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UMS Concert Program, December 7-8, 1991: Messiah -- George Frideric Handel

UMS Concert Program, December 7-8, 1991: Messiah -- George Frideric Handel image UMS Concert Program, December 7-8, 1991: Messiah -- George Frideric Handel image UMS Concert Program, December 7-8, 1991: Messiah -- George Frideric Handel image UMS Concert Program, December 7-8, 1991: Messiah -- George Frideric Handel image UMS Concert Program, December 7-8, 1991: Messiah -- George Frideric Handel image UMS Concert Program, December 7-8, 1991: Messiah -- George Frideric Handel image UMS Concert Program, December 7-8, 1991: Messiah -- George Frideric Handel image UMS Concert Program, December 7-8, 1991: Messiah -- George Frideric Handel image UMS Concert Program, December 7-8, 1991: Messiah -- George Frideric Handel image UMS Concert Program, December 7-8, 1991: Messiah -- George Frideric Handel image
Day
7
Month
December
Year
1991
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University Musical Society
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Season: 113th
Concert: 13th and 14th
Hill Auditorium, Ann Arbor, Michigan

UNIVERSITY MUSICAL SOCIETY
in association with Great Lakes Bancorp
George Frideric Handel
THE UNIVERSITY CHORAL UNION
Thomas Hilbish, Conductor
Carla Connors, Soprano David Gordon, Tenor
Janice Meyerson, Mezzo-soprano David Arnold, Baritone
Nancy Hodge, Harpsichordist Marilyn van der Velde, Organist
The Ann Arbor Symphony Orchestra
Saturday Evening, December 7, 1991, at 8:00
Sunday Afternoon, December 8, 1991, at 2:00
Hill Auditorium, Ann Arbor, Michigan
The University Musical Society expresses gratitude to Great Lakes Bancorp for a generous grant in support of these 1991 Messiah concerts.
The harpsichord heard in these concerts is by David Sutherland, Ann Arbor.
Carla Connors is represented by Donna Zajonc Management, Ann Arbor; Janice Meyerson by Robert Lombardo Associates, New York City, David Gordon by Thea Dispeker, Inc., New York City, and David Arnold by William Knight, Burlington, New Jersey.
1 3th and 14th Concerts of the 113th Season Twenty-first Annual Choice Series
Messiah is in three parts. The first celebrates the birth of Jesus, from eager anticipation and prophecy to jubilant fulfillment and thanksgiving. The second part deals with the Passion and its redemptive significance, culminating in the magnificent "Hallelujah" chorus, and the third is a great affirmation of faith, growing from quiet profundity to the ringing jubilation of the chorus "Worthy Is the Lamb" and the final grand "Amen."
In order that the continuity of the work be maintained, it is requested that the audience refrain from applause until the end of each part of the program.
Sinfonia: Overture
Tenor: Comfort ye, My people, saith your God, speak ye comfortably to Jerusalem, and cry unto her, that her warfare is accom?plished, that her iniquity is pardon'd. The voice of him that crieth in the wilderness. Prepare ye the way of the Lord, make straight in the desert a highway for our God.
Every valley shall he exalted, and every mountain and hill made low; the crooked straight, and the rough places plain. Chorus: And the glory of the Lord shall he revealed, and all flesh shall see it together; for the mouth of the Lord hath spoken it. Bass: Thus saith the Lord of Hosts: Yet once a little while, and I shall shake the heavens and the earth, the sea and the dry land; and I will shake all nations; and the desire of all nations shall come. The Lord, whom ye seek, shall suddenly come to His temple, e'en the messenger of the covenant, whom ye delight in: behold, He shall come, saith the Lord of Hosts.
But who may abide the day of His coming and who shall stand when He appeareth For He is like a refiner's fire. Chorus: And He shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness.
