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UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --

UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image UMS Concert Program, Sept. 29, 1991: Juilliard String Quartet --  image
Day
29
Month
September
Year
1991
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Rights Held By
University Musical Society
OCR Text

Season: 1991-1992
Concert: First
The University Of Michigan Ann Arbor

19911992 Concert Season
Juilliard String Quartet
Sept. 29, 1991
The University of Michigan Ann Arbor
Thank You
Corporate
Underwriters
On behalf of the University Musical Society, I am privileged to recognize the companies whose support of UMS through their corporate under?writing reflects their position as leaders in the Southeastern Michigan business community.
Their generous support provides a solid base from which we are better able to present outstand?ing performances for the varied audiences of this part of the state.
We are proud to be associated with these companies. Their participation in our underwriting program strengthens the increas?ingly important partnership between business and the arts. We thank these community leaders for this vote of confidence in the Musical Society and for the help they provide to serve you, our audience, better.
Kenneth C. Fischer Executive Director University Musical Society
A Salute
To Our Corporate
Angels...
Howard S. Holmes
President
Chelsea Milling Company
"The Ann Arbor area is most fortunate to have the most enjoyable and outstanding musical entertainment made available by the efforts of the University Musical Society. We are very fortunate and I am happy to do my part to keep this activity alive."
Chelsea Milling Company
Ronald M. Cresswell, Ph.D.
Vice President and Chairman Pharmaceutical Division, Warner-Lambert Company
"Warner-Lambert is very proud to be associated with the University Musical Society and is grateful for the cultural enrichment it brings to our Parke-Davis Research Division employees in Ann Arbor."
Carl A. Brauer, Jr., Owner
Brauer Investment Company
"One of the most exciting assets of our culturally-rich community ... University Musical Society."
Gerald V. MacDonald
Chairman, Manufacturers National Corporation
"As a locally-based corporation, Manufacturers is proud to help support the University Musical Society and the arts in this community. The performing arts enrich all of our lives and bring us together in a spirit of celebration."
Iva M. Wilson
President, Philips Display Components Company
"Philips Display Components Company is proud to support the University Musical Society and the artistic value it adds to the community."
Joe E. O'Neal
President, O'Neal Construction
"A commitment to auality is the main reason we are a proud supporter of the University Musical Society's efforts to bring the finest artists and special events to our community."
Eugene A. Miller
Chairman, President and CEO Comerica Incorporated
"Comerica Incorporated and its management subsidiary, Comerica Capital Management, are delighted to be a part of the proud tradition represented by the University Musical Society."
Sue S. Lee, President
Regency Travel Agency, Inc.
" is our pleasure to work with such an outstanding organization as the Musical Society at the University of Michigan."
Patrick B. Long
Chairman, KMS Industries, Inc.
"KMS Industries is a proud sponsor of the University Musical Society."
Mark K. Rosenfeld
President, Jacobson Stores Inc.
"We are pleased to share a pleasant relationship with the University Musical Society. Business and the arts have a natural affinity for community commitment."
Ronald Weiser
Chairman and Chief Executive Officer, McKinley Associates, Inc.
"McKinley Associates is proud to support the University Musical Society and the cultural contribu?tion it makes to the community."
Harold A. Poling
Chairman, Chief Executive Officer Ford Motor Company
"Ford Motor Company is proud of its long-standing association with the University Musical Society. The Society is a vital part of our artistic community, each year attracting outstanding orchestras and performers from throughout the world to our area. The Society's international musical, dance and choral programming is recognized for quality, creativity and excellence through the United States and Canada."
Roy E. Weber
Chairman, President
and Chief Executive Officer
Great Lakes Bancorp
"As long-standing members of the Ann Arbor community, Great Lakes Bancorp and the University Musical Society, share tradition and pride in performance. We're pleased to continue our long association with VMS and our support of Ann Arbor's fine arts showcase."
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 S. Amster Maurice S. Binkow Paul C. Boylan Jon Cosovich John H. D'Arms James J. Duderstadt Walter L. Harrison Thomas E. Kauper 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
Staff
Kenneth C. Fischer Executive Director
Gigi Andresen Catherine S. Arcure Sara J. Billmann Karen Cowles Sally A. Cushing Barbara L. Ferguson Judy Johnson Fry Michael L. Gowing Deborah Halinski
Advisory Committee
Ann Schriber Chair
Milli Baranowski Gail Davis Barnes Sue Bonfield Charles Borgsdorf Janice Botsford Bradley Canale Sandra Connellan Elena Delbanco Anne Duderstadt Margo Halsted Charles Hills JoAnne Hulce Alice Davis Irani Stuart Isaac Perry Irish Frances Jelinek Howard King Judy Lucas Lynn Luckenbach Charlotte McGeoch Agnes Reading Janet Shatusky Helen Siedel James Telfer Alvan Uhle Jerry Weidenbach Mary White Shelly Williams Elizabeth Yhouse Nancy Zimmerman
Millicent Jones John B. Kennard, Jr. Michael J. Kondziolka Joseph Labert Thomas M. Mull Robin Stephenson Joan C. Susskind Carol G. Wargelin
General Information
University Musical Society Auditoria Directory and Information
Coat Rooms
Hill Auditorium: Coat rooms are located on the east and west sides of the main lobby and are open only during the winter months.
Rackham Auditorium: Coat rooms are located on each side of the main lobby.
Power Center: Lockers are available on both levels for a minimal charge. Free self-serve coat racks may be found on both levels.
Drinking Fountains
Hill Auditorium: Drinking fountains are located throughout the main floor lobby, as well as on the east and west sides of the first and second balcony lobbies.
Rackham Auditorium: Drinking fountains are located at the sides of the inner lobby.
Power Center: Drinking fountains are located on the north side of the main lobby and on the lower level, next to the restrooms.
Handicapped Facilities
With the addition of the ramp on the west side of Hill Auditorium, all auditoria now have barrier-free entrances. Wheelchair locations are available on the main floor. Ushers are available for assistance.
Lost and Found
Call the Musical Society Box Office at (313) 764-2538.
Parking
Parking is available in the Thayer and Fletcher Street structures for a minimal fee. Limited street parking is also available. Please allow enough time to park before the performance begins. Free reserved parking is available to Encore members at the Guarantor, Leader, Concertmaster, and Bravo Society levels.
Public Telephones
Hill Auditorium: A wheelchair-accessible public telephone is located at the west side of the outer lobby.
Rackham Auditorium: Pay and campus telephones are located on each side of the main lobby.
Power Center: Pay phones are available in the ticket office lobby.
Refreshments
Refreshments are served in the lobby during intermissions of events in the Power Center for the Performing Arts. Refreshments are not allowed in the seating areas.
Restrooms
Hill Auditorium: Men's rooms are located on the east side of the main lobby and the west side of the second balcony lobby. Women's rooms are located on the west side of the main lobby and the east side of the first balcony lobby.
Rackham Auditorium: Men's room is located on the east side of the main lobby. Women's room is located on the west side of the main lobby.
Power Center: Men's and women's rooms are located on the south side of the lower level. A wheelchair-accessible restroom is located on the north side of the main lobby and off the Green Room. A men's room is located on the south side of the balcony level. A women's room is located on the north side of the balcony level.
