lockett, M.D.
Mr. and Mrs. David G. Loesel
Ronald Longhofer
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Dr. and Mrs. LeoJ. Miedler
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Dr. and Mrs. James C. Mitchiner
Grant Moore
Frederick C. Neidhardt and Germaine
Chipault
Virginia and Gordon Nordby Edwina Davis and Saul Nosanchuk Dr. and Mrs. Frederick C. O'Dell Marylen and Harold Oberman Mr. and Mrs. Israel A. Oksenberg Lois and Michel Oksenberg Nels and Mary Olson Dr. and Mrs. Mark B. Orringer
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Colonel and Mrs. Clare Passink
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L M. Pickering
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Mr. and Mrs. William J. Pierce
Dr. Bertram Pin
Meryl D. and Richard A. Place
Maj. Gen. and Mrs. Robert R. Ploger
USA (ret.)
Cynthia and Roger Postmus Philip and Kathleen Power Lawrence and Ann Preuss Jerry and Millard Pryor Frances B. Quarton Mrs. Joseph S. Radom [Catherine R. Reebel Jim and Bonnie Reece Mr. and Mrs. Gareth Reed Stanislav and Dorothy R. Rehak Dr. and Mrs. Richard D. Remington Duane and Katie Renken William and Mary Revelli H. Robert Reynolds Paul Rice
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Professor H. Harlan Bloomer
Dr. and Mrs. George Blum
Dr. and Mrs. Lynn W. Blunt
Clyde Boenke
Beverly J. Bole
Robert and Sharon Bordeau
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Norman and Jeanne Kierman Fischer and
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Mary Jane and Charles Fisher Mary A. Flynn, M.D. Ernest and Margot Fontheim Doris and Hal Foss
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Professor Loma Haywood
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Norma and Richard Henderson
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Alexander Krezel, Jr.
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Robert L Kyes
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Robert R. and Frances H. Miller
Russell L Miller
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JaeW.Oh
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Richard L Prager, M.D.
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Dr. Gregory M. Thomas
Joseph Thompson
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J. Mills Thornton III
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Jan and Nub Turner
Andrew Turrisi
Mr. and Mrs. Warren C. Tyner
Mr. and Mrs. Robert UUman
Donald and Wendy Urquhart
Rebecca W. Van Dyke
Edward J. Vanderlaan
Hugo and Karla Vandersypen
William C. Vassell
Mrs.OlgaVedder
Sy and Florence Veniar
Mrs. Durwell Vetter
Mr. and Mrs. Theodore R. Vogt
Joe and Eleanor Voldrich
John and Maureen Voorhees
Richard S. Walinski
Gregory A. Walker
Margaret E. Walter
Eric and Sherry Warden
Charles and Ruth Watts
Harvey and Robin Wax
Mr. and Mrs. Stanfleld Wells, Jr.
P.MJ.C.andAWesten
Mrs. C. K. White
Janet F. White
Mrs. Clara Whiting
Father Francis E. Williams
Dr. and Mrs. Francis S. Williams
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Professor and Mrs. Charles Witke
Charlotte Wolfe
John B. and Ann F. Woodward
Israel and Fay Woronoff
Dr. and Mrs. Harold Wright
David M. H. Wu
Mary Grace and Tom York
Carl and Mary Ida Yost
Mr. and Mrs. A. Michael Young
Christine Young and Alex Halliday
Calvin Zara
Martin and Gertrude Zeile
Mr. and Mrs. Bruce Zellers
Donors
A. M. Abban'ello
Harriet Adams
Judge and Mrs. William F. Ager
Michihiko and Hiroko Akiyama
Mr. and Mrs. Gordon E. AUardyce
Mr. and Mrs. Harold F. Allen
Warren S. Allen
Mr. and Mrs. Wickham Allen
Forrest Alter
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Mr. and Mrs. Charles T. Anderson
Donna and Todd Anuskiewicz
Mary C. Arbour
Jill B. and Thomas J. Archambeau, M.D.
Thomas J. and Mary E. Armstrong
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Eleanore M. Arnison
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Michael Avsharian
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JoanW. Barth
John W. H. Bartholomew
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Harold F. Baut
Florence N. Beach
Henry J. Bednarz
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AlBerman
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Robert Hunt Berry
William R. Betcher, Jr.