Contralto and Chorus: Behold, a virgin shall conceive and bear a Son, and shall call His name EMMANUEL: God with us. O thou that tellest good tidings to Zion, get thee up into the high mountain! Lift up thy voice with strength! Lift it up, be not afraid! Say unto the cities of Judah, Behold your God! Arise, shine for thy light is come; and the glory of the Lord is risen upon thee! Chorus: For unto us a Child is born, unto us a son is given, and the government shall be upon His shoulder; and His name shall be called Wonderful, Counsellor, the Mighty God, the Everlasting Father, the Prince of Peace.
Pastoral Symphony: Plfa Soprano: There were shepherds abiding in the field, keeping watch over their flock by night. And lo! the angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sure afraid.
And the angel said unto them, Fear not: for behold, 1 bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the City of David, a Saviour, which is Christ the Lord.
And suddenly there was with the angel a multitude of the heavenly host praising God, and saying:
Chorus: Glory to God in the highest and peace on earth, good will toward men. Soprano: Rejoice greatly, O daughter of Zion. Shout, O daughter of Jerusalem. Behold, thy king cometh unto thee. He is the righteous Saviour and He shall speak peace unto the heathen.
Contralto: Then shall the eyes of the blind be open'd, and the ears of the deaf unstopped. Then shall the lame men leap as an hart, and the tongue of the dumb shall sing. Contralto and Soprano: He shall feed His flock like a shepherd, and He shall gather the lambs with His arm, and carry them in His bosom, and gently lead those that are with young. Come unto Him, all ye that labor and are heavy laden, and He will give you rest. Take His yoke upon you, and leam of Him, for He is meek and lowly of heart, and ye shall find rest unto your souls. Chorus: His yoke is easy, His burden is light.
INTERMISSION
Chorus: Behold the Lamb of God that taketh away the sin of the world. Contralto: He was despised and rejected of men, a man of sorrows and acquainted with grief. He gave His back to the smiters, and
His cheeks to them that plucked off the hair. He hid not His face from shame and spitting. Chorus: Surely He hath borne our griefs, and carried our sorrows: He was wounded for our transgressions, He was bruised for our iniqui?ties, the chastisement of our peace was upon Him.
And with His stripes we are healed.
All we like sheep have gone astray; we have turned every one to his own way; and the Lord hath laid on Him the iniquity of us all.
Tenor: All they that see Him laugh Him to scorn: they shoot out their lips, and shake their heads, saying:
Chorus: He trusted in God that He would deliver Him: let him deliver Him, if He delight in Him.
Tenor: Thy rebuke hath broken His heart; He is full of heaviness. He looked for some to have pity on Him, hut there was no man, neither found He any to comfort Him.
Behold, and see if there be any sorrow like unto His sorrow.
He was cut off out of the land of the living: for the transgression of thy people was He stricken.
But Thou didst not leave His soul in hell, nor didst Thou suffer Thy Holy One to see corruption.
Chorus: Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of glory shall come in. Who is the King of glory The Lord strong and mighty, the Lord mighty in battle. Who is this King of glory The Lord of hosts, He is the King of glory.
Chorus: The Lord gave the word: Great was the company of the preachers. Bass: Why do the nations so furiously rage together: why do the people imagine a vain thing The kings of the earth rise up, and the rulers take counsel together: against the Lord, and against his Anointed.
Chorus: Let us break their bonds asunder, and cast away their yokes from us.
Tenor: He that dwelleth in heaven shall laugh them to scorn; the Lord shall have them in derision.
Thou shall break them with a rod of iron; Thou shalt dash them in pieces like a potter's vessel.
You are invited to join The Choral Union in singing the "Hallelujah Chorus." Unless you wish to keep it, please leave the music at the door when leaving.
Chorus and Audience: HALLELUJAH! for the Lord God omnipotent reigneth.
The kingdom of this world is become the kingdom of our Lord and of His Christ; and He shall reign forever and ever. King of Kings, and Lord of Lords.
Soprano: 1 know that my Redeemer liveth, and that He shall stand at the latter day upon the earth. And tho' worms destroy this body, yet in my flesh shall 1 see God! For now is Christ risen from the dead, the first fruits of them that sleep.