Smoking Areas
University of Michigan policy forbids smoking in any public area, including the lobbies and restrooms.
Tours
Guided tours of the auditoria are available to groups by advance appointment only. CaU (313) 763-3100 for details.
VMSEncore Information Table
A wealth of information about events, the UMS, restaurants, etc. is available at the information table in the lobby of each auditorium. Volun?teers and UMS staff can assist you with questions and requests. The information table is open thirty minutes before each concert and during intermission.
Concert Guidelines
To make concertgoing a more convenient and pleasurable experience for all patrons, the Musical Society has implemented the following policies and practices:
Starting Time for Concerts
The Musical Society will make every attempt to begin its performances on time. Please allow ample time for parking. Ushers will seat latecomers at a predetermined time in the program so as not to disturb performers or other patrons.
Children
We welcome children, but very young children can be disruptive to a performance. Children should be able to sit quietly in their own seats throughout a performance. Children unable to do so, along with the adult accompanying them, may be asked by an usher to leave the auditorium. Please use discretion in choosing to bring a child.
Remember, everyone must have a ticket, regardless of age.
Of Coughs and Decibels
Reprinted from programs in London's Royal Festival Hall: "During a recent test in the hall, a note played mezzo forte on the horn measured approximately 65 decibels of sound. A single 'uncovered' cough gave the same reading. A handkerchief placed over the mouth when coughing assists in obtaining a pianissimo."
Please take advantage of Warner Lambert's generos?ity in providing Halls Cough Tablets in the lobby prior to and during intermissions of concerts.
A Modern Distraction
With the advent of the electronic beeping and chiming digital watches, both audience members and performing artists will appreciate these being turned off or suppressed during performances.
Cameras and Recorders
Cameras and recording devices are strictly prohibited in the auditoria.
Odds and Ends
A silent auditorium with an expectant and sensitive audience creates the setting for an enriching musical experience. To that desired end, performers and patrons alike will benefit from the absence of talking, loud whispers, rustling of program pages, foot tapping, large hats (that obscure a view of the stage), and strong perfume or cologne (to which some are allergic).
Kochel Hoboken, dl Co.
Just what are those mysterious designations attached to some compositions They explain the cataloguing of the works of each composer in chronological order. Here is a partial list of the most important cataloguers.
Alfred Wotquenne. Belgian musicologist and compiler of the Carl Philipp Emanuel Bach catalog, e.g. W.(orWq.)98.
Wolfgang Schmieder. German musicologist and cataloguer of J.S. Bach's works. Schmieder's numbers conform to BWV (Bach Werke Verzeichnis) listings, e.g., S. 1064 = BWV 1064.
Anthony van Hoboken. Dutch music bibliographer and cataloguer of the works of Franz Josef Haydn, usually listed by volume, followed by a number, e.g., H. (or Hob.) XVI, 17.
Ludwig von Kochel. Austrian musicologist and cataloguer of the works of Mozart, e.g., K. 612.
Ralph Kirkpatrick. American harpsichordist and musicologist, cataloguer of the keyboard music of Domenico Scarlatti, e.g., K. 67. (Alessandro Longo's earlier catalog has been superseded by that of Ralph Kirkpatrick.)
Otto Erich Deutsch. Viennese musicologist and specialist in Schubertian research, responsible for the catalog of Schubert's music, e.g., D. 378.
Minos Dounias. Greek musicologist and cataloguer of the works of Giuseppe Tartini, e.g., D. 16.
Peter Ryom. The music of Antonio Vivaldi is still difficult to sort out, and there have been several catalogues of his works. The most recent is by Peter Ryom (Leipzig 1974), numbered with the prefix RV (Ryom-Verzeichnis). Another cataloguer of Vivaldi's music was noted French musicologist Marc Pincherle, e.g., P. 685.
Musical Signposts
Musical terms that appear on concert program pages indicate various movements of a work, but they actually do much more than that. Many terms denote tempo or speed, and, when combined with descriptive words, they give special insights into the character of the music. So that you may take full advantage of these musical signposts, we offer the following brief glossary of terms that appear most often.
accelerando. Faster.
adagio. Slow, at ease.
allegro. Quick, lively.
allegretto. Graceful.
andante. An even, walking pace.
appassionata Impassioned.
assai. Very.
ausdruck, mit. With expression.
bedachtig. Deliberate, slow.
beweglich. Nimbly.
bewegt. Moving, agitated.
cadenza. An elaborate passage performed by a
soloist near the end of a movement (especially in
a concerto or other work with accompanying
ensemble).
cantabile. Singing.
coda. A passage ending a movement.
con brio. With spirit.
con fuoco. With fire.
con moto. With motion.
divertimento. A light, instrumental piece.
doch. Yet, still, nevertheless.
dolce. Sweet, usually soft.
dolente. Sad.
einfach. Simple.
empfindung. Feeling, sentiment.
entschieden. Decided, resolute.
feierlich. Festive, solemn.
flicsscnd. Flowing.
forte. Loud, strong.
gemachlich. Comfortable, slow.
gemessen. Moderate, sedate.
giocoso. Humorous
grazioso. Gracefully.
innig. Heartfelt, sincere.
kraftig. Forceful, energetic.
landler. Alpine dance in the character of a
slow waltz.
langsam. Slow.
largo. Very slow, broad.
lcbhaft. Lively.
lento. Slow.
lnstii; Merry.
ma. But.
maestoso. Majestically.
marcato. Stressed, emphasized.
massig. Moderate.
mehr. More.
meno. Less.
minuet. Moderate, stately dance.
modcrato. Moderate.
molto. Very, much.
mosso. Moved, agitated.
moto. Motion.
nicht Not.
non troppo. Not too much.
ohne. Without.
ostinato. A short, musical pattern repeated
throughout a composition or section of one.
piii. Some, a little.
pizzicato. On stringed instruments, plucked
notes rather than bowed.
poco. Little.
presto. Very fast.
quasi. Nearly.
rondo. A form in which the leading theme is
repeated in alternation with other themes.
rubato. An expressive nuance (accelerating or
slowing down), subject to the performer's
discretion.
ruhig. Calm, peaceful.
scherzo. Vivacious, often humorous movement
with marked rhythms and sharp contrasts.
schleppen. To drag.
schncll. Fast.
sehr. Very.
semplice. Simple, without ornament.
sonata. An instrumental composition usually in
three or four extended movements, contrasted in
theme, tempo, and moods.
sonata-form. The usual form of the first
movement of a sonata or symphony, with
sections of exposition, development, and
recapitulation of themes.
sostenuto. Sustained, prolonged.
spiccato. A short stroke on bowed instruments,
played at rapid tempos so that the bow bounces
slightly off the string after each note.
sturmisch. Stormy, passionate.
symphonic poem. Also called a tone poem;
orchestral music based on an extra musical idea,
either poetic or realistic.
troppo. Too much.
vivace. Lively.
ziemlich. Rather.
zingarese, alia. In the gypsy style.
Burton Memorial Tower
Burton Memorial Tower, named for former University president Marion LeRoy Burton, is a favorite campus and Ann Arbor landmark. And since 1940, Burton Memorial Tower has been the familiar mailing address and box office for UMS concertgoers.