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Lee Bollinger and Jean Magnano Bollinger
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Joyce Brown
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Tiffany Browning
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Sibyl Burling
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Daniel Burns
Sarah M.Burns
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Robert M. Dascola
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Roger E. Davis
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John J. Dryden and Diana Raimi
Darrell F. Duffield
Mr. and Mrs. William G. Earle
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Reverend and Mrs. Ralph A. Edwards
Dr. and Mrs. Andrew C. Eisenberg
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Barry and Joyce Eisenstein
David A. Eklund
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James H. Ellis and Jean A. Lawton
Beulah Elving
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Ellen C. Wagner and Richard Epstein
Stephen and Pamela Ernst
Adeline S. Everhardus
Adele Ewell
Mary K. Fancher
Pierce H. Farrar
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Barbara L Ferguson
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Mr. and Mrs. Melvin Fiegel
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Dr.JoseA.FilisDiaz
Carol and Aaron Rnerman
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Mr. and Mrs. John E. Fisher
Mr. and Mrs. M. Scott Fisher
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Susan R. Fisher and John W. Waidley
Winifred Fisher
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James H.Flinn, Jr.
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Jane Forbes
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Eszter Gombosi
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Lewis R. and Mary A. Green
G. Robinson and Ann Gregory
Mr. and Mrs. James J. Gribble
David and June Griffenhagen
Laurie Gross
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Charles D. and Carol C. Groves
Paul L Gruchala
Cyril Grum and Cathy Strachan
Doris and Harvey Guthrie
DorothyS. Haake
Don P. Haefner and Cynthia J.
Stewart
James and Veronica Haines Margo Halsted Frances Hamman Mrs. Frederick G. Hammitt Dora E. Hampel David and Patricia Hanna Carlos D. Hansen Mr.andMrs.LT.Harbeck Mr. and Mrs. Glenn A. Harder Laurelynne and George Harris Mr. and Mrs. Robert Harris Kathleen A. Hart M. Jean Harter Elizabeth C. Hassinen Mr. and Mrs. Robert F. Haugh Professor Jeffrey Heath Dr. and Mrs. Albert E. Heins Mr. and Mrs. Jeffrey J. Helmick Karl P. Henkel Dr. and Mrs. Ralph Herbert Carol and Gary Herion Jolene and Albert Hermalin Mr. and Mrs. Ramon R. Hernandez Sandra L Higgins Nigel Hinds
John and Florence Hinman Mr. and Mrs. George W. Hoddy Jane and Dick Hoemer Dr. Theodore G. Hoffman Ernest Holland
Mimi and Helmut HollandMoritz Mr. and Mrs. Lee Hollmann
Ken and Joyce Holmes Dr. Ronald and Ann Holz Eugene and Joan Homeister Penelope Hommel and Steven Pepe Martha B. and Harry Hopkins Antonina C. Hopping James S. House and Wendy Fisher House Oscar C. Huang Kenneth Hulsing Eileen and Saul Hymans Mr. and Mrs. S. A. Imredy Robert B. Ingling Mr. and Mrs. Roger E. Jacobi Richard Jaeger Harriet C. Jameson Mr. and Mrs. Zoltan J. Janosi Dan and Sandy Janusis Mr. and Mrs. Jerome Jelinek James C. and Baiba G. Jensen Mr. and Mrs. Peter T. Jessup Herbert and Susan Johe Jane Durfee Johns Chacona Johnson E. L Johnson James S. Johnson Wilma Johnson Anne Hough Jones Barbara A. Jones Elizabeth M. Jones Mr. and Mrs. Ernest A. Jones Elizabeth and Lawrence Jordan Dominic M. Justewicz MaryB. Kahn Anthony Kaldellis Yasuhiro Kamio Lois and Gordon Kane Naomi M. Kane Mr. and Mrs. Irving Kao Mr. and Mrs. Franklin H. Kasle Ralph and Deborah Katz Samuel H. Katz Suzanne Kaufman Hiroki Kawata Roberta C. Keniston Frank and Patricia Kennedy David J. and JoAnn Z. Keosaian Esther G. KenMr, and Mrs. Donald Kiel Jeanne M. Kin
Mr and Mrs. William H. Kincaid Donald R. Kinder Thomas and Constance Kinnear Klair H. Kissel James and Jane Kister Kristen Kleiman Emery and Diane Klein Glenn and Shirley Knudsvig
Steve T. Koeff, M.D.
Seymour Koenigsberg
Fumio Komatsu
LaiCheng Kong
Ann Marie Kotre
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Jean and Dick Kraft
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William G. Kring
Nancy Kushigian
Dr. and Mrs. Bert La Du, Jr.