Chorus: Since by man came death, by man came also the resurrection of the dead. For as in Adam all die, even so in Christ shall all be made alive.
Bass: Behold, I tell you a mystery; we shall not all sleep, but we shall all be changed, in a moment, in the twinkling of an eye, at the last trumpet.
The trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed.
For this corruptible must put on incor-ruption, and this mortal must put on immor?tality.
Chorus: Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom, and strength and honor, and glory, and blessing. Blessing and honor, glory and power, be unto Him that sitteth upon the throne, and unto the Lamb forever and ever. Amen.
About the Artists
Soprano Carla Connors maintains an active performing career on the operatic stage and in the concert hall as soloist with orchestras and in recital appearances. After earn?ing her undergraduate degree in 1979 at the University of South Dakota, Ms. Connors studied at the University of Michigan, earn?ing her Master of Music degree in 1980 and a Doctor of Musical Arts degree in 1989. She made her first appearance for the University Musical Society last February as Susanna in The Marriage of Figaro with the New York City Opera National Company and now returns as oratorio soloist in these performances of Handel's Messiah. She also performs Messiah this month with the Naples Philharmonic in Florida.
Hailed as "one of the best young sopra?nos of the decade" by the Detroit Free Press, Carla Connors followed her NYCO National Company tour with portrayals of Yum Yum in The Mikado with Orlando Opera in Florida and in Toulon, France, and again with Glimmerglass Opera in Cooperstown, New York. In September and October, she added two new Donizetti heroines to her repertoire: Adina in The Elixir of Love with the Atlanta Opera Company and Norina in Don Pasquale with South Georgia Opera. In addition, she has just completed the filming of Reverend Everyman, a new, written-for-TV opera by Salvador Brotons.
Ms. Connors' 1992 engagements will include the Brahms Requiem with the Santa Fe Symphony, Mozart's C-minor Mass with the Cayuga Chamber Orchestra, Carl St. Clair conducting, and Carmina Burana with the Sioux City Symphony. Looking forward to 1993, she will perform St. Matthew's Pas?sion with the Bach Festival Society in Winter Park, Florida.
Selected past performances for Carla Connors have been varied and frequent. They include her participation in a gala evening for the American Composers Orches?tra in a tribute to William Schuman and a performance of the Songs of the Auvergne by Canteloube with Carl St. Clair conducting the Cayuga Chamber Orchestra. That en?gagement prompted an invitation from Maes?tro St. Clair to join him with the Pacific Symphony Orchestra at the Orange County Performing Arts Center in a tribute to Leon?ard Bernstein, where she sang Bernstein's Greetings from Arias and Barcarolles, the composer's last completed major work. Later in 1990, Ms. Connors was heard with the North Carolina Symphony for an "Evening in Vienna."
Mezzo-soprano Janice Meyer-son has received accolades in the opera houses and concert halls of four continents since her professional debut as Brangaene in Tristan und Isolde with The Philadelphia Orchestra conducted by Leon?ard Bernstein.
Ms. Meyerson's recent opera roles in?clude Amneris in Aida with the Taipei Opera and Frankfurt Opera, Laura in La Gioconda with the Deutsche Oper Berlin, and Eboli in Don Carlo at the Essen Opera. She was featured soloist in Leonard Bernstein's Song' fest, with engagements at Tanglewood, the Schleswig-Holstein Festival, the London Proms, and Moscow's Gorky Park, all con?ducted by the composer. Ms. Meyerson has also appeared at the Theatre Royal de la Monnaie, Brussels, the Teatro Colon in Bue?nos Aires, the Spoleto Festival, Washington Opera, Houston Grand Opera, L'Opera de
Montreal, and the Opera Theatre of St. Louis. She made her New York City Opera debut as Carmen and later returned there as Santuzza in Cavalleria Rusticana.