Beginning in the summer of 1991 and continuing into the fall, the Musical Society offices on the first three floors of the tower have undergone a much needed renovation. The renovation project, under the leadership of Joe O'Neal, was made possible through contributed services and materials, and the names of companies and individuals who have donated time, effort, talent, and funds to this job continue to grow.
The box office is sporting a new and elegant look, sure to welcome the UMS concertgoers who visit its warm oak-paneled interior. And for the first time, the Musical Society will have a meeting room and private offices for staff members.
The remaining floors of Burton Tower are arranged as classrooms and offices used by the School of Music, with the top reserved for the Charles Baird Carillon. During the academic year, visitors may observe the carillon chamber and enjoy a live performance from noon to 12:30 p.m. weekdays when classes are in session and most Saturdays from 10:30 to 11:15 a.m.
Albert Kahn designed the tower to fit President Burton's vision of "a bell tower, tall enough to be seen for miles ... built in the center of campus to represent the idealism and loyalty of U-M alumni." The Musical Society appreciates all of those who continue to improve the scenery both outside and inside the tower.
Hill Auditorium
Since its completion in 1913, Hill Auditorium has been home to hundreds of University Musical Society concerts. In fact, it was the 20th Annual Ann Arbor May Festival that inaugurated the hall. Designed by architect Albert Kahn and acoustical engineer Hugh Tallant, Hill Audito?rium has been established as a world renowned performance space. Every word spoken from the stage can be heard unamplified from virtually every part of the hall, making it a favorite of performers and concertgoers throughout the world. Flutist James Galway has referred to Hill Auditorium as the place where he most enjoys performing.
Former U-M regent Arthur Hill saw the need at the University for a suitable auditorium for holding lectures, concerts, and other university gatherings, and, with his bequest of $200,000, construction of the 4,169-seat hall commenced. Charles Sink, then UMS president, raised an additional $150,000.
Upon entering the hall, concertgoers are greeted by the gilded organ pipes of the Frieze Memorial Organ above the stage. Mr. Sink brought this organ in 1894 from the Chicago Columbian Exposition and installed it in old University Hall (which stood behind the present Angell Hall). The organ was moved to Hill Auditorium for the 1913 May Festival. Over the decades, the organ pipes have undergone many changes of appearance, but were restored to their original stenciling, coloring, and layout in 1986.
The UMS celebrated the 75th anniversary of Hill Auditorium in a gala performance on October 29, 1988 featuring the Vienna Philharmonic with conductor Leonard Bernstein celebrating his 70th birthday.
Power Center for the Performing Arts
The dramatic mirrored glass that fronts the Power Center seems to anticipate what awaits the concertgoer inside. And indeed the Power Center's dedication occurred with the world premiere of Truman Capote's "The Grass Harp" in 1971. Since then, the Center has been host to hundreds of prestigious names in theater, dance, and music, including the University Musical Society's first Power Center presentation --Marcel Marceau.
This fall sees the twentieth anniversary of the Power Center. Eugene B. Power, a former regent of the University of Michigan, and his wife Sadye, contributed $4 million toward the building of the theater and its subsequent improvements. The Center has seating for 1,414 in the auditorium, as well as rehearsal spaces, dressing rooms, costume and scenery shops, and an orchestra pit. Certainly the most hospitable of University performance spaces, the Power Center boasts refreshment counters, numerous restroom facilities, and a Green Room.
Rackham Auditorium
For 50 years, this intimate and unique concert hall has been the setting for hundreds of world-acclaimed chamber music ensembles presented by the University Musical Society. Before 1941, chamber music concerts in Ann Arbor were few and irregular. That changed dramatically, however, when the Horace H. Rackham School of Graduate Studies came into being through the generosity of Horace H. and Mary A. Rackham.
The Rackham Building's semi-circular auditorium, with its intimacy, beauty, and fine acoustics, was quickly recognized as the ideal venue for chamber music. The Musical Society realized this potential and presented its first Chamber Music Festival in 1941, the first organized event of its kind in Ann Arbor. The present-day Chamber Arts Series was launched in 1963.
The Rackhams' gift of $14.2 million in 1933 is held as one of the most ambitious and liberal gifts ever given to higher education. The luxurious and comfortably appointed 1,129-seat auditorium was designed by architect William Kapp and architec?tural sculptor Corrado Parducci.
The UMS celebrated 50 years of chamber music in this magnificent hall with a special concert by the Juilliard String Quartet on September 29,1991.
UNIVERSITY MUSICAL SOCIETY
in association with Regency Travel
JUILLIARD STRING QUARTET
Robert Mann, Violinist Joel Smirnoff, Violinist
Samuel Rhodes, Violist Joel Krosnick, Cellist
Sunday Afternoon, September 29, 1991, at 4:00 Rackham Auditorium, Ann Arbor, Michigan
PROGRAM
Quartet in B-flat major, K. 589 ...............Mozart
Allegro Larghetto
Menuetto: moderato Allegro assai
Quartet No. 1 (1951) .................Elliott Carter
Fantasia
Allegro scorrevole; adagio
Variations
INTERMISSION
Quartet in F major, Op. 135 ...............Beethoven
Allegretto
Vivace
Lento assai, cantante e tranquillo
Grave, ma non troppo tratto; allegro
This special concert by the Juilliard String Quartet is performed in celebration of the University Musical Society's 50 years of chamber music presentations in Rackham Auditorium.
The University Musical Society extends special thanks to Gail W. Rector, this afternoon's Philips Pre-concert
Presentation speaker, for his extensive review of UMS chamber presentations in Rackham Auditorium.
The Juilliard String Quartet records for Sony Classical.
The Juilliard Quartet is represented by Colbert Artists Management Inc., New York City.
First Concert of the 113th Season
Special Concert
UMS Celebrates Fifty Years of Chamber Presentations in Rackham Auditfcrium
On the back of a Rudolf Serkin recital program dated November 7, 1940, appeared this modest announcement:
The UNIVERSITY MUSICAL SOCIETY announces a Chamber Music Festival of three concerts to be given by:
THE MUSICAL ART QUARTET OF NEW YORK Sascha Jacobsen, First Violin William Hymanson, Viola Paul Bernard, Second Violin Maria Roemaet-Rosanoff, Violoncello
The concerts will be given Friday evening, Saturday afternoon, and Saturday evening, January 24 and January 25, 1941, in the Main Lecture Hall of the Rackham Building.
MAIL ORDERS for season tickets (three concerts) at $2.00 each, or for individual concerts at $1.00 each, will be filled in sequence in advance.
And on the back of a Vladimir Horowitz program on January 15, 1941, appeared a very significant addition: the inauguration of the First Annual Chamber Music Festival for January 24 and 25. Thus began an era of organized chamber music concerts, the first in Ann Arbor, that is celebrated this afternoon with a-special performance by The Juilliard Quartet. Since that first Chamber Music Festival in 1941, the University Musical Society has sponsored over 500 chamber presentations in Rackham Auditorium, performed by artists from 35 different countries.