James and Karen Lahey
Dr. Jeffrey Lampert
Alice and Henry Landau
Dr. Stephen G. Landau
Dr. Raymond Landes
Mr. and Mrs. Timothy Larsen
Richard and Neva Larson
Carl F. and Ann L LaRue
Ardith and John Laskowski
Edward W. Lauer
Ted and Wendy Lawrence
Judith and Jerold Lax
Robert and Leslie Lazzerin
Mr. and Mrs. Charles E. Leahy
David Lebenbom
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Sue Leong
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Jane Lombard
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Lynn Bennett Luckenbach
John and Jane Lumm
FranLyman
John J. Lynch
William and Judith Lynn
Donald and Doni Lystra
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Susan E. Marias
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Ella A. Mahnken
Mikhail Malkin
Mr. and Mrs. D. H. Malloure
Dr.JohnH.Malone
Frank Maly and Kathleen Beck
Helga S. Mann
Nancy and Philip Margolis
Geraldine and Sheldon Markel
Cmdr. and Mrs. Timothy H. Marvin
Marion T. Marzolf
H.L Mason
Mary and Chandler Matthews
Mr. William J. and Mrs. Jan de Vries
Maxbauer Mr. Ernst H. and Mrs. Annemarie L
Mayer
Josephine C. Mazzolini Marcia McBrien John McCarthy Margaret McCarthy Ernest and Adele McCarus David G. McConneU David and Claire McCubbrey Ron McCulIough
Mr. and Mrs. Stewart E. McFadden Norman E. and Mary Mclver Daniel and Madelyn McMurtrie Edward A. Mehler Professor and Mrs. Gustav Meier Helen F. Meranda Reverend Harold L Merchant Gordon Mema and Sarah Freeman Alan G. and Sally Merten Dr. Henry D. Messer and Mr. Carl A.
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Rhea E. Miller
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William H. Mills III
Doris Milton
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Robert Mrozinski
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Dennis P. Nagle
Ruth Nagler
Mr. and Mrs. Richard Needleman
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Anne Nieshoff
Susan I. and Richard E. Nisbett
James A. Kelly and Mariam C. Noland
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Satoshi Oyamada
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Albert M. Pollmar
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Jacob M. Price
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Marshall E. Quinn
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Alfred and Jacqueline Raphelson
Dr. and Mrs. Robert Rapp
Ethel Rathbun
David William Rau
Dr. and Mrs. Robert Rawitscher
Keith and Beth Reed
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Anthony L Reffells
Caroline Rehberg
Walter A. Reichart
Jim and Linda Reinhardt
Alice Rhodes
Mr. and Mrs. G. Robert Richards
Fareed B. and Maria Rifat
Doug and Kathy Roberts
Paul T. and Kathleen Robertson
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Alma D. Robinson
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John H. Romani
Harry A. Rommel
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Lara Schmidt
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Mary L Schuette
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Steven Scuderi
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Gerda Seligson
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Carol and Erik Serr
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Donald E. and Marjorie K. Shelton
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Robert J. Sillery, M.D. and Family
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Dr. and Mrs. Gregory Smith
Richard and Clara Lee Smith
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Wilma SteketeeBean
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Sue SrJndt
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Ellen M. Strand
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Joan Susskind
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Howard Tejchma
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Sarah Trinkaus
Robert J.Trombley, Jr.
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lisa and Jeffrey TulinSilver
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Edward C. Weber
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Deborah Webster
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Ju Lin Wei
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Mr. and Mrs. Peter H. Wilcox
Mr. and Mrs. Michael S. Wilhelm
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Stephen B. and Danette Wineberg
Donna Winkelman and Thomas
Easthope
Dr. and Mrs. Lawrence D. Wise Dr. Joyce Guior Wolf Kristine and Donald Warren Leonard and Sharon Woodcock Barbara H. Wooding Susan Wooding Ernst Wuckert Dr. and Mrs. C. M. Wylie John G. and Elizabeth F. Young Mrs. Antonette Zadrozny Mr. and Mrs. F. L Zeisler Susan Zerweck Dr. and Mrs. George Zissis Gail and David Zuk
Sustaining Members
Diane Abel
Judith and Ronald Adler
Jo Ann Aebersold
Reverend and Mis. Charles Akre
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Mike and Suzan Alexander
Mr. and Mrs. Henry Amble
Richard Amdur and Daniela Wiranann
Mr. and Mrs. H. K. Anders
Austin Anderson
Neil P. Anderson
Dr. and Mrs. Lyle Andress
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Vivienne N. Armentrout
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Charles F. Averill
Ira Azula
Charlene A. Babcock
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Henry and Grace Bachofer
Drs. John and Lillian Back
Wayne and Rachel Baer
Professor and Mrs. J. Albert Bailey
Professor and Mrs. Reeve Bailey
Alfred T. Bamsey
Judith Banker and John Sayler
BeataBard
Gail Davis Barnes
Gary W. Baron
Mrs. T. Howe Bartholomew
Alan R. Bass
Mis. Gerhard Bauer
Tom Hay Bauer
Margarete Baum
James and Margaret Bean
Jim Beck and Katie Home
Mary T. Beckerman
Tamar and Harel BeitOn
Dale and Joan Bell
Dr. Rosemary R. Berardi
Mr. and Mrs. Lawrence S. Berlin
Andrew H. Berry, D.O.