Also in demand as an orchestral soloist, Janice Meyerson has appeared in several con?certs with the Boston Symphony under Seiji Ozawa, including a nationally televised per?formance of Beatrice et Benedict. With the New York Philharmonic she has performed Bartok's Bluebeard's Castle, Stravinsky's Les Noces, and Bernstein's Jeremiah Symphony. She has appeared with the American Sym?phony at Carnegie Hall, as soloist in Mahler's Third Symphony, and with the National Symphony Orchestra in Aaron Copland's The Tender Land, conducted by the composer. She has also sung with the Minnesota Or?chestra, the Mexico City Philharmonic, and the symphony orchestras of Milwaukee, New Orleans, San Antonio, and Dallas.
On New Year's Eve last year, Janice Meyerson participated in the last concert of 1990 held in memory of Leonard Bernstein. It took place in Manhattan's Cathedral of St. John the Divine, site of the annual Concerts for Peace, which the composer was instru?mental in founding. Her singing of Music 1 Heard With You from Bernstein's Songfest was deemed "exquisite" by the Daily News music critic. The next month, Ms. Meyerson was in Moscow to sing more Bernstein -his )eremiah Symphony with the Moscow State Symphony.
A native of Omaha, Nebraska, Ms. Meyerson received her B.A. from Washing?ton University in St. Louis and her M.A. from the New England Conservatory and was a national finalist in the annual Metropolitan Opera National Council Auditions. She now makes her Ann Arbor debut in these perfor?mances.
Critical acclaim has followed Pennsylvania native David Gordon around the globe. As versatile as he is gifted, his repertoire spans eight centuries and eight languages, and his performance experience includes virtually every major mu?sical venue for tenor voice, ranging in scope from 55 principal operatic roles to the sub?limely intimate lute songs of Elizabethan England.
Mr. Gordon is a popular and frequent guest soloist with the world's greatest orches?tras. In music ranging from Monteverdi and Bach to Schoenberg and Stravinsky, he has appeared recently in Boston, Cleveland, Ber?lin, Chicago, New York, Prague, San Fran?cisco, Philadelphia, Los Angeles, Saint Paul, Toronto, and with other major symphonies and in festivals worldwide. On recordings and in concerts and masterclasses, he appears with such conductors as Robert Shaw, Seiji Ozawa, Christopher Hogwood, Helmuth Rilling, Charles Dutoit, Herbert Blomstedt, David Zinman, and Gerard Schwarz.
David Gordon's engagements during the current season include Tamino in The Magic Flute with the Cincinnati Symphony, Bach's Mass in B minor with the New England Bach Festival, the Benjamin Britten Serenade for tenor, horn, and strings with the Grand Rapids Symphony, the Berlioz Requiem with the Kansas City Symphony, and the St. Matthew Passion Evangelist at the Bach Fes?tival of Bethlehem. Among Mr. Gordon's many recordings on the RCA, Decca, None?such, Telarc, Delos, Dorian, and London labels, are recent releases of Bach's Magnificat and Schubert's Mass in G major with Robert Shaw and the Atlanta Symphony, and Stravinsky's Pulcinella with the Saint Cham?ber Orchestra and Christopher Hogwood. An upcoming release is his role as Acis in Handel's Acis and Galatea with Gerard Schwarz and the Seattle Symphony.
David Gordon's musical career began with a dusty banjo and an old four-stringed guitar salvaged from the family attic. Soon, he was playing along with recordings of Pete Seeger and the Kingston Trio, and from his earlyto mid-teens formed his own bands. Then the budding career found him actually playing or singing in the distinguished com?pany of Pete Seeger, Judy Collins, Josh White, and Bill Monroe, and within a decade Nashville's Grand Ole Opry was within reach. But the turning point in David Gordon's life came as a student at Wooster College (Ohio), when a teacher led him to Mozart's Cosi fan tutte, and a subsequent runner-up prize in a Metropolitan Opera regional competition reinforced his change of direction. In the ensuing 20 years, he has kept up his professional guitar technique, and the Bucks County Folk Music Society (Pennsyl?vania), of which he was a founding member, is still thriving.
Mr. Gordon is now heard in his first Ann Arbor appearance.