The Chamber Music Festival as first conceived continued annually for 28 seasons, its format featuring prominent ensembles in three to five concerts on consecutive days. The famed Budapest Quartet visited Ann Arbor most frequently, appearing in a total of 43 concerts. Other participants in the Chamber Music Festival included the Roth, Paganini, Griller, and Juilliard Quartets, the Quartetto Italiano, the Beaux Arts Trio, and the Musical Art Quartet of New York, which launched the Festival.
The present Chamber Arts Series began in the 1963-64 season, with seven concerts annually until 1973, when an eighth was added in order to expand the variety of ensembles. In addition, the Musical Society's Rackham presentations have included several summer concert series, an Asian Series, Guitar Series, Debut and Encore Recital Series, Summer Festival conceits, Faculty Artists concerts, Michigan MozartFest, and special single concerts through the years.
Chamber music did exist informally in Ann Arbor, however, long before the Rackham Building was constructed in 1938. Local chamber players gathered in private homes and churches, with occasional visits by ensembles from the Detroit Philharmonic Club and Oberlin Conservatory. After the University Musical Society was organized in 1879, chamber music concerts began to appear in the Choral Union Series. Internationally prominent quartets were engaged, such as the Kneisel Quartet, performing four concerts from 1904 to 1910, and the Flonzaley Quartet, which gave nine concerts between 1907 and 1928. These were held in University Hall (razed in 1950) and then in Hill Auditorium after 1913.
In preparing his pre-concert lecture this afternoon, UMS President Emeritus Gail Rector thoroughly researched the role of the University Musical Society in the growth of chamber music in Ann Arbor. He is now in the process of compiling this myriad of information in a book entitled "Fifty Years and Counting," which will provide a detailed account of the Musical Society's 50 years of chamber presentations in Rackham Auditorium. It will also describe the progression of chamber music concerts leading up to 1941, beginning in the 1870s. (Publication date to be announced.)
Rackham's Living Legacy
In 1988, the Horace H. Rackham School of Graduate Studies marked its 50th anniversary with a celebration honoring its benefactors, Horace H. Rackham and Mary A. Rackham. Their generous gift has enabled the Univer?sity of Michigan to continue its leadership in higher education, providing a magnificent physical structure and an avenue for fellow?ships, research grants, and an endowment.
Horace H. Rackham was born in 1858 and died in 1933. He was not a University of Michigan alumnus; indeed, he had not at?tended any university, but read law with individual attorneys while working for a paint business in Detroit. He became a successful Detroit attorney, and during a somewhat routine service -the filing of Ford Motor Company's incorporation papers -he in?vested in the new company. In 1919, Henry and Edsel Ford bought out the shareholders, and, as one of the original twelve stockhold?ers, Horace Rackham received more than $14 million in dividends. His prudent investment in municipal bonds survived the 1929 stock crash, and, during his lifetime, he gave more than $600,000 in anonymous gifts to the University of Michigan. He left behind a fortune worth $16.5 million, and his trustees,
including his wife Mary, disbursed the money to institutions that had already demonstrated their ability to achieve Horace Rackham's philanthropic goals. The University of Mich?igan received $14-2 million.
The U-M had established a graduate school in 1913, but in appreciation of the endowment approved a new name -the Horace H. Rackham School of Graduate Studies. Today, graduate student support and faculty scholarly research grants constitute the principal uses of the fund.
In addition to musical events, Rackham's semi-circular auditorium accom?modates many visiting dignitaries and lectur?ers, among them former presidents Jimmy Carter and Gerald Ford, Queen Juliana of the Netherlands, Nobel Laureate poet Joseph Brodsky, German theologian-philosopher Hans Kuhn, American playwright and U-M alumnus Arthur Miller, and Dr. Jonas Salk, who, in 1955, stood at the podium to pro?claim the success of the Salk polio vaccine field trials that had been coordinated at the U-M School of Public Health. The building was designed by William Kapp of the Detroit firm Smith, Hinchman, and Grylls and archi?tectural sculptor Corrado Parducci.
Program Notes
Quartet in B-flat major, K. 589 Wolfgang Amadeus Mozart (1756-1791)
This is the second of three quartets that Mozart wrote for the Prus?sian king. To please the royal dilettante, all of these quartets favor the cello specifically, but this one is at the same time very brilliantly written for the first violin. Of the ten string quartets, it is the least introspective. Note?worthy is the fantastic, somewhat eccentric trio of the minuet movement.
The interest in the opening movement lies mainly in its rhythm. The opening theme, written in a motion of quarter notes, is followed by a transition section in eighth-note triplets, while the second subject moves in ordinary eighth notes. The development combines the rhythmical figures of the first theme with the triplets of the transition section.
The main theme of the slow movement is marked sotto voce. In both themes of the piece, the lead is divided between the first violin and the cello.
The moderata tempo of the minuet recalls that of the other B-flat major quartet (K. 458), but this piece is much more bril?liant. The trio is almost twice as long as the main section. The traditional violin solo is presented here in a caprice-like fantasy of great thematic diversity.
The irregular form of the contrapuntal finale is similar to that of the D-major string quintet, K. 593. The two parts of the opening theme are repeated; then, after a short tran?sition, a fragmentary new theme is offered in the dominant key. The ensuing development leads to remote keys in brusque modulations. The recapitulation skips the second subject, which, however, is briefly recalled during the coda.
String Quartet No. 1 (1951) Elliott Carter (b. 1908)
E
lliott Carter's first string quartet is a work of astonishing vitality and sustained intensity, rooted in such diverse sources as fourteenth-cen?tury Matteo da Perugia and twen-
tieth-century Alhan Berg. Among its distinc?tive characteristics one might note the new principle of "metrical modulation," in which the music shifts gradually (rather than mov?ing at once) to a different meter, and the breaking off in the middle of a movement rather than at the end. As a result of the latter procedure one sees the successive movements not as a group of contrasting and loosely related pieces but rather as the development of a dramatically unified line of action.
The composer has contributed the fol?lowing note about the work:
"The first movement, a contrapuntal fantasy, is built on four main themes and several subsidiary themes, each in a different speed and character. Various polyrhythmic combinations of these are made, and this resolves into a rapidly flowing scherzo, Allegro scorrevole, with a dramatic trio section. The scherzo is interrupted, before it is concluded, with a pause of the kind that usually comes between movements. It is resumed briefly after the pause and leads into an Adagio that features a vigorous recitative between viola and cello, answered by a quiet duet between the muted violins. Later, the duet and the recitative are heard together, leading to a shadowy, fast coda that prefigures the varia?tions of the last movement. The one heard in the cello at first reappears frequently from beginning to end of the movement, where it finally becomes so fast that it turns into a tremolo; other themes reach the vanishing point sooner and give place to new ones. The work ends with a variation in the form of a cadenza for the first violin that is also a continuation of the one heard in the cello at the very opening of the work."
Elliott Carter was born in New York City in 1908. He received his B.A. in 1930 and his M.A. in 1932 from Harvard Univer?sity, where he studied with Walter Piston, among others. Later, he worked with Nadia Boulanger in Paris for three years. He has taught music at St. John's College, Annapo?lis; the Peabody Institute, Baltimore; and Columbia University and Queens College, New York City. In addition to four string quartets, the second of which won for him the coveted Pulitzer Prize in 1960, Mr. Carter has composed two ballets and a number of works for orchestra.