Ralph and Mary Beuhler
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Gayle Birdsong
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Janet and Uoyd Bloom
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Sophie Bogdan and Gary Shrum
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James B. Bonner
Reverend Leland and Bertha Booker
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MlaDeSa
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Dr. and Mrs. F. B. Glaser
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Michael L Cowing
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jerfaas A. and Maria A. Haas
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Rena Harold
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Marie D. Harrwig
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Mikio Hataeda
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Paul Haynes
Kenneth H. Hebenstreit
Mr.andMrs.W.J.Heider
Helen Heitz
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William Heifer
Forrest Heminger
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Steven Hendel
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Robert and Cathy Hightower
Lynn M. Hill
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ChiungYao Ho
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Mr. and Mrs. Donald E. Hoff
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Bert G. Homback
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Mr. and Mrs. Phillip Horwitz
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Russell Jenter
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Gary Keith Johnson, M.D.
Randall H.Johnson
Dr. and Mrs. James E. Jones
Martin C. Josso
Barbara L Joyce
Mr. and Mrs. Constant Kaczmarek
Professor Fritz Kaenzig
Adrienne Kaplan
Julian M. Kaplin
Nancy S. Karp
Janet Karpus
Adelaide H. Karsian
Mrs. Barbara R. Kasle
Maxine and David Katz
Mr. and Mrs. Philip Katz
Elizabeth Kaufman
Kaya Kawano
Matt and Marti Keefe
Wendy Scott Keeney
Grace E. Kehl
Charies and Jean Kelsey
Ruth and Norman Kemp
Eari W.Kennedy
Horst and Lottie Kesner
William and JoAnn Kimbrough
John S. King
Dr. and Mrs. Marvin M. Kirch
Hvina A. Kish
MarkKiuchi
Peter and Susan Klaas
Dr. David Kleis
Katherine Klykylo
William L Knapp, M.D.
Mrs. R.J. Knight
Peter and Margaret Knoess
Kay Delle Koch
Mr. and Mrs. Dirk F. Kootman
Alan and Sandra Kortesoja
Daniel and Charlotte Kovats
LisaA.Kozak
Darlene Rae Krato
Edward and Lois Kraynak
Kenneth C. Kreger
John Krol and Debra M. Kirby
Hilda Kurtz
David C. Kwan
AnneMarie and Anthony La Rocca
Janet Landsberg
Mrs. Kent W. Leach
Dr. and Mrs. Daniel E. Leb
Paul and Ruth Lehman
Dr. and Mrs. Morton B. Lesser
Sheldon G. and Mary Lois Levy
Ralph and Gloria Lewis
John and Sylvia Lewis
Richard Lieb
Clifford P. Lillya
YiGuang Lin and Sophia P. Lin
Dr. and Mrs. Richard Lineback
Dr. and Mrs. Francis A. Locke
Mr. and Mrs. David Lodwick
Dr. Demos Lorandos
Dr. and Mrs. Robert E. Lorey
Merrill Lougheed Poliner and Robert M.