Among today's baritones, David Arnold follows in the tradition of America's great baritone singers. He made his debut in 1983 with the Metropolitan Opera as Enrico in Lucia di Lammermoor. Subsequent appearances were in the Met's new production of Porgy and Bess (that in?cluded two international radio broadcasts) and as Marcello in La Boheme. He has also won acclaim for his opera roles with the New York City Opera, Virginia Opera, and the companies of Boston, San Francisco, Tulsa, Philadelphia, Quebec, Montreal, and the English National Opera.
Last spring, Mr. Arnold joined the famed Komische Oper Berlin for leading bari?tone roles. His most recent portrayals have been Germont in La Traviata and the Count in The Marriage of Figaro.
David Arnold has accumulated suc?cesses in oratorio and symphonic music on both sides of the Atlantic. He has sung the Bach Passions with Robert Shaw, Helmuth Rilling, Sergiu Comissiona, and others, and for six seasons was chosen by Seiji Ozawa to sing with the Boston Symphony Orchestra. He has also performed with the orchestras of Chicago, San Francisco, Baltimore, Detroit, Atlanta, Houston, St. Louis, Pittsburgh,
Philadelphia, and with the Israel Philhar?monic and Concertgebouw Orchestra in Am?sterdam. Mr. Arnold has toured Austria and Yugoslavia in performances of works by Gershwin and Benjamin Britten and is known for his performances of Britten's War Requiem, which he has sung at Carnegie Hall in New York and elsewhere.
Several American composers have cho?sen David Arnold to perform world premieres of their works. They include John Harbison, who has twice picked him for starring roles in his operas Winter's Tale and Full Moon in March, and David Diamond, whose Ninth Symphony for Baritone and Orchestra was pre?miered by Mr. Arnold and conducted by Leonard Bernstein in Carnegie Hall.
Mr. Arnold won the New York City Opera Gold Debut Award in 1980 and in 1982 was presented a Career Grant by Kurt Herbert Adler on behalf of the National Opera Institute, a grant that included a concert hosted by Beverly Sills at Washington's Kennedy Center. Twice, he has made guest appearances at state dinners honoring foreign dignitaries at the White House.
In the recording field, David Arnold's work is found on the Philips, Leonarda, CRI, and Arabesque labels. He has recently re?corded Beethoven's Ninth Symphony for re?lease in 1992.
These Messiah performances mark David Arnold's Ann Arbor debut.
Professor Emeritus of Music and Di?rector Emeritus of University Choirs at the University of Mich?igan, Thomas Hilbish once again leads these Messiah concerts as in?terim conductor of the University Choral Union. Throughout his forty-year career, he has established himself as one of America's leading conductors of choral music. After obtaining degrees at the University of Miami and Westminster Choir College, Professor Hilbish spent 16 years as supervisor of music at the Princeton Public Schools, developing a high school choir that became the first high school ensemble to receive sponsorship by the U.S. State Department for tours of Europe.
Immediately after joining the U-M School of Music faculty in 1965, Professor Hilbish formed the University of Michigan Chamber Choir, which became internation?ally recognized for its excellence as it toured through Italy, the Soviet Union, Spain, Po?land, Czechoslovakia, and Hungary. The Chamber Choir made several recordings, one of which -Menotti's The Unicom, the Gor?gon, and the Manticore -received a Grammy nomination in 1981. For nine of his 22 years at the School of Music, he served as chairman of the conducting department.
Thomas Hilbish has prepared choirs for many distinguished conductors, including Robert Shaw, Thomas Schippers, Leonard Bernstein, and Kurt Masur, and was selected on three occasions to conduct the United States University Chorus (drawn from ten universities) at Washington's Kennedy Cen?ter and New York's Lincoln Center for the International Choral Festival. Through the years, he has served as visiting lecturer in conducting at Indiana University, Western Michigan University, University of Wiscon?sin, Westminster Choir College, Princeton and Harvard Universities, Florida State Uni?versity, University of California Los Angeles, and the University of Southern California. Time magazine recognized Professor Hilbish for his skillful and authoritative conducting of difficult contemporary works, naming those of Stravinsky, Webern, and Schoenberg.