Quartet in F major, Op. 135 Ludwig van Beethoven (1770-1827)
Beethoven composed his last string quartet, Op. 135 in F major, dur?ing a time of private anguish. His beloved nephew Karl had at?tempted suicide, while financial worries and ill health increased his misery. Finished in October 1826 and dedicated to his patron Johann Wolfmeier, but never pub?licly performed during his lifetime, this elu?sive work belies the composer's chaotic circumstances in its lean texture, extreme compression, and emotional detachment. The opening sonata-form Allegretto takes a retrospective look at eighteenth-century Classical style, bringing a serenity only slightly disrupted by expansive harmonic pat?terns.
A spirited Vivace in scherzo-trio struc?ture follows, forceful in its persistent motives and witty in its bold rhythmic inflections and contrapuntal trickery. The third movement, Lento, pursues variation procedure, a major concern in Beethoven's late period. Despite a wealth of variation maneuvers, the com?poser maintained a paradoxical immobility.
Beethoven enigmatically labeled the final movement "Der schwer gefasste Entschluss" ("the difficult decision"), a grand contrapuntal essay in which the "Muss es sein" ("Must it be") of the Grave sections and the "Es muss sein!" ("It must be!") of the Allegros vie for dominance. The alteration and admixture of these two ideas produce instability. Rich contrapuntal texture, sym?phonic effects, and unpredictable harmonies provide a sense of effortless motion. Beetho?ven ended his final quartet, whether taken lightly or seriously, on a typical note of subtlety and depth.
About the Artists
Clockwise from tof left: Joel Smirnoff,
Joel Krosnick, Samuel Rhodes, and Robert Mann.
The Juilliard String Quartet cele?brates its 45th anniversary during the 199192 season with two tours of the United States, two European tours, and their long-awaited return to New Zealand and Australia. Highlights of their American tours include return engagements in Los Angeles, San Francisco, Philadelphia, and Boston. In Washington, D.C., the members continue their residency at the Library of Congress with tour pairs of concerts. In Pittsburgh, they give the world premiere of John Harbison's The Rewaking for string quartet and soprano, and in Seattle, they perform concertos for string quartet and orchestra with the Seattle Sym?phony. In New York City, they perform at Columbia University's Miller Theatre, and for Lincoln Center's Mozart Bicentennial cel?ebration, the Quartet completes its cycle of quartets and quintets with two concerts at Alice Tully Hall. As quartet-in-residence at The Juilliard School, where the ensemble was founded 45 years ago, they celebrate this
anniversary with two special evenings: the first, on the actual anniversary of October 11th, is devoted to all four Elliott Carter String Quartets, and the second, to Bach's The Art of the Fugue.
In the 199091 season, the Juilliard String Quartet performed six concerts in New York, including two all-Mozart evenings at Lincoln Center's Alice Tully Hall, Bach's The Art of the Fugue at Columbia University, the opening event of Carnegie Hall's Centennial Chamber Music Series, and the New York premiere of Homage, composed by Billy Tay?lor, a work for string quartet and jazz trio, at the Metropolitan Museum of Art. The Quar?tet also gave two all-Mozart concerts in Bos?ton, presented their famed Beethoven cycle in Montreal, and made their annual coast to coast North American tour and two European tours.
The vast repertoire of the Juilliard String Quartet comprises nearly 550 works. Their masterful interpretations of the stan?dard repertoire, encompassing works by Mo?zart, Haydn, Beethoven, Schubert, Brahms, and Dvorak, are balanced by the more than 150 works they perform by twentieth-century composers. They were instrumental in reviv?ing the quartets of Arnold Schoenberg and were the first to play all six of Bartok's String Quartets in this country. Dedicated to per?forming new American music, they have premiered over 60 compositions of American composers. The Quartet has also been in?volved with outstanding jazz composers and their works.
In 1961, the ensemble was the first American string quartet to visit the Soviet Union after World War II and, in 1965, it returned for another triumphant tour. Their extensive touring schedule has taken them to Europe, Australia, New Zealand, the Near and Far East, South America, Vientiane, Laos, and Persepolis, Iran.
The Juilliard String Quartet has made over 100 recordings and in 1985 received a Grammy Award for its CBS Masterworks digital recording of all the Beethoven quar?tets. In 1986, the group was inducted into the Hall of Fame of the National Academy for Recording Arts and Sciences for their recording of the complete Bartok String Quartets. Also in 1986, they were the first chamber group to receive the Arturo Tosca-nini Artistic Achievement Award. Most re-
cently, the Quartet has recorded all four Elliott Carter String Quartets and Bach's The Art of the Fugue. These latest recordings are due for release in time for the all-Carter 45th anniversary concert next month. The Juilliard String Quartet records exclusively for Sony Classical.
All the members of the Juilliard String Quartet are American born and trained. First violinist Robert Mann, a native of Portland, Oregon, and an alumnus of The Juilliard School, is the only active member of the original quartet. After winning the Naum-burg Award, Mr. Mann made his recital debut in 1941He is currently president of the Walter W. Naumburg Foundation.
Joel Smirnoff, second violinist and newest member of the quartet, is a native of New York City. He attended the University of Chicago and The Juilliard School. Mr. Smirnoff was a member of the Boston Sym?phony Orchestra for six years. In 1983, he won second prize in the International Amer?ican Music Competition, and in 1985, he made his New York recital debut at Carnegie Recital Hall.
Violist Samuel Rhodes, also a native of New York City, studied composition with Earl Kim and Roger Sessions at Princeton University. He has been a featured artist in the Music from Marlboro series and partici?pated in Marlboro's tour of Europe and the Near East, which was sponsored by the U.S. State Department. He has performed a series of concerts at Carnegie Recital Hall devoted to the works of Paul Hindemith, who was also a violist.
Joel Krosnick, cellist, was a student of Claus Adam, whom he succeeded in The Juilliard Quartet, and is active as both per?former and educator. Mr. Krosnick is a fre?quent recitalist and soloist in the United States and Europe. In 1984, he began a concert series entitled "The Cello: A 20th-century American Retrospective." He has also performed annual series at New York's Weill Recital Hall, Merkin Hall, Symphony Space, and most recently at Columbia Uni?versity.
The Juilliard Quartet now makes its fourth Ann Arbor appearance, after perform?ing in the 1962 Chamber Music Festival and then in the 1974 and 1979 Chamber Arts Series.