Lougheed
Jonathan and Beth Denenberg Lowe Mr. and Mrs. Raymond G. Luce Sara MacBride
Donald and Barbara MacCallum Mary Egan MacDowell John and Fe A. Maclean Ian and Jean MacPherson Ruth MacRae
Mr. and Mrs. Gregg Magnuson Michael D. Mainguth Ronald Majewski and Mary Wolf Christina J.Maley Allen Malinoff Jack and Betsy Mall Armena Marderosian and Ronald Suny Bob and Alice Marks Sandra Stukan Marks Jeanette M. Martel Robert S. and Margaret R. Martin Yasuo and Motoko Maruta Matthew J. Mason and Renate Klass Vincent and Margot Massey Gerald Masters KathrynM.May Mrs. Elsie F. Mayer
Dr. and Mrs. Fred Maynard
Michel Mazond
CregMazure
Linda McCall
Kenneth and Martha McClatchey
Roslyn McClendon
Doris King McCurdy
Paul D. and Susan McEwen
Stephen McKenny
Mr. and Mrs. Ed W. G. McKinley
Ron McMaster
Donald and Elizabeth McNair
John D. McVay
Samuel and Alice Meisels
Marguerite L Melander
Norman Meluch and Laura fisher
Mr. and Mrs. John Mehrin
Mr. and Mrs. R. Merlin
Robert L Merliss
Anna MeyendorfJ and Hugo Braun
Henry and Suzanne Meyer
Victor L. Meyers
Florence Miller
Professor Murray and Yetta R. Miller
AkioMimori
Shirley and William Mirsky
Mr. and Mrs. Charles R. Mitchell
William G. MoUer, Jr.
Elaine and Karl Mono
Patricia A. Montgomery
Patricia Runyon and J. Herbert Mueller
Janet Muhleman
Thomas P. Murtha
Elizabeth B. Mustard
Reverend Stephen E. Naas
Carroll and Sandra Nadig
Morry and Kathy Nathan
Marcella A. Nautsch
Geneva Nelson
Nadine Nelson
Sharon and Chuck Newman
Mr. and Mrs. James K. Newton
Laura Nitzberg
Catherine Noel
Shirley and Martin L Norton
John O'Brien
Patricia O'Connor
Jon and Diana Oatley
Mrs. Anne Okey
Keith T. Oldham
Paul L and Shirley H. Olson
Sherry B. Ortner
Martin and Lucy Overhiser
Anneke de Bruyn Overseth
David H. Owens
Marianne E. Page
John Palmer
KiNamPark
Arthur Parris
Virginia B. Passon
Nancy and Bradford Perkins
Charles C. and Gloria Perry
Harriet A. Perry
Doris I. Persyn
Mrs. George Peruski
Frank and Nelly Petrock
Drs. Joseph and Sharon Petty
Judge and Mrs. Harry E. Pickering
Jeffrey A. Pike
Mr. and Mrs. Robert H. Plummer
Mary Catherine Pollock
Richard E. Popov
Donald and Maureen Power
Mr. and Mrs. Clarence L Pozza, Jr.
Dr. Allen D. Price
Ruth S. Putnam
Dr. C. Robina Quale
Mr. and Mis. S. Rabinovitz
Elisabeth Radcliff
Norman and Norma Radin
William H. Range
RhodaRankin
Hubert Rast
Dr. and Mrs. M. Rayport
Maxwell and Marjorie Reade
Louis G. and Ruth Redstone
Gerald and Carol Rees
Rachel Resnick
MaryK. Riley
Marge and Don Robinson
Professor and Mrs. Byron P. Roe
Tom and Junto Roehl
Janis M. Roese
Mary F. Loeffler and Richard K. Rohrer
Drs. Dietrich and MaryAnn Roloff
Bernard and Barbara Rosen
Dre. Janet and Seymour R. Rosen
Edie W. and Richani Z. Rosenfeld
Lawrence and Abby Rosenthal
Charles W.Ross
Linda K. Ross
Christopher H. Rotnko
Kelley Rubelman
Roben M. Rubin
James and Adrienne Rudolph
Peter N. Ruma
Samuel and Irene Rupert
Mr. and Mrs. Robert J. Rups
Laura and Robert Sabol
Amy Saldinger
Julia E. Salo
Marily M. Sampson
Mr. and Mre. Leonard Sander
Mariprie and William Sandy
Lewis J.Sappington
Jochen and Helga Schacht
Bonnie R. Schafer
GarySchellhase
Erich S. Schifter
Kurt Schmidt
Yizhak Schotten and Katherine Collier
Shirley Schreidell
Janice Schuette
Aileen and Earl Schulze
Art and Mary Schuman
Mis. Ralph E. Schweitzer
Hugh Sebastian
Eithel Partlow Sech
GeraldineSeeback
Dr. and Mrs. John Segal]
Mary Ann Sellers
Dr. and Mrs. Earl W. Shaffer
Brahm and Lorraine Shapiro
Eleanor A. Shaw
Kathleen A. Sheehy
Ron Shields
Fumio Shinoda
Kyoichi Shirai
Janet E. Shultz
Ray and Marilyn Shuster
Robert and Evelyn Silva
Ron and Sheila Silver.