The University Choral Union
Thomas Hilbish, Interim Conductor
Sara Billmann, Manager Jean Schneider-Claytor, Accompanist
Donald Bryant, Conductor Emeritus
The following singers carry on a tradition begun 112 years ago, when the Choral Union gave its first concert on December 16, 1879 (including, of course, choruses from Messiah). This close community collaboration has continued to the present day, affirming that Ann Arbor continues to provide a thriving environment for the performing arts.
First Sopranos
Patricia Reed Amalfitano
Janet Bell
Joan M. Bell
Cheryl Brown-West
Ann Burke
LetitiaJ. Byrd
Young S. Cho
Rebecca L Collino
Annette Dentel
Erica Dutton
Kathryn Foster Elliott
Katherine Gardner
Lydia Gilmour
Lori Kathleen Gould
Martha Heller
Melissa Hertz
Sharon Johnson-Ryles
June Krebs
Kathy H. Lee
Carolyn Leyh
Sue Mayer-Livingston
Amy K. McGee
Christine Mclntyre
Loretta I. Meissner
Madelyn Nichols
Carole Lynch Pennington
Sarah Pollard
Susan Schmunk
Laurene E. Schuman
Ilcne A. Seltzer
Virginia Smith
Susan E. Topol
Margaret Warrick
Julia Zielke
Second Sopranos
Katherine A. Blackburn Marilyn Buss Tenny Chang Dixie Cocagne Jan Gyselinck Carol Haavisto Kathleen M. Higley May Huang Hunter Stephanie Kosarin Ann Kathryn Kuelbs Judy Lehmann Loretta Lovalvo
Kim Mackenzie Annetta Makowski Gay McNally Marilyn Meeker Jennifer Meyer Nancy Rae Morehead Susan Morris Trisha Neff Lydia Nichols Margaret Brewer Perrett SaraJ. Pcth Virginia Reese Cynthia A. Schloesser Sue Ellen Straub Patricia Tompkins Jean Marion Urquhart Barbara Hertz Wallgren Jennifer Walter Dr. Rachelle B. Warren Charlotte Wolfe Linda Woodman Kathleen A. Young
First Altos
Yvonne M. Allen
Margo Angelini
Carol A. Beardmore
Stefanie L. Benjamin
Alice Cerniglia
Lubomyra A. Chapelsky
Hannah Clark
Mary C. Crichton
Sheila Crowell-Henderson
Michelle M. Dennis
Anna Egert
Anne Facione-Russell
Marilyn A. Finkbeiner
Amy Flamenbaum
Martha Friedlander
Ruth Gewanter
Lisa Gezon
Nancy Houk
Jean Hunekc
Carol Hurwitz
Nancy Karp
Carolyn King
Lisa Lava-Kellar
Patricia Kaiser McCloud
Sarah Piper
Jamie Rollins K.irin Hunt Roth Jari Smith Joan Stahman Kathryn Stebbins Patricia Steiss Marianne Webster Amy White Barbara H. Wooding
Second Altos
Anne Lampmam Abbrecht
Barbara Baily
Anne C. Davis
Lynne de Benedette
Alice B. Dobson
Nancy Dolan
Andrea Foote
Laura Graedel
Mary E. Haab
Valerie Hawksley
Nancy Heaton
Carol Hohnke
Wendy Jerome
Loree Kallay
SaUy Kope
Elsie W. Lovelace
Cheryl Melby MacKrell
Lois P. Nelson
Brenda K. O'Neal
Anne Ormand
Shirley Parola
April Pronk
Sara Ryan
Carren Sandall
Margaret Sharemet
Beverly Slater
Kristin Slocum
Cynthia J. Sorensen
Alice Warsinski
Janet E. Yoakam
First Tenon
John Ballbach
Charles R. Cowley
Father Timothy Dombrowski
Peter C. Flintoft
Marshall Franke
James Frenza
Marshall J. Grimm Forrest G. Hooper Thomas Jameson AlecC. M.Jeong Joseph Kubis Robert E. Lewis Paul Lowry Robert K. MacGregor Bernard Patterson Helen F. Welford
Second Tenon
Steve M. Billcheck Jack Etsweiler Dwight L Fontenot Albert P. Girodjr. Thomas Hmay Martin G. Kope Harold Needham Robert Reizner David M. Rumford Henry Schuman Carl R. Smith