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Marilyn Buss
Letitia J. Byrd
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kabelle Carduner
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Stuart E. Sheil)
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Andrew T. Turrisi 111
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Ju Lin Wei
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Carrol] and Dorothy Williams
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DONOR
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RuthBusch
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Julia M. Freer
Richard and Joann Freethy
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Carolyn M. Cany and Thomas H. Haug
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Elizabeth M. Jones
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Mary R. Romig-de Young
Professor Thomas J. and Ann Sneed
Schriber Stephen Skelley Mr. and Mrs. John C. Stegeman Elizabeth L. Stranahan Dr. and Mr. E. Thurston Thieme Mary H. Thieme
University of Michigan School of Music Mr. and Mrs. Marc R. von Wyss Jerry and Elise Weisbach Mr. and Mrs. Stanfield Wells, Jr. Dr. and Mrs. S.B. Winslow Phyllis B. Wright
MEMORIALS
Marion L. Beam
John W. Bean
Mrs. Hedy B. Berger
Leonard Bernstein
Roscoe and Lillian Bonisteel
Hope H. Bloomer
Dr. Gordon C. Brown
Marion W. Brown
Alice Kelsey Dunn
Robert S. Feldman
Carl Fischer
Gerald J. Fischer
Florence Fuller
Letitia Gamer
Dr. Paul Hogg
George 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
VadenW. Miles
Margaret Peterson
Cad and Loretta Pollmar
Sara Power
Gwen and Emerson Powrie
Dr. Joseph Preston
George Quick
Steffi Reiss
Percy and Elisabeth Richardson
Denis Rigan
Ruth Rogne
Bernard J. Rowan
Dr. Richard G. Schneider
Mrs. Ethel Sharklin
Charles A. Sink
Mrs. Arthur W. Smith
Mrs. James H. Spencer
(Cornelia Miller Spencer) Robert Spicer Ralph L. Steffek Mark C. Stevens Mischa Titiev Mrs. Flora A. Tomion Dur Vetter Mrs. Elena Vlisiders lone Wagner Peter Holdemess Woods
MATCHING GIFT COMPANIES
ADP Network
Allied Signal Foundation
Allstate Insurance Company
AT&T Foundation
Bechtel Foundation
Chrysler Corporation
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
Libbey Owens-Ford Company
Maccabees Mutual Life Insurance Co.
Manufacturers Hanover Foundation
The Manufacturers Life Insurance Co.
McGraw-Hill Foundation, Inc.
Merrill, Lynch, Pierce, Fenner & Smith, Inc.
Metropolitan Life Foundation
Michigan Bell Telephone
3-M Foundation
Northern Telecom, Inc.
Northwestern Mutual Life Insurance
Paramount Communications Inc.
The Proctor & Gamble Fund Rohm and Haas Company Scientific Brake and Equipment Society Bank UNISYS Corporation Warner Lambert Company
IN-KIND CONTRIBUTIONS
Acoustical Ceiling & PartitionRalph
Wickham
Alice Simsar Gallery Peter Allen American Airlines
Ann Arbor Ceiling & PartitionRon Dunn Catherine Arcure Michael and Charles Avsharian Johnny and Betty Barfield Gail Davis Barnes Richard Bardet Wills Batdes
BC Contractors, IncWayne Bryant J.C. Beal Construction Co.Fred Beal Bill Beck David Belmore
Benson House Bed and Breakfast Dave Bianco Charles Borgsdorf Dean Paul C. Boylan Carroll Bradley Mike Brady
Carl Brauer Investment CoCarl Brauer Bricklayers & Allied CraftsmanSam
Palazzolo Brinker Mechanical InsulationGene
Brinker
James F. Brinker Allen and Veronica Britton David O. Brown Earl Brown Jim Brunker
Bryant Air ConditioningJoe Sera Builders Heating SupplyDoug Beerens Brenda Briest Casher Conrad Cannon
Carpenters Local 512Edwin Nyhus Celotex CorpyGary M. Draisin Certainteed CorporationMike Witt Anne Charles, Canadian Consul General Mike Cisman Cheers!
Chelsea Community Hospital Chelsea Flower Shop Don and Berts Chisholm Clinch-On ProductsTom Semett Scott Cogan Phil Cole F.G. Crampton Shannon Culver Curtin and Alf, Ludiiers Scott Dault R.Day Roger Day Doug Defavero
Detroit Area Bulgarian Community Detroit Armenian Women's Club I. Domenech Jim Doneth
Trudy Dophosoh
Dow Chemical U.S.AVMike Appicelli
Mike Eadie
Rosalie and Martin Edwards
Greg Eggleston
Electrical Workers Local 252John
Briston Paul Everett John Field Andy Fletcher Fine Flowers
Fingerle Lumber CoTJohn Fingerle Ken, Penny and Matt Fischer Fontanessi & Kaan Co.]im Marzolf Herb Foor
Ford Division, Ford Motor Company Judy and Richard Fry Richard E. FryRichard E. Fry AlA.,Ltd. Gandy Dancer
Gasser & Bush, IncRandy Stowers Kerry Gauss Phil Gerwick
Glidden Paint CoVDavid Smith JGrey
Bob Grimston Margo Halsted Gregg Hamm Jim Hanson
Hardware AgentsRichard Suminski Mark Harper Paul Harrison Rob Henning Matthew Hoffmann JoAnne Huke L. Hummel
Huron Valley GlassRich Sayles Alice Davis Irani Perry Irish
Ironstone WeldingDan Parrotte Stuart Isaac Sue Jantschak Jewish Community Center Timothy Julet Carol Kahn RexKanitz RussKanitz
Drs. Gloria and Bob Kerry Chris King Howard King King's Keyboard House Dennis Kittel Charles Klein David Kwan Tom Lancaster
H.S. Landau, IncHenry Landau Landis & GYR Powers, IncKeith A.
Walker Wilson Litde Gary Loy
Martha Cooke Residence Hall Madison Electric SupplyGary Matthews John Martin Jamie Mayband Michael Merrell
Metzger's Black Forest Restaurant Michigan Trenching ServiceBob Lyons
Doug Miller
Sandra L MillerPlumbing & Mech.
Contractors Robert Millheim John Minud
Mister RubbishRod Kitchen A. Mitchell
MKK Technologies, IncSadaharu Honda Gary and Ann Moeller Mark Mohr Dean Morrow MSIJack Moorhead
Netherlands-American University League New York City Opera Company Jon Nyhus Joe O'Neal Oxford Conference Center, Scott Terrill,
Mgr.
Paholak GroupCharles Phibbs Philip Paskan William Payne
Plumbers & Pipefitters 190Don House Jeff Porter Don Pruneall
Public Relations Society of Detroit Regency Travel Rob Reilly Harry Richardson
Alyce RiemenschneiderRiemenschneider
Design Assoc.
Robertson-Morrison, IncFrank Johnson Ann and Tom Schriber Schlage Lock Co. Riggs Miller Ronald Seeley Kermit Sharp
Aliza and Howard Shevrin Siemens, I.T.EVScott Pemberton Jeff Simkiss
A.F. Smith & Son, IncBill Koepp David Smith Julius S. Smith Kathy Smith Dave Spicer Lois and Jack Stegeman Greg Stephans Helmut and Candy Stem T.J. Stillman Tony Swartz Pete Swope Garold A. Taylor The Trane CompanyJim Baker Detlof von Berg, German Consul General Chuck Visel United Mill & Cabinet CoTDennis
Ruppert University of Michigan Construction Rep.
Jim Tripp University of Michigan Armenian Studies
Program University Musical Society Advisory
Group
Washington Street Station Washtenaw Community CollegeLes
Pierce
Jack Weidenbach Shelly F.Williams Wyandotte Electric SupplyRichard Beck
Encore
University Musical Society Membership Support
For over twenty years, members' contributions have supported the University Musical Society, helping to make possible this 113th year of presenting the world's finest performing artists. These generous gifts continue to make the difference.