Scott and Joan Singer
Juergen Skoppek
William R. and Judy B. Sloan
Mr. and Mrs. David Boyd Smith
Mr. and Mrs. J. E. Keith Smith
Robert L Smith and Karen Sayer
C. Robert Snyder
John and Ellen Soave
Martha E. Spencer
JeffSpindler
Joann and Ralph Stahman
Mary Decker Staples
Robert J. Starring
William C. and Kathryn Stebbins
Erich and Dotty Steiner
Mrs. Rebecca Stengle
Robert S. Stephenson
Ray E. Stevens
Thomas O. and Jeanne D. Stock
Mrs. Alfred H. Stockard
Mr. and Mrs. James Stokoe
Mrs. Ruth B. Stone
Vera L Strongman
Manfred Stryk
Laura Stuckey
Dr. and Mrs. Samuel Srulberg
Roger Stutesman
Mr. and Mrs. Michael Suliman
Mr. and Mrs. John E. Swigart
Dr. and Mrs. Michael Szymanski
Suzanne Tainter and Ken Boyer
Bradley L Taylor and Simone Himbeault Taylor
Thomas and Leslie Tender
Toby J. and Juliette S. Teorey
Robert J. and Vicki W.Terry
Frances Thoma
Bonnie and Bradley M. Thompson
Norman and Marcia Thompson
John Tighe
George and Helen Timmons
Marjorie M. Tompkins
Egons Tons
Susan Topol
Richard Topping and Shauna Tindall
James W. Toy
Kathleen Treciak and Timothy Hill
Roni Tripodi
Roger Samuel Trunsky
Richard Trytten
Mr. and Mrs. Warren Turski
Barbara and Joseph L UUman
Joyce A. Urba and David J. Kinsella
Jeffrey and Rachelle Urist
Joaquin and Mei Mei Uy
Mr. and Mrs. Roger Van Bolt
Mark and Marsha Vartanian
Virginia O.Vass
Anna Vaughan
Vincent A. Vis
Judith R. Voisine
Lynne and Lawrence Waggoner
Leigh and Robert Waldman
Mr. and Mrs. David C. Walker
Diana M. Walker
Dr. and Mrs. Julius Wallner
Arlene and Alan Walt
Martha Walter
Lorraine Nadelman and Sidney Warschausky
Marguerite E. Ward
Kristine and Donald Warren
Christine Weatherford
Joan M. Weber
Richard and Madelon Weber
Wendell and LaDonna Weber
Carol and Jack Weigel
Dr. and Mrs. Jerrold Weinberg
Donna C. Weisman
Carlos Weiss
Lisa and Steve Weiss
Mrs. Frances West
Carol Westerman
Mabel C. Wheeler
Barbara Tate Whipple
Cindy White
Nancy C. and James J. White
Nicholas and Patricia White
Nancy Whitmire
Mr. and Mrs. Leonard A. Wilcox, Jr.
John W.Wiley
Helen M. Wilkinson
Edwyn Williams
Jeanne L Williams
Mr. and Mrs. Ralph C. Williams
Ray and Twyla Williams
Mr. and Mrs. L R. Windecker
Dr. and Mrs. John R. Wiseman
Dr. C. Wollschlaeger
J. ReimerWolter.M.D.
Julia Woodbury
Joy Wooten
Stewart and Carolyn Work
Frances A. Wright
E. Benjamin and Frances E. Wylie
George and Elsie Yellin
Donald and Elizabeth Yenni
David and Sarah Yentz
Frances L Young
Peter T. and Aliki Zachary
Robert and Charlene R. Zand
Miles Zeman
Gary and Joan Zembala
Mr. and Mrs. Paul D. Zenian
Gail Rector Portrait Fund
Dr. and Mrs. Robert G. Aldrich
Joan and David Anderson
Harry and Betty Benford
Richard S. Berger
Dean Paul C. Boylan
Mr. and Mrs. Carl A. Brauer, Jr.