First Basses
John H. Amick Chris Bartlett
Ronald C. Bishop Dean Bodley Donald J. Bord Michael Brand John M. Brueger Wah Keung Chan Charles Cocagne JohnJ. Dryden C. William Ferguson Philip Gorman Kevin Klee Lawrence L Lohr Charles Lovelace John MacKrell SolMetz Tom Morrow Mark Nelson F. Shawn O'Neal William Ribbens Walter Roberts Peter D. Robinson David Sandusky James C. Schneider William Shannon
Second Basses
James David Anderson William Guy Barast
Kee Man Chang Gabriel Chin Edward Curtis Don Faber Howard Grodman Geoffrey Henderson Ramon R. Hernandez Charles T. Hudson Steven D. Jones Don Kenney Charles F. Lehmann William P. McAdoo W. Bruce McCuaig Gerald Miller Mark C. Persiko Bradley A. Prittsjr. Marshall Schuster Jeff Spindler Robert Stawski Erland Stevens Robert D. Strozier Terril O. Tompkins Stewart L Tubbs John Van Bolt Thomas G. Zantow
The Ann Arbor Symphony Orchestra Carl St. Clair, Music Director
The Ann Arbor Symphony Orchestra was founded in 1928 by a group of dedicated volunteer musicians with the goal of establishing a community orchestra that would give the area's many talented musicians an opportunity to perform. Though the orchestra has undergone many changes since then, the underlying concept of featuring musicians with ties to Ann Arbor remains intact.
With the appointment of Carl St. Clair as music director in 1985, the Ann Arbor Symphony has become a thriving organization. In addition to its regular subscription concerts, the Symphony also collaborates with numerous musical organizations in the area. It has received regional and national acclaim for its Education and Outreach program and this year will present its first daytime performances for schoolchildren.
First Violins
Rebecca Chudacoff
Concertmaster Marjorie Baglcy Lorien Benet Linda Etter Valjaskiewicz Amy Kimberling Tim Kopf Laura Rowe Andrew Wu
Second Violins
"Barbara Sturgis-Everett Anne Alwin Brian Etter Xiang Gao Karen Land
Jackie Livesay Nathan Peters Katie Rowan
Violas
Korey Konkol Cathy Franklin Nancy Thomas Carol Palms Carolyn Tarzia Katharine Jackson
Cellos
Diane L. Winder Margot Amrine Rob Baxtresser Marolin Bellefleur John Cunningham Beth Vandervennet
Basses
'Maricarmen Rivera Marilyn Fung Stuart Hopkins Jonathan Zigman
Oboes
Lorelei Crawford Kristin Wiedenmann
Bassoon David Pierce
Trumpets
'Derek Lockhart Jeff Work
Timpani
James Lancioni Principal
Featured in a Holiday Program...
The King's Singers
Friday, December 13 8 p.m., Hill Auditorium
For years, this witty male vocal sextet has commanded a huge following
with their performances with the Boston Pops and on the Tonight show.
Their 1987 Christmas special with Julie Andrews, Placido Domingo, and
John Denver was touted as "a glowing example of holiday cheer."
Program includes Christmas and Chanukah songs and their trademark "Arrangements in Close Harmony," consisting of a wealth of pop music.
"Just About the Most Fun You Can Have in Public!"
University Musical Society
of the University of Michigan Ann Arbor
Call 313764-2538 or 313763-TKTS
Burtm Memorial Tower Aim Arbor, Ml 4&I09-1270

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