The Encore organization provides a series of exciting activities that enhance the concert season, including the May Festival Prelude Supper and the Opening Season Celebration in the fall. Besides the many benefits of membership such as priority seating, your contribution offers you the opportu?nity to become more involved through volunteer activities and social events.
For more information or to become a supporter, please call (313) 747-1178.
Encore Membership Categories --Join Us Because Music Matters
Business Firms
$10,000 or more, Bravo Society $5,000 or more, Concertmasters $2,000 or more, Leaders $1,000 or more, Guarantors $500 or more, Sponsors
Individual Members
$10,000 or more, Bravo Society $5,000 or more, Concertmasters $2,000 or more, Leaders $1,000 or more, Guarantors $500 or more, Sponsors $200 or more, Benefactors $100 or more, Patrons $50 or more, Donors
? I wish to joincontinue in Encore with this tax-deductible gift.
? I wish to make an addition gift to Encore.
University Musical Society
of the University of Michigan
Burton Memorial Tower
Ann Arbor, Michigan 48109-1270
Phone:(313)747-1178
Name(s)
Please list your name(s) exactly as you wish it to appear in the Musical Society gift programs.
Street City
State Zip
Enclosed is my check for $___________, made
payable to the University of Michigan.
? Please charge to my VisaMasterCard (For contribution of $50 or more) $___________
Account Number
Expiration Date
Name(s) as it appears on card
? My company will match this gift; enclosed is a completed form from my employer.
D I am not able to join Encore at this time but would like to be placed on the mailing list.
Should your friends be on our mailing list
If your friends would like to receive our concert bulletins, please let us know. We appreciate your help in finding people who are interested in the arts. Thank you.
Name
Address
City State Zip
Name
Address
City State Zip
Please return to the information table, box office, or mail-to the UMS.
4 9941992. Concert Season & Philips Pre-concert Presentation Schedule
Juilliard String Quartet
Sunday, September 29, 4:00 p.m. Rackham Auditorium Underwritten b)' Regency Travel.
PPCP: Mr. Gail Rector, UMS President Emeritus. "50 Years and Counting: Chamber Music Concerts Presented in Rackham Auditorium by UMS plus a Flip-side to this Classic Record." Rackham Amphitheatre, 3:00 p.m.
Murray Perahia, Pianist, and Orpheus Chamber Orchestra
Thursday, October 3,8:00 p.m. Hill Auditorium
National Symphony Orchestra Mstislav Rostropovich, Conductor Wendy Warner, Cellist
Saturday, October 12,8:00 p.m. Hill Auditorium
Made possible by a gift from the estate of William R. Kinney.
Season Opening Party and Silent Auction Museum of Art, immediately following concert. Tickets in advance, $20
Ekaterina Maximova and Vladimir Vasiliev -Stars of the Bolshoi Ballet and Company
Sunday, October 13,2:00 p.m & 8:00 p.m. Power Center
Guarneri String Quartet and Ida Kavafian, Violist
Tuesday, October 15,8:00 p.m. Rackham Auditorium
PPCP: High Fidelity This highly entertaining film, featuring the Guameri String Quartet, investigates the dynamics and relationships within the king of the chamber ensemble, the string quartet. Modem Languages Building, Auditorium IV 3:00 p.m. Note Screening Date: Sunday, October 13.
Les Ballets Africains of Guinea
Thursday, October 17, 7:00 p.m. Friday, October 18,8:00 p.m. Power Center
Supported by Arts Midwest's members and friends in partnership with the National Endowment for the Arts.
Arleen Auger, Soprano Steve Blier, Pianist
Sunday, October 27,4:00 p.m. Hill Auditorium
PPCP: Mr. Richard LeSueur, Director, Vocal Arts Information Service. "Programming Today's Recital." Rackham East Lecture Room, 3:00 p.m.
Emerson String Quartet
Saturday, November 2,8:00 p.m. Rackham Auditorium
Reception and record-signing at SKR Classical immediately following concert
Canadian Brass
Saturday, November 9, 8:00 p.m.
Hill Auditorium
Underwritten in part by Comerica and Comerica
Capital Management.
Oslo Philharmonic Orchestra
Mariss ]ansons, Conductor
Frank Peter Zimmcrmann, Violinist
Sunday, November 17,8:00 p.m. Hill Auditorium
Handel's "Messiah"
Saturday, December 7,8:00 p.m. Sunday, December 8, 2:00 p.m. Underwritten in part by Great Ijtkes Bancorp.
Yo-Yo Ma, Cellist Emanuel Ax, Pianist
Tuesday, December 10, 8:00 p.m. Hill Auditorium
PPCP: A Conversation with Composer William Bolcom, U-M Professor of Music. Rackham Amphitheatre, 7:00 p.m.
The King's Singers
Friday, December 13, 8:00 p.m. Hill Auditorium Underwritten by jacobson's.
Michala Petri, Recorder Kazuhito Yamashita, Guitarist
Saturday, January 25,8:00 p.m. Rackham Auditorium
Isaac Stern, Violinist Robert McDonald, Pianist
Thursday, January 30, 8:00 p.m.
Hill Auditorium
Utuietwritten by Wamer-ljtmbert Parke-Davis
Research Division.
PPCP: From Mao to Mort: Isaac Stem in China. In this Academy Award-winning documentary, 'Stem's warm-hearted insistence on excellence and the eager reponse of the Chinese people make for an exhilarating film experience." (San Francisco Chronicle) Modem Languages Building Auditorium IV, 3:00 p.m. Note Screening Date: Sunday, January 26.
Mazowsze
Saturday, February 1,8:00 p.m. Sunday, February 2,3:00 p.m.
Soviet Philharmonic
(,i-mi.uly Rozhdestvensky,
Conductor
Viktoria Postnikova, Pianist
Saturday, February 8,8:00 p.m. Hill Auditorium
Charles Rosen, Pianist
Sunday, February 9,4:00 p.m. Rackham Auditorium
New York City Opera National Company Puccini's "Tosca"
Wednesday, Friday, and Saturday, February, 12,14, and 15, 8:00 p.m. Power Center
C:IUvedforAn. A must-see for all opera lovers. This documentary film speaks with and highlights the great Toscas of this century. Rackham Amphitheatre, 7:00 p.m. Note Screening Date: Sunday, February 9.
Borodin String Quartet
Tuesday, February 18,8:00 p.m. Rackham Auditorium
Kodo Drummers of Japan
Wednesday, February 19,8:00 p.m. Thursday, February 20,7:00 p.m.
PFCP: Professor William Malm, Professor of Music, U-M. The Folk Roots of Kodo Drumming." Rackham Amphitheatre, Wednesday, 7:00 p.m.
Vienna Choir Boys
Wednesday, March 4,7:00 p.m. Hill Auditorium
Consort of Musicke
Friday, March 6,8:00 p.m. Rackham Auditorium
PPCP: Dr. Glenn Watkins, Earl V. Moore Professor of Music, U-M. The Genius of Claudio Monteverdi -Primae Secontla Praniw." Rackham East Lecture Room, 7:00 p.m.