Mr. and Mrs. Allen P. Britton
Mr. and Mrs. John Alden Clark
Gage R. Cooper
Margaret and Douglas Crary
Sally A. Cushing
Jack and Alice Dobson
Barbara L. Ferguson
Ken, Penny and Matt Fischer
Mary Jane and Charles Fisher
Mr. and Mrs. Robben Fleming
Mr. and Mrs. Garnet R. Garrison
Fred and Joyce Ginsberg
Anita and Al Goldstein
Michael L. Cowing
Mr. and Mrs. Elmer F. Hamel
Mrs. Robert Hamilton
Harlan and Anne Hatcher
Harold and Anne Haugh
Debbie and Norman Herbert
Mr. and Mrs. Howard S. Holmes
Ray and Jude Huetteman
Alice and Keki Irani
Mr. and Mrs. Roger E. Jacobi
Keith and Kay Jensen
Herbert and Susan Johe
Dr. and Mrs. Richard D. Judge
David and Sally Kennedy
Richard and Ann Kennedy
King's Keyboard House
Mr. and Mrs. Carl J. Lutkehaus, Jr.
Mr. and Mrs. John M. McCollum
Paul and Ruth McCracken
Charlotte McGeoch
Mr. and Mrs. Roger E. Maugh
Professor and Mrs. Gustav Meier
Alan G. and Sally Merten
Mrs. Eugene Ormandy
Mr. and Mrs. William B. Palmer
Mr. and Mrs. John D. Paul
Elizabeth and Beverly Payne
Maxine and Wilbur K. Pierpont
Eugene and Sadye Power
Mr. and Mrs. Philip H. Power
Mary and Robert Pratt
Michael and Helen Radock
John and Dorothy Reed
William and Mary Revelli
Frances Greer Riley
Mr. and Mrs. Stephen J. Rogers
Mary R. Romigde Young
Professor Thomas J. and Ann Sneed
Schriber Stephen Skelley
Mr. and Mrs. John C. Stegeman Elizabeth L. Stranahan Dr. and Mrs. E. Thurston Thieme Mary H. Thieme Mr. and Mrs. Marc R. von Wyss Jerry and Elise Weisbach Mr. and Mrs. Stanfield Wells, Jr. Dr. and Mrs. S. B. Winslow
Memorials
Marion L. Beam John W. Beam Mrs. Hedy B. Berger Leonard Bernstein Roscoe and Lillian Bonisteel Hope H. Bloomer Dr. Gordon C. Brown Marion W. Brown Alice Kelsey Dunn Hedi Eckstein Robert S. Feldman Carl Fischer GeraldJ. Fischer Florence Fuller Letitia Garner Dr. Paul Hogg George R. Hunsche Hazel Hill Hunt Donald Katz Jean Kennedy George Michael Landes Alfred and Grace Lovell Alfred H.Lovell, Jr. Betty S. Lovell Doris L. Lueke Frederick C. Matthaei, Sr. Glenn McGeoch Vaden W. Miles Margaret Peterson Carl and Loretta Pollmar Sarah Power
Gwen and Emerson Powrie Dr. Joseph Preston George Quick Steffi Reiss
Percy and Elisabeth Richardson Denis Rigan Jindrich Rohan Bernard J. Rowan Dr. Richard C. Schneider Mrs. Ethel Shanklin Charles A. Sink Mrs. Arthur W. Smith Mrs. James H. Spencer (Cornelia Miller Spencer)
Robert Spicer Ralph L. Steffek Mark C. Stevens Mischa Titiev Dur Vetter Mrs. Elena Vlisiders lone Wagner
Matching Gift Companies
ADP Network
AlliedSignal Foundation
Allstate Insurance Company
AT&T Foundation
Bechtel Foundation
Chrysler Corporation Fund
Consumers Power Foundation
Detroit Edison Foundation
Dow Chemical U.S.A.
Eli Lilly and Company Foundation
Federal Mogul Corporation
Ford Fund
Gannett Foundation
General Electric Foundation
General Motors Corporation
Honeywell Foundation
J.C. Penney Company, Inc.
Johnson Controls Foundation
LibbeyOwensFord Company
Maccabees Mutual Life Insurance Co.
Manufacturers Hanover Foundation
The Manufacturers Life Insurance Co.
McGrawHill Foundation, Inc.
Merrill, Lynch, Pierce, Fenner & Smith.lnc.
Metropolitan Life Foundation
Michigan Bell Telephone
3M Foundation
Northern Telecom, Inc.
Northwestern Mutual Life Insurance
The Proctor & Gamble Fund
Rohm and Haas Company
Scientific Brake and Equipment
Society Bank
UNISYS Corporation
WarnerLambert Company
InKind Contributions
Alice Simsar Gallery
Peter Allen
Michael and Charles Avsharian
Johnny and Betty Barfield
Fred Beal
Benson House Bed and Breakfast
Charles Borgsdorf
John Briston
Allen and Veronica Britton
Wayne Bryant
Brenda Briest Casher
Anne Charles, Canadian Consul General
Cheers!
Chelsea Community Hospital
Chelsea Rower Shop
Don and Betts Chisholm
Phil Cole
Curtin and Alf, Luthiers
Detroit Area Bulgarian Community
Detroit Armenian Women's Club
Rosalie and Martin Edwards
Fine Rowers
John Fingerle
Ken, Penny and Matt Fischer
Ford Division, Ford Motor Company
Judy and Richard Fry
Candy Dancer
Margo Halsted
Don House
JoAnne Hulce
Alice Davis Irani
Perry Irish
Stuart Isaac
Jewish Community Center
Frank Johnson
Timothy Julet
Drs. Gloria and Bob Kerry
King's Keyboard House
Charles Klein
Bill Koepp
David Kwan
Tom Lancaster
Henry Landau
Bob Lyons
Martha Cooke Residence Hall
John Martin
Sandra L. Miller
Gary and Ann Moeller
Jack Moorhead
Metzger's Black Forest Restaurant
NetherlandsAmerican University
League Edwin Nyhus Joe O'Neal Oxford Conference Center, Scott
Terrill, Mgr. Sam Palazzolo Les Pierce
Public Relations Society of Detroit Alyce Riemenschneider Dennis Ruppert Ann and Tom Schriber Aliza and Howard Shevrin David Smith Lois and Jack Stegeman Helmut and Candy Stern Jim Tripp
Detlof von Berg, German Consul General University of Michigan Armenian
Studies Program
University Musical Society Advisory
Group
Washington Street Station Shelly F. Williams
Business, Corporation & Foundation Support
Bravo
Elizabeth E. Kennedy Fund
Ford Fund
Manufacturers Bank of Detroit
WarnerLambertParkeDavis
Concertmasters
Chelsea Milling Company
Ford Motor Company
Ford Motor Credit Company
Great Lakes Bancorp
JP Industries, Inc.
Benard L. Maas Foundation
McKinley Associates, Inc.
O'Neal Construction, Inc.
Philips Display Components Company
Regency Travel
Society Bank Michigan
Leaders
Arts Midwest
Association of Performing Arts
Presenters
CreditanstaltBankverein First of America Bank Ann Arbor General Motors Liberty Music Shop The Edward Surovell Company Washington Street Station
Guarantors
Canton Community Foundation
Chelsea Community Hospital
Dobson McOmber Insurance Agency, Inc.
Ford Audio
Gelman Sciences, Inc.
James Irwin Group of Companies
Michigan Trenching Service, Inc.
NBD Ann Arbor, N.A.
Pepper, Hamilton & Scheetz
The Power Foundation
Riverview Lumber & Building
Supply Co., Inc. Shar Music Products T & T Sports Management, Inc.
Sponsors
Comerica BankNA
Jacobson Stores, Inc.
Mardigjan Foundation
Michigan National Bank
The Old German Restaurant
The Eugene and Margaret Ormandy
Foundation
Plymouth Community Arts Council The Radom Fund Charles Reinhart Company The Sneed Foundation, Inc. Vlasic & Company
Benefactors
Clark Professional Pharmacy EconoPak Quality Container Edwards Brothers, Inc. Regency Campus Inn
Patrons
Ann Arbor Chamber of Commerce
Bank One, Ypsilanti
Catherine McAuley Health Center
Chelsea Flower Shop
Donna Zajonc Management
Garris, Garris, Garris & Garris, P.C.
General Systems Consulting Group
Herbert Barrett Management
Johnson, Johnson and Roy, Inc.
King's Keyboard House
L & S Music
Michigan Trenching Service
Schoolkids Records and Tapes, Inc.
Seva Restaurant and Market
SKR Classical
University Microfilms International
Donors
Ann Arbor Convention & Visitors
Bureau
Conlin Faber Travel Faculty Wives ClubAnn Arbor Public
Schools
James A. Johnston, Inc. Organizational Designs, Inc. Tisch Incorporated
Sustaining Members
Morrish Elementary School Faculty Washtenaw Livingston Education Association
Special thanks to the Ann Arbor Area Community Foundation for funding this season '$ Youth Dance Project with the Joseph Holmes Chicago Dance Theatre.