Ivo Pogorelich, Pianist
Wednesday, March 11,8:00 p.m Hill Auditorium
Faculty Artists Concert
Sunday, March 15, 8:00 p.m Rackham Auditorium Free admission
Beaux Arts Trio
Saturday, March 21,8:00 p.m. Rackham Auditorium
The Waverly Consort
Saturday, March 28,8:00 p.m. Rackham Auditorium
FPCP: Dr. Judith Laikin Elkin, Project Director, Jews and the Encounter with the New World 14921992. "Sepharad -Who" Rackham Amphitheatre, 7:00 p.m.
Chicago Symphony Orchestra Daniel Barenboim, Conductor
Monday, March 30,8:00 p.m. Hill Auditorium
PPCP: Ms. Nancy Malitz, Music Writer, Detroit Nefs. Rackham Amphitheatre, 7:00 p.m.
Dawn Upshaw, Soprano Richard Goode, Pianist
Tuesday, April 14,8:00 p.m. Rackham Auditorium
Miami City Ballet
Tuesday and Wednesday,
April 2 land 22,8:00 p.m.
Power Center
Supported by Arts Midwest's members and friends
in partnership with the National F.ndovment for
the Arts.
PPCP: Mr. Edward Villella, Director, Miami City Ballet. "Classicism Under Duress." Rackham East Lecture Room, Tuesday, 7:00 p.m.
Dresden Staatskapelle Andre Previn, Conductor
Thursday, April 23,8:00 p.m. Hill Auditorium
PPCP: Mr. Jim Leonard, Manager SKR Classical. "Sex and Death." Rackham Amphitheatre, 7:00 p.m.
Cleveland String Quartet and Norman Fischer, Cellist
Wednesday, April 29,8:00 p.m. Rackham Auditorium
PPCP: Mr. Paul Katz, cellist, Cleveland Quartet and President of Chamber Music America, with Mr. Kenneth Fischer, Executive Director, UMS. "An Interview with Paul Katz: The Status of Chamber Music in America." Rackham Amphitheatre, 7:00 p.m.
99th Annual Ann Arbor May Festival
Detroit Symphony Orchestra
Neeme Jarvi, Conductor with
Marilyn Home, Soprano
Andre Watts, Pianist
Festival Chorus, Thomas Hilbish,
Director
May 6-9,8:00 p.m.
Hill Auditorium
Prelude Supper,
Power Center
May 6, prior to the concert
May Festival Finale
May 9, immediately following the
PPCP = Philips Pre-concert Presentation. All concertgoers are invited to enjoy these informative, informal talks and films free of charge. This educational program is underwritten by a grant from Philips Display Components Company.
University Musical Society of the University of Michigan
What began in the spring of 1879 as a club dedicated to the study and performance of choruses from Handel's Messiah soon became known as The Choral Union" and gave its first concert in December 1879. This led to the formation of the University Musical Society in February 1880, and the newly formed chorus became an integral part of seasons to come. Today, the Choral Union refers not only to the devoted group of university and community singers who annually perform the well-loved December performances of Messiah, but to the Musical Society's acclaimed ten-concert series in Hill Auditorium featuring the world's finest orchestras and recitalists. It is this series, along with the eight-concert Chamber Arts series in Rackham Auditorium and the Choice Series of events that includes dance, opera, popular, and ethnic perfor?mances in Power Center and other venues, that ranks the University Musical Society among the finest performing arts presenters in the nation, along with Carnegie Hall, Lincoln Center, Boston Celebrity Series, and the Washington Performing Arts Society at the Kennedy Center.
The Musical Society has flourished these 113 seasons with the support of a generous music-loving community, which has gathered in three world-class halls to experience the artistry of performers such as Leonard Bernstein, Vienna Philharmonic Orchestra, Martha Graham, Igor Stravinsky, Enrico Caruso, Jessye Norman, James Levine, Elisabeth Schwarzkopf, Alvin Ailey, Philadelphia Orchestra, Arthur Rubinstein, Eugene Ormandy, Herbert von Karajan, Metropolitan Opera Orchestra, Budapest String Quartet, Jean-Pierre Rampal, Benny Goodman, Andres Segovia, Fritz Kreisler, Juilliard String Quartet, and New York Philharmonic.
The Musical Society is committed to preserving its finest traditions and building upon them. With new series offerings, programs for young people, groups sales, educational endeavors, special projects and festivals, radio programs, collaborative projects, and the commissioning of new works, the Musical Society looks forward to carrying its tradition of excellence in performing arts presentations into the next century.
UMSCard
Subscribers who purchase at least $200 worth of tickets and Encore members at the $200 level and above receive the UMSCard. The UMSCard is your ticket to savings all season for discounts on purchases at the following fine stores and restaurants:
Amadeus Cafe Gandy Dancer Kerrytown Bistro L & S Music SKR Classical Washington Street Station
"Desert Island Discs"
Co-produced by the University Musical Society and Michigan Radio, "Desert Island Discs" is heard every Saturday morning from 8:00 a.m. to 10:00 a.m. Each program features a distinguished "castaway" who is asked, "If you were stranded on a desert island, which recordings would you like to have with you and (perhaps most revealingly) why"
Tune in Saturday mornings.
WUOM-91.7 FM, Ann Arbor; WVGR-104.1 FM, Grand Rapids; WFUM-91.1, Flint
Gift Certificates
What could be easier and more welcome than a University Musical Society gift certificate The perfect gift for every occasion worth celebrating. Give the experience of a lifetime -a live performance -wrapped and delivered with your personal message.
Available in any amount, just visit or call the UMS box office in Burton Tower, (313) 764-2538.
Youth Program
Three years ago, the University Musical Society arranged to have the New York City Opera National Company perform in the Power Center for area fourth-graders. Now over 15,000 schoolchildren have had the opportunity to experience UMS concerts through the UMS Youth Program.
The Youth Program offers three specially tailored performances for fourth through eighth graders -two opera performances and one dance perfor?mance. These concerts are always sold out far in advance, so contact your children's teachers now. The two fourth-grade opera performances are February 13,1992, and the sixth-grade dance performance features the Miami City Ballet in April.
The UMS also offers discounted tickets through the school system and encourages concertgoing as a part of the regular curriculum. Parents and teachers are invited to organize student groups to attend any UMS performance. The UMS Youth Program Coordinator will work with you to personalize your students' concert experience, which often includes meeting the artists afterwards.
The Association of Performing Arts Presenters recognized the UMS Youth Program as an exemplary model program when it awarded UMS its Dawson Achievement Award in 1990.
For more information call (313) 763-3100.
Cheers!
Cheers! is a group of young UMS supporters that is dedicated to involving and encouraging young singles or couples in UMS activities. Cheers! members host several preand post-concert social events. Proceeds from these events help benefit the UMS Youth Program.
If you are interested in joining Cheers! or would like more information about Cheers! activites, call (313) 747-1175.
"Silent Nights"
The Warner Lambert Company is providing complimentary cough tablets to patrons plagued with colds and allergies. Three flavors of Halls Cough Supressant Tablets are available in dispensers in the lobbies. This is offered as part of Halls' "Silent Nights At The Symphony" program, which is conducted during the fall and winter seasons for more than 30 symphonies nationwide.
Thanks to Ford Motor Company for the use of a 1992 Lincoln Town Car to provide transportation for visiting artists.
The University Musical Society is an Equal Opportunity Employer and provides programs and services without regard to race, color, religion, national origin, age, sex, or handicap.

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